For the countless number of books published each year, there are only a few that become true breakout successes, selling millions upon millions of copies, hijacking the bestsellers lists and becoming permanently etched in American pop culture.
And, while great storytelling is at least partly responsible for their success, there is also an expansive team behind the scenes, working diligently to ensure that every plot twist is meticulously crafted, that the cover is so well-designed that readers drop $25 for the hardcover without blinking, and that those same characters will hopefully transcend the pages and end up on the big screen.
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The publishing industry’s digital revolution has been well documented, but the big and indie houses still need a few good men (and women) with undeniable skills to help shape and sell the next crop of bestsellers. Think you’ve got what it takes? Follow these four steps to get your foot in book publishing’s door.
The great thing about the publishing industry is that there are positions in every field imaginable, from PR to graphic design, providing opportunities for every individual and personality. Yet, for folks who aren’t sure of their interests, or which roles best match their skill sets, the road to unemployment is paved with too many options.
“The first bit of advice is know what the possibilities are and consider your skills, background and characteristics with those options, so that you pursue something that’ll actually be satisfying to you,” advised Malaika Adero, vice president and senior editor of Atria Books, a Simon & Schuster imprint. “Many people don’t understand what really happens in book publishing.”
Adero recommends continuing education courses, like ones offered at NYU and Yale, that give students a peek into the publishing industry before they take the leap.
It’s also important to research the work of each publishing house, says Mary Ann Zissimos, senior publicist of HarperCollins Children’s Books. “Look on the company’s website, see what kinds of books they do publish or the kind of authors that they publish, and really know the list that they’re trying to cultivate,” she said. “You really have to be aware of what’s happening, from the regular fiction [and] non-fiction lists, to what kind of new media is out there and who are the people behind this new media. It’s really learning how each publisher differs from another.”
Build your network
The adage that it’s not what you know, but who you know is as true in book publishing as any other industry. “In life, it always helps to know someone, and part of the point of taking some courses to learn about the publishing industry and the jobs and trends is also to meet people who can advise you and become mentors,” explained Adero. “It’s not just an academic exercise.”
But be forewarned: An “in” with a senior executive, or anyone for that matter, will likely not translate into a direct job offer.
“I think networking is important insomuch as you’ll get an idea as to whether or not you want to be in this industry, more so than somebody being able to necessarily recommend a job to you,” said Zissimos. “It’s a little bit different than other industries where you could meet somebody [and] say, ‘Hey, come in for a job.’ [In publishing], they’re going to want to know that the person has been vetted in some way through a human resources department.”
Technology has made it easier for indie publishers and small presses to produce and distribute their works, and social media has leveled the marketing playing field. However, these smaller firms are typically running low on manpower to facilitate all of those functions. While they may not have the budgets to hire full-time staff, publishers would be more than willing to hire contractors, said Betsy Lampe, president of the independent Rainbow Books, noting that editorial help is in particularly high demand.
Don’t rule out the little guys
Sure, the Big Six publishers (Hachette Book Group, HarperCollins, Macmillan, Penguin Group, Random House and Simon & Schuster) get most of the notoriety and, incidentally, most of the applications from wannabe publishing professionals, but they’re certainly not the only book employers in town.
“Most of the authors don’t necessarily have a background in writing,” said Lampe. “And while their story may well be delightful and delicious, their grammar and their ability to edit themselves is not. I see this question all the time: ‘Where can I find an editor who really knows what they’re talking about?'”
Another benefit to contracted labor is that freelancers can work with multiple publishers and focus on projects of personal interest. “You would have the freedom of working on the titles that you chose, instead of being dictated to,” Lampe added. “If you went to work with a major press, you might get stuck in charge of a line of books that you really weren’t crazy about or thrilled to market.”
Flex your [tech] muscles
“If you’re coming in new to the [publishing] industry and coming in with skills in the new technology, that certainly gives you an advantage and an opportunity to bring innovation to the field,” said Adero.
And the same is true at small presses, where Lampe says tech overload, including Web design and social media management, is overwhelming lean staffs. “A lot of us are to the point where if we have to learn one more thing we’re going to explode,” said Lampe. “Like a self-help author who is a psychologist, they know their area really well, but they don’t know anything about social media, they don’t how to build a website, they don’t know how to blog. So, people who are looking for work could really fill that niche nicely.”
It is equally crucial that potential applicants carefully manage their online profiles, because no amount of digital acumen can fix a negative image.
“It’s important to note that most human resources departments are looking at candidates in ways that they never did before,” said Zissimos. “They’re going to Google you; they’re going to Facebook check you and see what pops up. They’re going to go on your Twitter. They’re going to go on your LinkedIn. They’re going to really investigate who you are before you even walk into the door, because if you’ve got pictures that are not appropriate or if you speak in such a way online, that is going to be your clear indication as to whether or not the person is suitable to even bring in for an informational interview.”
Andrea Williams is a freelance writer based in Nashville. Contact her at williamsandread@yahoo.com.
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