A Quote by Kevin Sampsell
I think a lot of awesome stuff is coming out with smaller presses. Small presses don't have to have huge board meetings to talk about how to market their books or what to publish - they can take more chances. They can help new authors grow in a healthier, often more artistic way.
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I feel like a lot has changed - ebooks are a much more valid format and bigger presses are taking less chances. As a bookseller, there are less real bookstores and more people buying on-line. As a writer, I think there are fewer paths to break through on a big press, but on the other hand there are more small presses doing awesome work now. Overall, artistically, I think it's a pretty exciting time in the literary world.
Most novels put out by small or corporate presses don't really sell that well - usually a thousand copies or so. Working with a small press, you have to be willing to book reading tours, plan events, make contacts with other small press authors, and find new ways of getting word about your new work out there.
Small presses take chances. Chances are at the heart of all the literature we later know as great.
One thing that is sometimes forgotten in this "future of books" discussion is that there are all these awesome presses - big and small - that are producing and designing amazing books.
By 1833 the largest publisher in America, Harper and Company, boasted one horse-powered printing press and seven hand presses while the American Bible Society owned 16 new state-of-the-art, steam-driven presses and 20 hand presses.
When I started publishing - my first novel came out in 1990 - there were no options for publishing science fiction in Canada. There were no small presses, and the large presses simply would not touch it at all.
Once upon a time, an editor could try out one or two wacky books, knowing full well that their list would counterbalance any risk with a stable of best-sellers and safe bets. Nowadays, every book must earn its own bread. With low overheads and an often episodic operating status, the small independent press is nicely placed to snap up the most innovative literature going at the moment. To take the risks. Meaning that small presses are no longer just outfits set up to publish your or your friends' work. They have something genuinely important to offer.
The future of publishing lies with the small and medium-sized presses, because the big publishers in New York are all part of huge conglomerates.
The coming of the printing press must have seemed as if it would turn the world upside down in the way it spread and, above all, democratized knowledge. Provide you could pay and read, what was on the shelves in the new bookshops was yours for the taking. The speed with which printing presses and their operators fanned out across Europe is extraordinary. From the single Mainz press of 1457, it took only twenty-three years to establish presses in 110 towns: 50 in Italy, 30 in Germany, 9 in France, 8 in Spain, 8 in Holland, 4 in England, and so on.
When you think of bike couriers, you think of hyper speed. They get paid by how fast they can drop stuff off. The faster you go, the more chances you take. And the more chances you take, the greater the war between cyclists and cars.
You have typewriters, presses. And a huge audience. How about raising hell?
I started with small-press publishers, who were willing to publish all sorts of forms. I didn't move to the larger presses until they knew what they were getting in for.
I think people who are not rich can be extremely happy. And I think the chances to be happy in this new world - with many more opportunities to be creative, to be online, to educate yourself - there'll be a lot more chances to be happy. It's not to say everyone will take them, but there will be a lot of new paths to opportunity.
You know how some people are upwardly mobile? I'm sort of downwardly mobile in the publishing world, because of my sales figures and also because of the kind of books I write. Everything really counts on sales. I started out with a bigger press, my first few books. But I've always done some things with independent and small presses and small magazines and I always will.
[Mid-list writers are now] less greed on the part of both publishers and chain booksellers. It is easier for them to publish and sell only blockbusters and leave the real work to small presses.
I'm a novelist who read a lot as a kid. When you grow up on books and then grow up to write books, famous authors are a lot more meaningful to you than TV and movie stars.
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