Finding an agent who wilt sell your work enthusiastically is not easy. If you are an aspiring or new author, it may take years.
46
A unique chemistry must exist between an author and agent. Each of the following conditions must exist:
1. Both must basically like each other.
2. The agent must respect the author’s writing ability.
3. The author must respect the agent’s editing advice.
4. The agent must be enthusiastic about the author's subject matter.
5. The author must be patient in awaiting results.
6. The agent must be sensitive in handling authors’ egos.
7. The author must be mature enough to handle rejections.
There are also professional requirements:
1. The author’s work must be well written.
2. The agent must be a good salesperson.
3. The author’s work must have commercial appeal.
4. The agent must be an efficient business person.
With all these conditions and requirements, it is little wonder that few aspiring or new authors find agents who successfully market their work.
If you pursue a writing career, at some point you may cross the line that separates successful authors from those who are not. At that time, finding an agent will not be so difficult. Agents have bills of their own to pay, which causes them to seek successful authors as clients.
After attending a writer’s conference in Los Angeles, Art Seidenbaum, book review editor for the Los Angeles Times, commented on March 14, 1980:
Writers are always in want if not in need. And none of us has any right to blame the next of us for asking guidance, help, hints, human response. The trouble with conferences is the way they collect so many wanters in one space for one weekend. Collector Carolyn See (organizer of the conference) even felt so conscience-stricken she announced rhat no member of the audience was to ask an appearing author about an author’s agent.
A good rule, I think. Selecting the proper agent involves complex questions of chemistry, economics, data retrieval and Ouija as well as literature.
The classified section of your telephone directory probably lists agents. LMP has hundreds of agents listed throughout the country. Writers’ magazines abound with the names of agents, including ads that offer their services.
Your Autbor-Friends
There are few situations in which author-friends can prove more valuable than when they refer their agents to you.
If your book is worthy, several of these friends may have suggested that you forward a copy to their agents. Introductions from such friends may be necessary for your book even to be considered.
Responding to Agent Advertisements
Within many publications catering to the interests of writers, you’ll find ads inviting you to submit your manuscript for a “reading” by an agent. Usually, you must pay a fee for this reading. In return, you will receive what may be constructive criticism.
While these are professionals who know the business, this is often the same response and assistance that you should have received free from editor-friends during the writing of your book.
Many of these same publications abound with ads by subsidy publishers as well. Be forewarned.
An agent, just like an individual buyer, acquisition librarian, bookstore manager, wholesaler, or reviewer, must be sold on your book. Prepare an attractive book package before approaching an agent.
Your Book's Credentials
Include a folder or three-ring binder of all the reviews and other publicity the book has generated. This should be well organized.
Describe the sales record of your book, including the names of everyone who has purchased copies in volume.
If several printings have been necessary, describe the number of books in each printing. If your initial contact with the agent is in person, take copies of each printing with you.
Your Credentials
In detail, tell the agent what qualifies you to write your book. Why are you and your book salable commodities?
An agent must sell both you and your book to an editor. A major publisher will want to know how impressive you can be during interviews with reviewers and interviewers in the media. List all of your personal accomplishments, including those within the writing field (other books), within the subject area of your latest book, and in other areas of work. Do not be modest.
Include a Photograph
Include a professionally taken photograph of yourself with this package. You must appear interesting and provocative. This photograph will help convince a publisher that you are marketable.
The relationship between an author and an agent must be carefully developed. If a personal meeting can be arranged, take the rime to interview any agent who might be useful to you.
Do not approach agents by "asking” them to represent you. Be positive. Tell them that you’re considering the services of an agent in the marketing of your book to a major publisher. Ask if they would be interested in discussing the matter.
Be enthusiastic in interviewing an agent, and look for a similar reaction from the agent after your book has been evaluated. If an agent is not excited over your book, how will he or she generate sufficient enthusiasm to market it successfully?
Your personal style must be compatible with the agent’s personality. Only a personal meeting can verify this.
The Author’s Experiences With Agents
Perhaps you will have more reasonable expectations from agents after reading this next section.
The author’s first agent was referred by another writer, the author of a health book found on the shelf of a bookstore. This agent was hurriedly obtained when a New York editor expressed interest in the author’s first manuscript. The editor suggested that obtaining an agent would be a wise move.
This agent was cordial, but his interest in selling the manuscript evaporated as soon as the New York editor revealed that no offer would be forthcoming after alt. The agent didn’t even bother to inform the author that the editor would not be making an offer.
A few years later, a second agent was engaged after the author received an offer for reprint rights to his first book and an offer for his second manuscript from the same publisher. An editor at a successful small press in northern California recommended this agent, a person who is frequently mentioned on the “rights" page of Publishers Weekly and who represented prominent authors at that time.
This agent:
1. negotiated terms contrary to written instructions,
2. failed to review contracts for accuracy,
3. misplaced contracts and sent them out by fourth-class mail (before they had been signed),
4. failed to forward royalty statements received from the publisher, and
5. was not able to sell rights to either of the author’s next two manuscripts, the first of which became the bestselling book in the field of investment bonds.
After the Bond book was self-published, this agent was still unable to sell it even though it had been selected one of the top five books published in its field the year it was released.
After canceling the arrangement with this agent, the author immediately sold reprint rights to Harcourt Brace Jovanovich by contacting the publisher directly. The Harcourt edition was then selected by the Book-of-the-Month Club.
Finding the Right Publisher
Before attempting to sell reprint rights to a major publisher, that is, to give another publisher the exclusive right to publish your book, you must have a salable product. Has your book gathered favorable reviews and established a reasonable sales record? If so, it should not be difficult to sell the reprint rights.
There are three important considerations in selecting a major publisher for your book:
1. Does it publish the general subject matter of your book?
2. Does it publish in softbound as well as hardbound?
3. Does it have a national distribution network?
Visit Your Local Bookstore
Check the most recently published books in your general subject area (health, business, and so on) at your local bookstore. Who publishes these books? Make a list of at least fifteen publishers that are currently releasing books like yours.
These publishers should be the largest that you can find. You want a large publisher in order to encourage the widest national distribution, as well as to obtain the highest possible advance.
Visit Your Local Library
If you do not come up with fifteen publishers after visiting the bookstore, collect more names at your library.
At the library, check the latest edition of LMP for the names of editors at the publishers you’ve compiled. A large publisher may list several dozen editors, without designating their speciality areas. In such cases, address your correspondence to the editor-in-chief.
LMP also lists the number of books each publisher issued in the previous year. By checking these figures, you can determine the relative size of the publishers on your list.
The most commonly accepted method of contacting a publisher to sell your reprint rights is to send a query letter with a copy of your book. If you live near the publisher, use your telephone to make the initial contact. In addition to gauging their interest in your book, you can also determine to whom it should be sent. The author’s Bond book was sold to Har-court Brace Jovanovich after an initial telephone contact.
Your Query Letter
Your query letter should be one page, single- or doublespaced. Use short paragraphs, double-spacing between them.
Do not compliment your own book when reviews and comments of others are available. When you’ve had an opportunity to talk personally to an editor beforehand, appeal to his or her stated interests. Sell what they’re looking for.
The sample letter on the California Health Publications letterhead was sent to fourteen publishers, three of whom responded with offers. This letter lists the accomplishments of the book on hemorrhoids in a concise fashion. It can be easily scanned in a minute.
The next-to-last paragraph emphasises the high incidence (52 percent) of the affliction among all adults over the age of forty. This suggests a wide audience for the book.
Item #6 mentions the enclosure of a review by Library Journal. The editor at William Morrow (who acquired the reprint rights) later told the author that this review was one of the main reasons they acquired the book. Enclose the most favorable reviews your book has received.
Your letter to a major publisher must be perfect. Rewrite it until it is. And have another person proofread your spelling and punctuation.
If a publisher is interested, they’ll call you. Don’t bother calling them, though you may want to send a follow-up letter if you’ve had no response after a month.
347MMndd UwrtlMdvCAfaMl
ituimui
December 3, 1978
Hillel M. Black,
Editor in Chief—Adult Books,
WILLIAM MORROW & CO., INC.,
105 Madison Avenue,
New York, NY 10016.
Dear Mr. Black:
The enclosed book—Hemorrhoids: A Cure and Preventative—has established itself as one of the best-selling popular medical books of 1978.
334 How to Publish, Promote, and Sell Your Own Book Since its publication date of February 28, 1978:
1. libraries have purchased more than 6,000 copies,
2. Waldenbooks has purchased 1,000 copies,
3. the largest bookstore in America (Barnes & Noble, NY) has sold more than 75 copies,
4. Ingram named the book among the "Best of the Independent Press” tides of 1978 and purchased 1,000 copies,
5. Nutri-Books, largest wholesaler to health food stores, has ordered the book four times (100 books each time),
6. the book sold out its first and second printings with no national publicity other than the attached Library Journal review,
7. Milestone Publications has acquired Canadian rights, and
8. British Commonwealth rights were sold to Abacus Press.
Success of the book may be attributed to the fact that 52 percent of American adults over forty years of age suffer from hemorrhoids and the book is well written.
As we believe that the book would benefit now by the marketing ability of a national distributor, we are inviting your interest in its softbound rights, Please indicate your interest at your earliest convenience.
Thank you.
Best regards,
Robert L. Holt
Enclosures
RLH:kw
Negotiating Your Reprint Contract
As discussed earlier, it’s difficult for a new author to obtain the services of a professional agent. For this reason, this chapter discusses how you can represent yourself in the negotiating process.
In your query letter, offer only North American rights to your book. This means the publisher will have the right to sell your book in the United States and Canada. You retain the rights to all other countries. If this is not specified, you’ll end up splitting advances and royalties on foreign editions of your work.
It is customary to let a publisher know if you are submitting the book simultaneously to other publishers.
Retain Mail-Order Rights
Try to retain mail-order rights to at least one of your editions, too. The hardbound edition, being higher-priced, will be more profitable to retain.
This right will be non-exclusive, as your publisher must
have the right to market its version of your book by mail-order also.
Retain Movie and TV Rights
If your book has this potential, also try to retain movie and television rights. You may wish to show such a book to a few agents before trying to sell reprint rights yourself.
Your query letter can specify that only North American and softbound rights are being offered. Do not state in this letter that you intend to retain other rights, as these can be bargaining points for later.
Make an itemized list of the terms to be negotiated. These should include:
1. the advance,
2. royalties,
3. mail-order rights,
4. free copies to author,
5. movie and TV rights,
6. other rights,
7. duration of contract,
8. form of payment, and
9. copyright.
Your first contact with an editor interested in purchasing reprint rights may be a complete surprise to you. Since it will probably be a telephone call, keep a clipboard with this list next to your telephone.
If you're organized, you won't be confused when the call comes. You'll sound more intelligent during negotiations. And it won’t be necessary to bring up points later that have been overlooked.
Most publishers will conduct negotiations over the telephone. Only in rare instances will you receive an offer in writing. To avoid misunderstandings, however, it is suggested that you respond in writing to all offers.
Counter-offering in writing accomplishes several goals.
1. You have more time to consider your response.
2. By reducing your counter-offer to written form, it will be better organized.
3. It provides an opportunity to restate the publisher’s offer in written form.
If you choose to counter-offer in writing, send your responses to the publisher by one-day mail service. It will cost more, but it’s worth it.
The Advance
The size of your advance is the most important negotiating point—more important than royalty levels for 90 percent of all books published. Since only 10 percent of the books that are released each year continue to sell beyond the first year, the royalty levels negotiated for the other 90 percent are irrelevant.
So, concentrate on maximizing your advance. It may be the only compensation you receive for your book.
How do you do this? By offering your book to as many publishers as possible, simultaneously. Let them bid against each other, the highest bidder winning. Make sure, however, that your query letter clearly specifies that you are making a multiple submission.
Royalties
Fortunately, hardbound royalty rates are more or less standard in the industry and usually needn’t be negotiated. These rates are:
First 5,000 books Second 5,000 Over 10,000 10% of the publisher's retail price
12Y2%
15%
On the other hand, royalty rates for softbound books vary widely. Most publishers will offer you the lowest rates they think you’ll accept. They expect you to negotiate. One publisher may offer only 5 percent, and another 10 percent.
There are two different types of softbound books: trade paperbacks (also called quality paperbacks) and mass-market paperbacks. Trade paperbacks are distributed only to bookstores, while mass-market paperbacks are also sold in newsstands, airports, drugstores, and so on. Mass-market paperbacks are predominantly pocketbook size, 4 Vi6" X 6%", while trade paperbacks are often simply the signatures of the hardbound size wrapped in a softbound cover.
Royalty rates on mass paperbacks are considerably lower. They may start at the 6 to 8 percent level, escalating no further than the 8 to 10 percent level.
A few publishers will attempt to pay you mass paperback royalty rates for editions of your book that are printed in a trade paperback size. Do not allow this to happen to you. Be certain that royalty rates for each size paperback are specified in your contract.
If you decide to sell reprint rights to a publisher that does not print a mass paperback-size book, your publisher may attempt to sell such rights to another publisher. In such cases, the advance and royalties are split, usually equally between the author and the publisher.
Even when your publisher has a mass-paperback line, the firm may still decide to sell mass-paperback rights to another publisher. Unless you are a major author, you will have little control of such sales.
Mail-Order Rights
It’s important that you retain non-exclusive mail-order rights to your book (or one of its editions) in order to continue fulfilling the mail orders you receive. These are orders that you’ve generated, and you’re entitled to them.
Since most of these orders will be single-copy orders, few major publishers should object to your retaining this right. Filling single-copy orders is not profitable for a large publisher.
In retaining mail-order rights, also negotiate the right to purchase additional copies of your book from the publisher.
When you run out of your own books, it will be necessary for you to purchase additional copies from your publisher. It is customary for publishers to sell such copies to their authors at a 40 percent discount. The author was able to negotiate such purchases at 10 percent over their cost in one case. Try to get at least a 55 percent discount on purchases exceeding five hundred copies at one time.
Free Copies
It is standard for publishers to furnish authors with six to ten free copies of their books. This barely takes care of your personal needs, leaving no books to provide for promotional purposes.
For this reason, ask for fifty to one hundred copies of your book. The author obtained one hundred copies of the Ortho-domic book for promotional purposes and fifty copies of the Bond book from its publisher.
The Los Angeles Times review of the Orthodontic book came about as a result of their receiving one of these copies. This was a major review, which would not otherwise have been forthcoming.
When you’ve successfully published your own book, most publishers will realize the value of local and regional publicity that you can generate for their edition. This publicity may be the only publicity your book receives, other than the standard review copies sent to major reviewers. In negotiating these free copies, ask the editor what publicity and promotional plans he or she has in mind for your book. If they’re honest, they may admit they have few or none. This is when you stress what you can do in the way of publicity and promotion.
Tell the publisher to send you copies with “Not for Sale” marked on them, if necessary. In any case, this is a bargaining point. If the company will not yield in this area, ask it to yield in another.
Movie and Television Rights
If it develops that your book has potential in the area of movie and TV rights, obtain the services of a professional agent. If an agent knows that you have such interest in your book, that agent will be anxious to represent you.
Since many books are purchased for production as movies but never produced, it is important that these rights revert to you after a reasonable length of time if it appears that the original buyers will not be using your book.
If your publisher retains these rights, bargain for 80 percent of them.
First and Second Serial Rights
First serial rights are for excerpts of your book that appear in magazines before the book's publication. The split of the money received for this right is normally 90/10 or 75/25 in the author’s favor. While the sums of money paid for these rights to new authors may be relatively minor, the pre-publication publicity generated by the magazine coverage can be major.
Second serial rights are for excerpts that appear after your book is published, and the split of money generated from this source is generally 50/50.
Book Club Rights
It is customary to split book club rights 50/50. The Harcourt reprint of the Bond book was sold to the Fortune Book Club, a division of the Book-of-the-Month Club. It had been offered earlier in the author’s edition without success.
Attempting to sell your self-published book to a major book club may be similarly fruitless. Book clubs depend on publishers of their books to generate nationwide publicity. Few au-thor-publishers have the capital to do so.
Other Rights
There are numerous other rights cited in the small print of a large publisher’s contract. These include rights to condensations, recordings, microfilming, digests, and so on. The author's share in such rights varies from 50 to 80 percent, depending again on the publisher and how the bargaining is conducted.
Duration of a Contract
If your publisher does not keep your book in print, you must be able to regain the rights to your book. The terms may vary from publisher to publisher, but you can usually reacquire these rights by making a written request. If the publisher declines to print additional copies within six months, the rights revert to you.
In such cases, you normally also have the right to purchase their overstock of your book at 10 to 15 percent of its retail price. The plates and negatives may also be offered to you, at their cost plus shipping.
Make sure an acceptable procedure for the reversion of rights is specified in the contract.
Timing of Payment
How the advance is paid is important. Do not let a publisher wait until your book is finally published before making full payment of your advance. It’s no longer an advance if they can wait that long.
Try to insist on receiving half the advance upon signing the contract, and the balance upon their acceptance of all revisions to your book. This is becoming the standard in the industry. What if the publisher decides not to publish your book after all? Not only would you fail to receive the full advance, but you wilt have lost the opportunity to have your book published on a timely basis elsewhere.
It is standard that royalties are computed twice a year, for example, on June 30 and December 31, but seldom paid until three to four months later. Of course, you will not receive royalties until your advance has been covered (earned out).
Copyright
Your book should always be copyrighted in your name. Never budge on this.
The author was told by one author-publisher of an instance where her printer attempted to copyright her book in the name of the printer. If this had happened, she would have lost all rights to her book.
As mentioned already, publishers expect you to bargain; they don’t expect you to accept their initial offer. When you are first contacted, carefully write down the terms offered. Repeat them to the editor to assure perfect understanding.
Then ask questions concerning any of the first eight items listed in the previous section that have not been covered already. Make notes of everything mentioned.
When all points have been discussed, ask the editor, “May I get back to you in a few days? I'd like to think this all over.” Do not get into a disagreement on any of the points discussed. Simply note what is offered and make sure the editor knows what you’d like to receive.
Can an Attorney Help You?
If the attorney has no experience selling books, of course not. If you can find an attorney with such experience, he or she will probably wish to act as your agent—in return for a 10 to 15 percent agency commission. If you really think you need an attorney to advise you, hire one on an hourly basis—one who has extensive experience with book contracts.
Never reveal to an editor that you’re using an attorney. During negotiations, you have an opportunity to establish rapport with the editor. If you bring an attorney into the picture, you may lose this important one-on-one contact. You might even scare the editor off.
Considering the Offer
Remembering that you’re a new author, list the goals of your bargaining. Is the advance reasonable, in your opinion? Have you checked the advances received by other authors for similar books?
Have you waited long enough for any offers that might be received from other publishers? If you wish to delay bargaining with the publisher making the first offer for your book, be certain that this publisher will leave his offer open during your delay. Remember, you should have informed the editor at the beginning that this was to be a multiple submission. Most editors are used to fairly prompt conclusions to negotiations and may refuse to leave an offer open for you. It is customary to ask the first publisher if he’ll leave his offer open for a week while you contact other publishers.
Before responding to the editor, carefully list the terms that are satisfactory and those you’d like to improve. Have in mind those terms in which you are willing to give ground in return for better terms in other areas.
Other Subjects Worth Discussion
After discussing terms, there are several questions that should be asked concerning the reprint edition, including:
1. its intended price,
2. its release date,
3. desired revisions (the publisher’s),
4. the planned cover,
5. the publisher’s promotional plans, and
6. the size of the first printing.
As a new author, you do not have control of these areas. But you might be able to influence the editor’s thinking by positive persuasion.
As a matter of fact, your editor may not have that much control over many of these areas, either. The company’s marketing department exercises control over most of these points.
When you become a well-known author, you can then be more forceful in determining how your book is published. In the meanwhile, be properly humble. Make your point with as much common sense as possible, then get on to the other matters of your contract.
Responding with Counter-Offers
Your written response should reiterate the current offer. Then it should suggest alternate terms that you’d prefer. Don’t be rigid in stating what you would like; leave room for adjustments. At the same time, be confident. Be encouraging to the editor. Mention any recent publicity your book has received since your initial query letter was sent.
Compose the letter in list form. Number each of the terms discussed. Be brief.
The editor will probably respond by telephone again. By this time, you should be even better prepared to communicate.
If you're comfortable doing so, conduct further bargaining over the telephone. At the conclusion of each call, though, write a letter confirming the progress made and send it to the editor.
If you cannot get a 10 percent royalty rate on softbound (trade paperback) printings at the twenty thousand level, then suggest this break-point at thirty thousand or even fifty thousand copies. If an editor asks for foreign rights, don’t agree unless you gain ground in another area. Standard foreign rights splits are 75/25 in the author’s favor.
If an editor balks at your retention of non-exclusive mailorder rights, ask how profitable single-copy orders are to large publishers. Most large publishers do not even fill such orders —they refer them to wholesalers.
If the publisher won’t agree to one hundred free copies, ask for fifty. Be prepared to tell the editor what will be done with the copies. Explain that this will guarantee that the book receives some promotion. If you ask the editor to guarantee promotion of your book, you’re likely to get a negative response. Once the book is printed, it’s usually out of the editor’s hands.
Give and take in these discussions. Be cordial at all times and keep your sense of humor. Try to develop a good working relationship with your editor.
How to continue working well with your editor is the subject of the last chapter.
Working With an Editor
Once you've sold your book to a major publisher, you can expect changes in the book’s title, cover, format, style, illustrations, photographs, and so on. Having successfully self-published the book, you may find these changes difficult to accept.
As a new author, though, you have little bargaining power to convince an editor to retain the original version of your book. Consider yourself fortunate to have the book picked up by a major publisher; few are. After you’ve gained more experience (written a few more books), you may be in a better position to control the publishing of your books at a major publisher. Editors will have more respect for you.
Why You Must Get Along With Your Editor
Your goal is to maintain the editor’s enthusiasm. This is vital to the survival of your book. Modern editors are no longer simply editors.
They must sell their books to salespersons in their marketing departments. You want the pitch for your book to be strong! If you’ve made yourself a pain in the neck, your editor may relegate your book to the bottom of the heap when the time comes to persuade the marketing department to promote the book.
When you sold the rights to your book, you relinquished all control over it. If you don’t like what happens and you’ve stated your case with adequate clarity, there’s nothing more you can do. Control your ego instead. Hope the mistakes won’t hurt your book after all.
Your editor will probably return a copy of your book with extensive changes marked throughout the text. These changes can be placed into three categories:
1. those that improve your text,
2. those having a neutral effect, and
3. improper changes.
How you handle each of these categories may determine whether your editor will consider your suggestions fairly.
Editing That Improves
Recognize editing that benefits your book. Be sure to compliment your editor or copy editor for these changes. Be sincere. Solicit suggestions from them for making further improvements. Be prompt in submitting any requested rewriting.
Editing with a Neutral Effect
If you’ve waited at least one week before deciding what you think of your editor’s changes, you’ll realize that many of them do not have a particularly beneficial or harmful effect on your text.
In such cases, do not challenge them. It is better to semicompliment them, if you make any comments at all. These
changes are not worth protesting. Save your time and energy for those that are.
Improper Changes
Countering improper changes will challenge all your skills as a writer. These changes will cause you anguish. Your emotions will not help you now. Common sense and reason are your only allies in convincing an editor to change his or her mind.
If you do a good job of presenting your case, an intelligent, experienced editor may accept half of your challenges. Do not count on doing better than that. If you do, you’ll be disappointed. You may be fortunate to persuade an editor to alter anything.
Itemize your objections in a clear form. Ask a friend to review these objections to check their validity. Are they convincing? Do you come on too strong?
What if the Editor Is Firm?
When an editor insists on editing text in what you consider an improper fashion, your next step is to live with it.
Of course, your first reaction will be anger. Direct this anger in a direction other than its cause. You have nothing to gain and much to lose by alienating your editor.
This advice may be hard for a new author to take. Few authors are naturally humble. Develop humility as fast as you can.
Judy Blume is one of the most successful American authors of books for adolescent girls in the last few decades. The following extract from Judy Blume’s Story, by Betsy Lee (Dil-lion Press, 1981), describes her first meeting with an editor at Bradbury Press (Prentice-Hall):
Judy had read in Writer’s Digest magazine that Bradbury Press was
interested in realistic fiction for young people, so she had sent
them a draft of Iffie’s House. They didn’t accept the manuscript or reject it. Instead, they asked if she would meet with them to talk about it. . . .
Dick Jackson liked the manuscript and with some revision, he said it might work out as a book. “Maybe,” he added cautiously. “Now,” he said, leaning back in his chair, “what do we know about Winnie? What kind of person is she?” For an hour and a half, Dick asked Judy questions about her characters, about the plot, about where the book was going.
Judy took notes furiously. New ideas began to spin out of her imagination. They talked about tightening scenes, cutting chapters, and adding new dialogue in places. By the end of the meeting, they were both exhausted.
Her book had only begun. Dick said he could not offer her a contract yet. If she was willing to revise the manuscript, making changes they had agreed on, Bradbury would consider publishing it. Maybe,
If Judy Blume had not been humble on this occasion, she might not be the most popular author in her field today.
Put yourself in the editor’s place. If you had purchased a manuscript of a book for $10,000 and were going to spend an equal amount on publishing it, wouldn’t you want to be in the driver’s seat?
As a successful author-publisher, you will find that numerous people approach you to publish their books. Would you publish any of their books without total control of everything? Of course you wouldn’t.
When you lose, lose graciously. Above all, maintain your rapport with your editor.
Good luck!
Acquisition Editor: Editor who specializes in the acquisition, rather than the editing, of manuscripts.
Addendum: Supplementary information added to the end of a book, often written by another author.
Advance: Money paid to an author for selling a manuscript or reprint rights to a publisher, an “advance” against future royalties.
Advance Book Information (ABI): A brief summary of a book, on special ABI forms, that should accompany Advance Reading Copies when they are sent out for review.
Amberlith: Orange-colored acetate used to make a window on the page board for the printing of halftones,
Appendix: Supplementary information added to the end of a book, often lists of data not considered reference material.
Author’s Alteration: A change made by the author in a galley or proof, marked AA.
Back Matter: Material appearing at the end of normal text, such as glossary, index, addendum, appendix, index, and bibliography.
Bibliography: List of sources for information appearing in a book.
Blue-Lines: Proofs of a printer's negatives that are the author’s final check before printing
Boards: Paper sheets to which galleys and artwork are attached, also the stiff material to which the cover is attached in bookbinding.
Bound Galleys: See "uncorrected proofs.”
Burning Plates: The making of printing plates from negatives.
Camera-Ready Copy: Final material, ready for photography, submitted for printing.
Case Bound: See “hardbound.”
Cases: Capitalized (upper case) or uncapitalized (lower case) form of letter.
Cast-Off: The estimate of a book’s length before it’s printed.
Character: A single letter or space.
Checking Copies: Page from a publication containing an advertisement, sent to the advertiser as proof that the ad was run properly.
CIP Information: Cataloging in Publication, data furnished by the Library of Congress designating labeling information for book spines in libraries.
Clay-Coated Paper: Paper coated with a thin layer of clay for better definition of printed material, used for high-quality art books.
Clip-Art: Non-copy righted artwork that can be clipped from catalogs available in stationery and artwork supply stores.
Color Keys: Four sheets of clear acetate, each of which has one of the four basic colors of a photograph printed on it, that allows you to check the quality of 4-color artwork.
Color Separation: Breaking down 4-color artwork into four negatives—one for each of three colors, plus black—for printing.
Consignment: The placing of books in a store in which the publisher is paid only upon the sale of books.
Contact Sheets: Sheets furnished by a photo lab on which all prints from one roll of film are printed, usually in reduced size.
Copyediting: Final checking for grammatical errors, consistency, transition, and structural problems in written material.
Cromalin: A proof, resembling a color print, that enables you to check the quality of 4-color artwork before printing.
Cropping: Outlining the area of a photo to be reproduced.
DBA: "Doing Business As.”
Desired Photo Area: The area of a photo to be reproduced in a book.
Direct Mail: Selling books in brochures sent through the mail.
Display Type: Large type used for title pages, chapter openings, subheadings, etc.
Dummy Signature Sheets: Blank signature sheets with numbers indicating where page boards should be placed.
Duotones: A halftone from a black-and-white photograph that is printed in two colors, one dark, the other lighter.
Editing: The general review of a manuscript for overall meaning, accuracy, and transition.
Elite: Type size having twelve characters per inch.
End Paper: See "fly leaf.”
Enlarged Photo Size: The size to which a photo must be enlarged to appear in a book.
Fictitious Name Statement: A notice published in a local newspaper announcing that you are doing business under a name other than your own, also called a “DBA.”
Finish Size: The size of a book after it is trimmed and bound at the bindery.
Flats: Large boards, usually made of goldenrod paper, on which the film for a book is mounted before the plates are burned.
Fly Leaf: The first sheet in hardbound books that is attached to the inside covers.
Folio: A page number.
Galleys: The first proof of a typeset manuscript, usually printed on oversized sheets that can later be cut down to page size.
Gathering: Putting signatures in proper order for binding.
Half-Title Page: The first inside page of a softbound book, the second inside page of most hardbound books, on which only the title of the book appears.
Halfcone: A line screen (or printer’s negative) made for a photograph.
Head Trim: The side of gathered signatures that is trimmed before being bound.
Headliner Ruler: A transparent ruler with horizontal and vertical lines.
High-Bulk Paper: Paper thickened during manufacture by having air blown into it.
Inserting Requirements: Indicates where signatures must be placed within other signatures during gathering.
Insertion Orders: Forms used in the ordering of advertisements to be placed in a periodical.
International Standard Book Number (ISBN): The identification number issued by R. R. Bowker and Company for a book.
Justify: To align the vertical margins of a page, usually refers to an even right-hand margin.
Layout Boards: See “boards,”
Leading: The vertical distance between typeset lines.
Letter-Spacing: See “pitch.”
Line Editor: Editor who specializes in the editing, rather than acquisition, of manuscripts.
Line Illustrations: Black-and-white illustrations that can be pasted up and photographed with ordinary text, having solid black tones only.
Line Screens: Screens that permit varying percentages of color to be printed, also refers to number of dots per linear inch of a halftone,
Mass Market Paperbacks: Paperback books, usually 4 V16" X 6i/4*, that are sold in newsstands, airports, drugstores, etc., rather than just bookstores.
NCR Paper: Chemically treated paper that does not require carbons to make duplicates.
Page Boards: Boards to which galleys and artwork have been attached.
Paste Up: Attaching galleys and artwork to boards.
Perfect Bound: A book in which the pages and the cover are attached by glue.
Pica: Type size having ten characters per inch.
Pitch: The distance between letters in the words of typesetting.
Plastic Comb: A method of binding a book in which plastic teeth fit through notches in the pages.
Plates: Metal or plastic plates used in printing presses to print signatures.
Printer’s Error: A correction of an error made by a printer, marked PE; author should not be charged for the correction of PEs.
Proof: A photographic print of artwork or type used to check the quality and accuracy of work before the actual printing.
Process Work: Color printing.
Proportional Spacing: The typesetting of letters of differing widths.
Pulling a Proof: Having a proof made.
Quality Paperback: See “trade paperback."
Query Letter: A letter to a publisher describing a book or manuscript offered for submission.
Rate Card: Card or brochure listing the cost of advertising in a publication.
Recto: The right-hand page.
Reduced Photo Size: The reduced size of a photo to be reproduced in a book.
Reprint Rights: The rights to re-publish a book.
Resale Number: A number obtained from the state permitting the purchase of materials used to produce a book without paying sales tax, as tax will be collected when you sell the materials as a finished book.
Returns: Books returned to the publishers by bookstores and wholesalers.
Rivet Binding: The use of rivets to bind a book.
Rubylith: Red-colored acetate used to create a window for the printing of a halftone.
Running Heads: Headings in the top margin of each page telling the reader where he is, e.g., chapter title, part title, author's name.
Saddle-Stitching: Binding a book by stapling along the spine.
Serifs: Fine lines extending from the main strokes of letters.
Side-Stitching: See *‘saddle-stitching.'’
Signature: Large sheet of paper on which several pages of a book are printed; when folded, the pages appear in the correct order.
Smyth Sewn: Hardbinding in which signature pages are sewn together with thread.
Space Advertising: Advertising requiring artwork.
Spiral Binding: Binding a book by inserting coiled wire through punched holes in pages.
Straight Copy: Typesetting with no indented material, italics, or other deviations from plain sentences and paragraphs.
Stripping Into Flats: The taping of negatives to plastic sheets before burning plates.
Style Sheet: An alphabetized list, prepared by the copy editor, of words and phrases used in a book to ensure consistency.
Tag Ends: Partial line at extreme top or bottom of page.
Trade Paperback: Paperbacks sold in bookstores only, often the signatures of the hardbound edition in a softcover binding.
Trade Journals: Magazines for the book trade, such as Library Journal and Publishers Weekly.
Trade Reviews: Reviews in trade journals.
Transparency: Artwork for a color print, resembling a color slide.
Trim Size: The size of a book page after it is bound.
Uncorrected Proof: Photocopy of a book used as “advance reading copy” for review in trade journals.
Varnishing: Protecting a book cover with varnish.
Velo-Binding: See "rivet binding.”
Velox: Artwork for black-and-white reproduction, resembling a negative but not having a reversed image.
Verso: The left-hand page.
Window: Clear space created on a negative by a ruby- or amber-lith overlay.
ABI form, He advance information forms
accounting, see bookkeeping acknowledgments, 61 ad card, see half title page, verso addendums, 45 adjectives, 52
advance, on royalties, 16, 19, 337 advance information forms, 140 advance reading copies, see ARCs adverbs, 52
advertising agencies, 127-128 setting up, 308-311 advertising order, see insertion order agents, 77, 325-330 Allen, Steve, 257 Allison, Alida, 241 amberlith, see rubylith American Book Publishing Record,
229
American Booksellers Association,
261-263
Ammcan Book Trade Directory, 277 appendix, 63
Arabic numbers, 90, 164 ARCs, 32, 109-110, 203, 240 where to send, 226-237 Association of American Publishers, 17 asterisks, 55-56 attorneys, negotiating contracts, 343 author: names, 106, 111, 137 societies, 19, 243 author photo, 78, 111, 247 authors, 17, 44 self-publishers, 8-9 autobiography, 37 autographing, 254-255, 257-260 at bookstores, 257—260 at libraries, 260
back cover, 111 back matter: addendum, 45 appendix, 63 bibliography, 63-64
back matter (cont'd) glossary, 62-64 index, 62-64
ordering information, 64-65 bank account, 23-24, 122, 126-127 advertising agency, 128 B. Dalton Booksellers, 15, 18, 278 address, 233 Beverly Hills Diet Book, The, 103 bibliography, 63-64 bindings, 30-32, 206-217 costs, 30-32 defective, 213 black-and-white photographs, see photographs, black-and-white black-and-white line illustrations, 24-25, 30, 93 Btaik Mask Magazine, 5 blank pages, 165 Bloekbustef Complex, The, 18 blue-lines, 29, 187-188, 191 Blume, Judy, 348-349 Board of Equalization, 124 boards, 29, 162-163, 166-167, 173, 175 pasting up to signatures, 168-171 book clubs, 231, 298-299, 341 bookkeeping, your own, 124-125 Booklist, 59, 197, 227, 296 book plan, 119-121 book printing costs, 22-32 binding, 30-32 graphic design fees, 24-27 printing, 28-30 typesetting, 27-28 book publishing industry, see publishing industry
Book Publishing: What It Is, What It Dm, 125 book reviews, see reviews book size, 83-84 Books In Print—Titles, 14, 104,
141
bookstores, 14, 46, 196, 199,
258 buyers, 40-41 chains, 18, 232, 258 consignment to, 272-273, 276 contacting, 274 discounts, 275, 281 display cases, 274 display posters, 274 independent bookstores, 15 inventory, 14-15 invoicing, 275 managers, 40
obtaining prepayment from, 280-282 returns, 16, 273, 291-292 selling to, 272-282 shelf space, 272 orders, 318-319 bound galleys, see uncorrected proofs
Bowker Company, R. R., 41, 59, 296
brochure, see promotional brochure bulk-rate permit, 314 Bulletin of the Center For Children’s Books, 227 burning plates, 187 business cards, 23, 129-130
California Financial Publications,
106
California Health Publications,
106, 138 camera-ready copy, 172 pasting-up galleys, 162-167 preparing photographs, 173-184 capitalizations, of cover title, 105 captions, 28 card, see business cards case bound, see hardbound cases, see capitalizations casting-off, 142-146, 164 category buying, 278 chains, see bookstore chains Chamber of Commerce, 251 chapter outlines, 54 chapter title page, 54-55, 164-165 checking copy, 310 Choice, 227, 296 CIP, see Library of Congress Cataloguing in Publication data
civic groups, selling to, 251-254 Clavell, James, 66 clay-coated paper, 30 clip-art, 24, 95 coating, protective, 203 color, 107-109, 182-184 color keys, 112, 183-184 color photographs, see photographs, color color separations, 26, 112, 202, 204
making of, 183 columnists, 231 commentators, 231 company, establishing, see
establishing your company computerized cash registers, 18
consignment, 16, 258, 272 contact sheets, 94 contracts, see negotiating contracts converting, 32, 205, 211 co-op advertising, 287-288 co-op publishing, 12-13 copyediting, 54, 69-74 copyright, 58-60, 95, 139-140 forms, 134, 140 copyright page, see front matter corporations, 47 costs, see book printing costs coupon, in mail-order, 304 cover, see front cover, back cover, hardbound, softbound cover letters, 233-235 credentials, 61, 76 credit, 123 criticism, 53, 67, 73 cromalin, 112, 183-184 cropping, 172-173 crossline, 94 Crown Books, 139 Cumulative Book Index, 229
Dalton Booksellers, see B. Dalton Booksellers DBA, see fictitious name statement
DearAbby, 51-52 dedication, 60
delinquent accounts, 281-282 design, 54-56 book size, 83-84 chapter outlines, 54 chapter tides, 55 examples, 54 illustrations, 54 lists, 54
page numbers, 89-90
design (cant'd) paper, 84-85 photographs, 26, 30, 90, 97-101, 114 running heads, 89 section headings, 54-56 sub-section headings, 54, 56 typeface, 85-88 type size, 88-89 desited photo area, 173-175 Dessauer, John, 125 Dewey Decimal numbers, 59, 135, 137 direct-mail, 300-308 computing costs, 311-312 discounts: to bookstores, 275, 281 to libraries, 297 to wholesalers, 285-286, 290-291 display cases, 274 display posters, 274 distributors, 288-294 bargaining with, 290 major publishers, 292-293 dummies, blank pages, 165 dummy signature sheets, 170 for spine width, 202 dunning, 318
duotones, 26-27, 108, 112 dust jacket, 31, 216-220, 274 wrapping, 221 Dyer, Wayne, 39
edition, 59
editing, 53-54, 66-68 editors, 76 working with, 346-349 egotism, 53 elite type, 152 end papers, see flyleaf English Times, typeface, 85 enlarged photo size, 172 enlarging photographs, 172 envelopes: mailing books, 320-322 stationery, 128-129 epigraphs, 54-55 establishing your company, 22,
122-123 bank account, 23-24 fictitious name statement, 24 post office box, 23 stationery, 23 Exacto knife, 163, 166, 180-181 exhibitors, fairs, 263
fairs, 260-264
Federal employer number, 124
fictitious name statement, 24, 123
fiction, 38
finish size, 212
first drafts, 50
first editions, 60
first serial rights, 340
Fixx, James, 103
flats, 192
flyleaf, 57-58, 216 foamlite mailing package, 321 folding requirements, 212, 216 folios, see page numbers footnotes, 44 foreword, 61, 76, 106 four-color work, 109, 201-202 photographs, 182-184 free books, requests, 233 front cover, 102-110, 201-205 tide, 102-105 front cover (cont’d) sub-tide, 104 color, 107-108 protective coating, 203 front matter, 28, 90, 164 acknowledgments, 61 copyright page, 58-60 dedication, 60-61 flyleaf, 57-58 foreword, 61, 76, 106 half-title page, 58 half-title page, verso, 58 introduction, 62 list of illustrations, 62 preface, 61 table of contents, 62 title page, 58 fulfillment, 33, 315-322 full-color cover, see four-color cover
fury, writing with, 48-50
galleys, 29, 144, 146, 154, 228 pasting-up, 162-167 proofreading, 157-161 Gardner, Erie Stanley, 4 glossary, 64 preparing, 155-156 government agencies, 47 Graffiti, 2000 Years of Wall Writing, 42 graphic designers, 26, 202 fees, 24-25, 114, 93 selecting, 112-113 working with, 114-119
half-title page, 58, 236 half-title page, verso, 58 halftone, 26, 30, 94 different quality, 181-182 Harcourt, Brace, Jovanovich, 330 hardbound, 205 binding, 215-217 pricing, 198 head trim, 212, 216 headline ruler, 163 high'bulk paper, 30, 84 Hill, Gregory, 50 Hoffman, Robert, 6 Home For Sale By Owner, 50, 60, 302-303 How To Sell Your Car For More Than It’$ Worth, 50-51 How To Start And Operate a
Mail-Order Business, 247, 298 Hornbook, 221
Huenefeld Report, 196-197, 284, 286 humility, 53 humor, 50-51 hyphens, 150
ibid, 64
IBM Executive typewriter, 27-28, 148-149 illustrations, 54, 78, 90 black-and-white line, 24 duo tones, 26-27 line screens, 25 photographs, black-and-white,
26
photographs, color, 26 preparation, to size, 94 providing good examples, 93 index, 64, 164 preparing, 156 Ingram, 286
International Standard Book Number, 58-59, 134, 137-138 insertion order, 128, 308-311 inside front cover, see flyleaf interviews: newspapers, 239-240 radio, 265-268 television, 270-271 introduction, 62 invoices, 33, 129-131, 316 italics, 55-56
jargon, 52
justifying, in typing, 147-148 Kalpakian, Laura, 53 key, of ads, 307-308 Kirkus Reviews, 59, 197, 227, 295
Kramer, Barry, 278
labels, for mailing, 33, 129, 132-133 layout boards, see boards leading, 89 Leaf Storm, 79 letterheads, 128-129 letter-spacing, 89 librarians, 39-40, 46 for reviews, 241 libraries, 32, 39—41, 45, 59, 63, 317-318, 332 selling to, 295-297 discounts, 297 Library Binding Institute, 211 Library Journal, 42, 49, 59, 109, 197, 227, 234, 295-296, 333 Library of Congress, 8, 59
Library of Congress Catalog Card Number, 58-59 Library of Congress Cataloging In Publication data, 58-59, 134-137 Lindsay, Diana, 293 line art, see line illustrations line drawings, see line illustrations line illustrations, 24-25, 30, 93 line screen, 25, 108, 112 list of illustrations, 62 lists, 54
Literary Market Plate, 15, 70, 78, 123, 227, 262-263, 289, 326 LMP, see Literary Market Place logo, 92 lower case, 105
Macmillan, 6 magazine reviewers, 229 mailing labels, see labels mailing lists, 297, 300, 311-312 mailing packages, see packages, mailing mailing rates, see postage mailite package, 321 mail-order, 33, 197, 246 marketing techniques, 298-314 retaining rights, 335-336, 339 manuscripts, marketing, 75-80 Marquez, Gabriel Garcia, 79 mass paperbacks, 18, 58 master signature sheet, 170 McWilliams, Peter, 27 mechanical requirements, 305 mechanicals, see page boards Medical Self-Care Magazine, 233 metaphors, 52 Meyer, Carol, 18
Michener, James, 73, 105 Mitchell, Margaret, 6 Most, Howard Henry, 11 motivation, author, 3-4, 61 movie rights, 336, 340
name, author, see author name name, publishing company, 106, 122-123 NCR paper, 33, 130 negatives, 29 inspecting, 188, 192 negotiating contracts, 335-344 newspapers, 238-244 reviewers, 229-230 news release, 235-237 New York Review of Books, The, 227 New York Times Book Review, The, 296
Noble House, 66 non-books, 8
non-exclusive mail-order rights, 335-336, 339 nonfiction, 38-39, 62-63 non sequiturs, 52 North, Harry, 5 nouns, 52 novelists, 53 novels, 38 numbering; illustrations, 90, 151 pages, 89-90, 151 Nutri-Books, 107
omissions, by typesetter, 158 One Hundred Years of Solitude, 79 op. cit., 64
order form, for mailings, 313 orders, 315 bookstores, 318-319 libraries, 317-318 wholesalers, 318-319 ordering information page, 58-59, 62, 64-65 overlays, 109
package, mailing, 320-322 page boards, 162-163, 165-166 pasting up to signatures, 168-171 page numbers, see numbering paper, 30, 84-85 pasting-up; galleys to boards, 162-167 boards to signatures, 168-171 perfect bound, 31, 208 periodical guides, 45 photographs, black-and-white, 26, 30, 97-101, 114 author, 78, 111 enlarging, 174-175 mounting, 172-173 reducing, 173-174 photographs, color, 26, 30, 90, 97, 182-184 photo labs, 101 pica type, 152
Pineapple Diet Book, The, 103 pitch, see letter-spacing planning, Jee book plan plastic comb binding, 206-208 plates, inspecting, 188, 193 Pocket Pal, 186 Polaroid, 98-99 politics, 51
post office box, 23, 60, 65, 125-126, 308
postage, 33, 65, 85, 132 poster, display, 258, 274 preface, 61
prepayment, requesting, 318-319 price, on cover, 107, 195 pricing, 195-200 printer's negative, photos, see halftone process work, 182-184 profits, 7-8
program chairperson, 252 promotion, 15-16, 19-20, 58,
107, 111 costs, 32-33 promotional brochure, 32, 245-250 pronouns, 51-52 proofing paper, see typesetting paper
proofreading, 155, 157-161 artwork, 133 proofs, 182-184 proportional spacing, 27, 147 publication date, 110, 228 publicity, see promotion Publishers Weekly, 18-19,41-42, 59, 197, 223, 257, 263, 284, 286, 295, 329 Contents page, 19 Rights & Permissions page, 19 publishing company, 122-133 costs to establish, 22-24
quality paperback, see trade paperback query letter, 75-80, 332-334 quote number, 212-213 quotes, 45, 54 radio interviews, 231, 258, 265-268 rate card, 306 reduced photo size, 174 reduction, photographs, 172 redundancies, 52 references, 44, 63-64 rejections, 5, 6, 7, 79, 253 reply card, 236 reprint rights, 331-334 negotiating, 335-345 reproduction paper, see typesetting paper
resale number, 101, 124 research, 43-47, 61 book marketability, 39-40 returns, 16, 291-292 reviews, 16-17, 19, 32 columnists, 231 commentators, 231 corporations, 231 magazines, 229
newspapers, 229-230, 238-241, 243-244 professionals, 232, 243 radio stations, 231, 265-268 requests for free copies, 233 review syndicates, 230 television stations, 231 trade review journals, 227-228 rivet binding, 206 Roman numerals, 90 royalties, 113, 337-338, 345 rubber cement, 163, 166 rubyliths, 109, 112, 164, 172,
191
making, 175, 180-181 running heads, 27, 55-56, 89,
164, 167
saddle-stitching, 206-207 sales tax, 101 School Library Journal, 228 screen, see line screen second serial rights, 340 Secrets of the World’s Bestselling Writer, 4 section headings, 54-56, 145 Seidenbaum, Art, 326 self-help books, 39 self-published books, 8-9 serialization rights, 340 serifs, 87
sexist pronouns, 52 Shakespeare, William, 66 Sheldon, Sidney, 19-20, 68 side-stitching, 206-207 signatures, 29, 143, 189, 191, 210 pasting*up, 168-171 Simon, Julian, 247, 298 size: book, 29 page, 29 type, 88-89 slush pile, 75
Small Business Administration, 125 Small Press Review, 228 softbound, 31 binding, 209-214 cover, 201-205 pricing, 199 royalties, 338 space advertising, 300 cost of, 305-307 speaking, 242, 252-256 specialty stores, 277 spelling contest, 69-70 spine, 110, 205, 216 spiral binding, 206-207
Standard Rate and Data Service’s Mailing List Directory, 312 stationery, 23, 128-133 Steinbeck, John, 55 straight ccSpy, 27, 56, 83, 152 stripping into flats, 187 style sheet, 72
subheads, see section headings and sub-section headings Subject Guide So Books In Print, 41^2, 104, 123, 141 sub-section headings, 54, 56, 145 subsidy publishers, see vanity presses sub-titles, 104 syndicates, reviews, 230
table of contents, 62, 111, 165 tag ends, 145 taxes, sales, 122 television, 230, 258 interviews, 269-271 testing, 299, 302 tide page, 58 titles, 102-105, 137 Toddler's Potty Book, The, 241-242 trade journals, 227-228 trade paperbacks, 58 trade reviews, 226-228 transition, 55 transparency, 182-183 trim size, 188, 204, 212, 216 tripod, 98 type size, 88-89 type face, 85-88, 105 typesetting, 27, 150-155 author alterations, 153, 160 doing your own, 147-149
typesetting (cant'd) getting quotes, 151 printer's errors, 153, 160 typesetting paper, 149 typewriter, 27 Twain, Mark, 55
Ulrich's International Periodicals Directory, 229 uncorrected proof, 227-228 upper case, 105
vanity presses, 10-13 velo-binding, see rivet binding verbs, 52 vogue words, 52
Wall Street Journal, The, 278 Walter Drake & Sons, 65 Weekly Record, 229 Whiteside, Thomas, 18 wholesalers, 283-294 widows, see tag ends William Morrow and Company, 333
window, see rubyliths Woodford, Jack, 3 Word Processing Book, The, 27 word processor, 27, 147 World Book Fair, 261-264 wrinkled cover, 213 Writer's Cramp, 3 Writer’s Market, 77-78 Writer’s Survival Manual, The, 18
Waldenbooks Company, 15, 18, 232, 278-280, 284
Your Erroneous Zones, 39