Do-it-yourself authors will get a useful leg up on the business side of self-publishing from this slim how-to guide.
Let’s say that you’ve already finished your manuscript, because this uneven primer’s advice on actually writing one—a sample Publishing Timeline relegates the “Write the book” step to “Jan-Feb”—is perfunctory in the extreme. And let’s say that you’ve followed Daniels’ wise recommendation to have the manuscript professionally edited—he provides a list of online editing companies—and that your editor, unlike the author’s, did a good job of eradicating typos and grammatical errors. Now you’re ready to tackle the zillion little details of getting the book printed, copyrighted, distributed, marketed and, above all, noticed—and that’s where Daniels’ understanding of those complex tasks can most help. He walks readers through the minutiae of obtaining an ISBN and barcode, a copyright and a Library of Congress Control Number, things required by vendors before they will stock a book. Getting reviews are a do-or-die necessity—bookstores and libraries, Daniels says, usually won’t touch a self-published book without them—and the sections on approaching magazine, newspaper and online book reviews, complete with formatting and submission requirements and contact information, is especially thorough. Then there’s the fraught process of distributing and marketing; Daniels provides a list of distributors and co-op book-publishing associations, but for rugged individualists who want to hawk their books themselves, he also provides sample advertising flyers and catalogue sheets along with the addresses of hundreds of chain, independent and online booksellers, including black-owned, military, airport and other specialty bookstores. He even has a roster of radio book-review shows that might feature your tome. Self-publishing is a daunting prospect, but Daniels breaks it down into straightforward, manageable steps and gives readers a wealth of resources that will help them get started.
A reassuring, information-packed roadmap to getting into print.
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").
Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)