Let’s start with wholesalers. Wholesalers like Ingram, Baker & Taylor, and Bookazine are the middlemen between you—the author or publisher—and most major book retailers. These retailers generally order books from wholesalers, which act as depots for your book. Retailers do this because it’s easier for them to order from a small number of trusted sources (wholesalers) rather than hundreds of individual authors and publishers (you). Thus, if you’re looking for national distribution to major retail channels, you generally have to be set up with a major wholesaler.

Although you may be listed with a wholesaler, it’s important to note that wholesalers generally do not market, pitch, sell, or push your book to retailers. Your title sits among thousands of other titles waiting for a retail buyer to take interest and order copies, and unless there is a compelling reason for the buyer do so, it’s unlikely that your book will be brought onto bookstore shelves.

This may be sufficient if you are not planning on marketing or publicizing your book. If, however, you are planning on aggressively marketing your book, you will want someone with connections to the national retail buyers to convince them that your title needs to be ordered from the wholesaler and put on bookstore shelves where consumers can see it, and hopefully buy it. That’s where distributors come in.
Distributors serve authors and publishers in two main functions:

1)    They set up titles with many wholesalers.

2)    They have an active sales force pitching and selling their exclusive line of titles directly to the retail buyers in the hopes of getting as many books as possible on shelves and in front of consumers.

“Why do I need a distributor to set me up with a wholesaler?” you might ask. Many wholesalers have an application process and require a minimum number of titles to be eligible. Ingram, for example, requires publishers or authors to have at least 10 titles before they will make their books available for order; if you have fewer than that, you need a distributor to get you set up in Ingram. You may also wonder, “What’s the benefit of having a someone pitch my book directly to the retailers?” As mentioned above, without someone actively and aggressively convincing buyers that your book needs to be on their shelves, in front of consumers, it will probably sit in a warehouse somewhere, never seeing the light of day. Distributors’ sales representatives often hold a certain amount of credibility in the buyers’ eyes as a trusted source of marketable, salable books. Good distributors and their sales reps are just as invested in selling your titles as you are, and their established relationships in the retail channel give you direct access to the desks of decision-makers at major retail chains.

So let’s recap: You want your book in Barnes & Noble, but you know you need to be listed with a wholesaler like Ingram before that can happen. Because you have fewer than 10 titles and are planning a publicity campaign around your book release, you realize you also need a distributor to get you into Ingram and pitch your book directly to Barnes & Noble. Your best course of action would be to hunt down a distributor who services Ingram and has a relationship with Barnes & Noble.

Clear as mud?

Understanding the fundamental differences between book wholesalers and distributors is important, but equally critical is establishing your distribution and sales goals for the book. If you’re not planning on doing any marketing to consumers and just want your book to be made available for your friends and family, a distributor probably isn’t necessary. If you’re planning on hiring a publicist and doing national media, you probably won’t get very far without one. Thinking carefully about your platform and marketing plans will help you determine realistic goals for your book’s distribution.

Rushing a book to market without understanding all the consequences of your decision is about as bright as marrying someone you meet in Las Vegas after a fifteen-hour drinking binge. Even if the reasons behind the rush seem legitimate, beware of the beer-goggle effect—your book won’t look nearly as attractive when it comes off the press as it does in your head when you’re deciding to skip vital steps in the publication process. There are three areas where rushing will come back to haunt you with particular vengeance:

Editing
Your content has to deliver the goods. Editing isn’t just about making sure your book is free of typos and grammatical errors—it’s the part of the process that focuses on sharpening the reading experience for your customers. If you don’t invest the time and money to have experienced book editors work with your book, success in this industry will be an uphill battle. Don’t try to justify your rush by duping yourself into believing that you can save time-consuming editorial work for the second edition or the next printing. Crappy books don’t go into multiple print runs or second editions. It’s like not showering before a first date and thinking that you can always wash up for the second date—unless you’re meeting the Vegas drunk from the scenario above, there’s no way you’re getting the second date, stinky. It’s worth the delay in your book launch to work with an editor who can help you develop a rock-solid title, unique hooks, a smart structure, and a compelling voice. If you rush the editorial process, you’ll compromise the integrity of your work for short-term gains. Is a goal like having books in time for one event really worth that?

Design and Printing
While powerful marketing, a strong author platform, and compelling content are essential for a book to succeed, production quality is equally important. And yet there are countless articles that downplay the importance of quality, often making the obtuse argument that anyone with Photoshop or InDesign can throw a book together in no time, or that the difference between top quality and bottom quality is negligible due to advances in technology. Both assertions are appalling fallacies. The quality of your design and printing determines what kind of first impression your book will make. Retail buyers, book reviewers, and consumer make gut decisions based on this first impression, so while good quality costs money and takes time, this is not an area in which it is okay to be either cheap or hasty.

Sales and Publicity
Sometimes, we’re at the mercy of others. Pitching your book to retail buyers and media outlets is one of those times. If you want to sell your books in bookstores or other trade outlets like Costco and Wal-Mart, know that it takes almost twelve months to get your books ready for distribution. This time is spent setting up the title in wholesale and retail systems, presenting to buyers, and preparing the logistics for an on-time launch. And there’s similar time sensitivity inherent in a proper publicity campaign. You only have one book launch, and if you don’t get advance review copies to reviewers at least four months prior to publication, your print campaign has virtually no shot at success.

Deciding to produce a book on an abbreviated timeframe may be possible from a purely logistical standpoint, but you shouldn’t rush your book launch unless you’re prepared to have a product that isn’t set up to reach its full potential. So take a breath and slow down. The book of your dreams will wait for you. If you follow the rules and wait too, the launch will be much more special. If you know what I mean.

Award-winning author Jay Lake, whose books include Green, Mainspring, Madness of a Flower, Death of a Starship and others, including multiple short stories and other projects, wrote a blog post entitled “What my publisher does for me, and why I won’t just quit” to give fellow authors and aspiring authors a firsthand glimpse of the traditional publishing process through a timeline that spans over 32 months. (That’s right, over the course of nearly three years.) While his post is partially a response to the difficulties between Macmillan and Amazon on ebook pricing (read more about that conflict at Wired.com) and the changing model of publishing in general, it is also an eye-opening explanation of the collaborative process that takes place within publishing companies to produce books in any format. And while the face of publishing (and its internal clockwork) is changing at an increasingly rapid pace, the work that goes into producing a book has stayed very much the same for large publishers.

An excerpt from his post below:

Month 16 — Editorial assistant sends hardback page proofs to author.

Month 16 — Editorial assistant receives hardback page proofs from author.

Month 17 — Typesetter makes proof changes.

Month 18 — Proofing editor reviews changes.

Month 18 — Hardback printing goes to press.

Month 19 — Hardback printing goes to warehouse.

Month 21 — Hardback printing released to distribution

Month 22 — Hardback printing goes on sale.

Month 22 — Finance issues publication check to author via agent. (Payment 3 of 3 in typical contracts today.)

Month 24 — Production editor confirms press time slot for book.

Month 24 — Production editor turns manuscript over to book designer.

Month 24 — Book designer sends mass market paperback book to typesetter.

Month 25 — Typesetter does initial layout for mass market paperback release.

Month 26 — Editorial assistant sends mass market paperback page proofs to author.

Read the full article here.

In the last week alone, we’ve experienced a few shining examples that show why using a reliable, traceable, faster ground carrier is definitely the right way to ship valuable or important cargo.

We routinely send book samples and sales materials to our team of field reps, including catalogs.  Our catalogs are not some low-cost, newsprint numbers either. They are highly designed, four-color beauts printed on high quality glossy paper.  They mirror the level of quality of the books that they contain.  They’re nice (and expensive) sales materials.

In the spirit of minimizing expenses, we decided to give the USPS a shot by sending out our catalogs through their priority mail service.  Big mistake.

So far, we’ve had not one, but two reps report to us that they did indeed receive the box we sent to them.  Trouble is, they only received the box itself and it was a rumpled, mangled mess at that.   In both cases, not so much as a single spread from the catalog was delivered.

All told, those two shipments alone cost us one hundred thirty catalogs!  One hundred thirty shiny, brand new, never before opened catalogs.  We won’t offset the cost of those pieces of collateral in sales dollars.

So shipping packages might be risky with the USPS, but what about your standard fare letter? The USPS has that down pat, right?

Our business requires that we deal a fair amount with agreements and amendments and paperwork of all kinds.  We receive these documents through various means, but most of the time our clients simply fold the agreement into a standard envelope and mail it the good old-fashioned way.  And that’s normally totally fine . . . until it’s not.

We received the piece of mail pictured below inside a second, bigger, official USPS envelope with their apologies for the damage and assurances that they expedited what was left of the document to us as quickly as possible.  Gee, thanks.   This two-thirds of a signed agreement doesn’t really do us any good, but we’re glad it got here quickly.

Bottom line, if it matters and it needs to get there quickly and safely, spend a little more on the front end with a ground carrier to ensure that it does.  Besides the time and money it will save you in the long run, your piece of mind is priceless.

• Red Room: A site dedicated to connecting authors and readers. As a Red Room author, you can create a very professional customized page that allows you to upload published works, reviews, interview transcripts, videos, podcasts, as well as blog entries.
• Goodreads: A book-sharing and reviewing site that allows you to sign up as a published author and get your own page, which will include a short biography and background information, separate pages for your books, a place to add links to reviews and interviews, friends and followers, a comments space, and other common features of a social networking site.
• Shelfari: An interactive bookshelf and community for readers, Shelfari allows to create your own profile with a list of favorite books, which you can then review, rate, and tag. A page is created for each author and book, which can be edited by you (or the public at large).
• Scribd: A document-sharing site—it’s been called the “YouTube for documents”—where authors can create their own pages and profiles, and easily share a variety of documents—including book excerpts, reviews, interviews, or other book-related paraphernalia for people to view.

It’s an interesting negotiation, and as bookstore space shrinks and brick-and-mortar book shoppers dwindle, co-op placement for books becomes increasingly important. Adam L. Penenberg, author of Viral Loop, gives an good overview. Read it here, and have a Happy New Year!

If you don’t have an Author Page already, now is a great time to get one by signing up at Author Central. Author Pages gives customers a summary of you and your work, and the new video content makes the pages an even richer way to make yourself visible to readers. If you already have an Author Page, uploading video is simple—just sign in, click the new “Videos” tab at the top of the screen, and upload the file. Videos must be less than 10 minutes and under 500 MB. See additional video content guidelines here.

Along with video, Amazon announced an updated Events section, which you can use to post upcoming signings and other appearances (like this author); they also announced more links to Author Pages, which will now be linked in search results. Read more about what you can do with Author Central here.

• According to literary agent Nathan Bransford, the weeks around major holidays are a time to avoid sending out query letters.
• A certain percentage of book buyers’ budgets are allocated specifically toward holiday-related books, often children books. The largest amount of that percentage goes to established authors, titles, and series.
• Most winter holiday book purchases by bookstores take place between July and September.
• If your book has been accepted by a publisher, they will aim for the best release date. For holiday books, this may mean the holiday next year.
• The time between a book being accepted by a publisher and being distributed and in stores can be anywhere from 6 months to a year. Know what holiday season you are aiming for!

The holidays are a busy time for agents, publishers, distributors and bookstores—and, of course, for authors. Enjoy the season, and make sure you know how it may affect your project. Happy Holidays!

• Soldiers’ Angels
• Got Books?
• Kids In Distressed Situations (K.I.D.S.)
• Reader to Reader
• Pages for Children
• International Book Bank
• Books for Asia

This past year and a half has been a difficult time across all sectors, and publishing’s ever-changing landscape has felt oftentimes brutal shifts, from mass layoffs to the closure of publishing and printing houses, the continuing fight over the Google settlement and the struggles of bookstores big and small. Interspersed within this is the consistent re-examination of the industry itself, changing ever-more quickly due to technology, and leaving us wondering how today and tomorrow’s readers will find and share and read their books.

Yet the excitement of fall prevails. And this year, some are even calling it a “storybook season.” Joseph Kahn of the Boston Globe notes that “the number of quality novels and story collections coming out this fall compared with last is striking,” reflecting upon this season’s major focus on fictional tomes from big names such as Dan Brown’s The Lost Symbol and Stephen King’s Under the Dome. At latest counts, The Lost Symbol has already sold over 2 million copies in under two weeks. The focus is not just fictional, however, and popular nonfiction authors and works will be represented in force. But, as happens, fiction garners a more vocal fanbase.

Publishers are counting on this particular fall to help buoy the slumps we’ve all felt. And their efforts are already showing promise: aside from Dan Brown’s record-breaking numbers, bookstores are pre-ordering books in larger quantities in anticipation of readers hungry for something new.

Below are some of the season’s more notable and anticipated titles:

Notables of the season:

• Catching Fire by Susanne Collins (9/1)
• The Last Song by Nicholas Sparks (9/8)
• The Lost Symbol by Dan Brown (9/15)
• Her Fearful Symmetry by Audrey Niffenegger (9/29)
• The Wild Things by Dave Eggers (10/1)
• A Touch of Dead by Charlaine Harris (10/6)
• What the Dog Saw by Malcom Gladwell (10/20)
• Ford County by John Grisham (11/3)
• Under the Dome by Stephen King (11/10)
• Too Much Happiness (11/17) by Alice Munro
• Pirate Latitudes by Michael Crichton (11/24)

Do you have any books being released this fall that you are excited for—either as a reader, author or publisher? Let us know!