Building on excellent comments by @pstanpolitics and @carsonaust on this subject, here are some additional thoughts for first-time academic book authors based on my experiences signing 2 books (1 solo-authored, 1 co-edited) with university presses. THREAD
My comments are arranged into a few categories: your MINDSET when embarking on the book-publishing process, your PREP before submitting, TALKING with editors, SUBMITting your manuscript, CONTRACT negotiating, and the subsequent PROCESS.
*mindset* Submitting a book isn't like being on the job market - don't email every press hoping to find an opportunity somewhere/anywhere! Think about the book you want to publish, where it would be a good fit, and what press fits your needs/style.
*mindset* Do think about PRESTIGE (would one press count more than another for your tenure?), but also DISTRIBUTION (only university libraries or wider market? course appeal?), PRICE (do you care if your parents can't afford a copy of your book?), FORMAT (hard/paper/ebook?), etc.
*mindset* While all major university presses will sell to university libraries, some may have broader marketing to scholars/courses/public, and there are huge variations in price ($30ish-$100+). Hardback, followed 1 year later by paperback + ebook if selling well is common.
*mindset* Don't get your heart set on one particular press - just like applying to college, there are many great choices, and each has its own reasons for being interested/not in your project. Do think about your top choices, but don't get discouraged if your #1 says no. 😀
*mindset* Don't expect a first-book contract until you've submitted a complete manuscript for review. For a second book a proposal and sample chapter(s) are fine, but editors have little incentive to take risks with a first-time author given submission numbers.
*mindset* Pedigree and funding do help - it's easy to start talking with an editor by mentioning someone you know who published with them, and hosting a book workshop is a tremendous luxury - but they don't make or break a book. Above all, editors want to see good work!
*prep* The most important way to prepare is to have a clear plan for producing a compelling book manuscript. This is usually a plan how to transform your dissertation into a book, but a great diss ≠ a great book, so don't assume one will naturally become the other.
*prep* Think in a structured way about making one compelling contribution. Think as much about what should be cut as what should be added. Don't tease out every last implication of your argument if it would distract readers from your central take-away.
*prep* Here is my super-secret totally-unpatented method I found invaluable during my book ms revisions. It involves using Excel (hear me out): for each chapter, scan through and summarize each paragraph in 1 cell of an Excel spreadsheet, producing a handy skeleton of your draft.
*prep* Look at the chapter's structure and consider how it affects your argument, what belongs and what doesn't, what should move where, etc. This method made it easy to see, e.g., when a quote would be better elsewhere or when I should cut tangential history from case studies.
*prep* Try writing a compelling abstract for your book (harder than it sounds). Pretend you're someone else seeing that abstract inside a jacket/on a website and ask honestly if you'd want to buy that book. Look at your favorite recent books and think about why you like them.
*prep* When you have several solid chapters in place and a good plan for completing your manuscript, start talking to editors at conferences. But first, practice your elevator pitch! Practice it again. Inside elevators and out. Editors are busy; a good first impression is good.
*prep* Also research similar/related books currently on the market. Prepare a good answer to "Why will your book stand out?" This overlaps with your lit review but is different, focused on the current market and interest to readers rather than solely academic contribution.
*talking* Editors are people too. 😁 Not only that, they tend to be really interesting people with broad knowledge across their areas of specialty, so have genuine conversations with them! Don't be intimidated; you do interesting research, and they love interesting research.
*talking* Editors also tend to be very busy, so don't assume you can just walk up to a top-press editor at their conference booth and pitch your book. You may catch one with half an hour to spare, but often they'll be talking to someone already or else about to.
*talking* Send emails to your top editors 1-2 months early, including your book's abstract, asking if they'll be at the conference and would like to discuss it. Note: don't email a generic-press account. You can usually find the acquisition editor in your field on their website.
*talking* Editors sometimes reply quickly, sometimes not. Personal variance aside, all editors I've met have busy travel schedules and sometimes emails don't get returned right away. That doesn't mean they're not interested, but don't email just one editor and then sit and wait.
*talking* Hopefully, a few editors will say something like, "Wow, that's so interesting. I look forward to seeing how it comes along. Keep in touch!" That is the open door to submit your full manuscript once it is complete, the main thing you want from a conference meeting.
*talking* Beyond that open door, use your conference meetings to learn things about each editor and press that you couldn't from their website and catalog. What are their distribution strategies like? What are their plans for the next few years? Etc.
*submit* Once your manuscript is complete, submit it to one or more editors who expressed interest. Make sure it is as good as possible - you won't get a second chance with the same press. Getting external eyes on is invaluable at this stage, via a book workshop or other means.
*submit* Be transparent with editors. If you want to submit to multiple presses simultaneously, say so. They may object; if not, you may have multiple opportunities and leverage to negotiate (even presses with standards for royalties may negotiate word count, timeline, etc.).
*submit* Note: if you simul-submit to 10 presses, you have no idea what order they'll reply/how fast they'll move. Split your list of presses into tiers based on your preferences, and only simul-submit within a tier to avoid a lower choice making an offer before a higher one.
*submit* Also: editors invest their time - and $$ for reviewers - in your book, so don't submit unless you genuinely want to publish with them. By not objecting to simul-submissions they risk wasting those resources, but transparency helps if you end up accepting another offer.
*submit* The editor sends your ms to 2 reviewers (you may or may not be asked to suggest), who provide thoughtful comments after a couple months. Then, the editor may (1) reject, (2) accept with minimal revisions, (3) R&R, sending the revised ms back to the reviewers.
*submit* After accepting (with or w/out sending back to reviewers), the editor pitches the book to the editorial board, which may offer further comments and (hopefully) approves a contract offer.
*submit* Note: This process may vary, so ask your editor upfront about their process, expected timeline, etc. If they are interested in your book, they want you to be comfortable with the process and will be happy to let you know what to expect.
*contract* You may or may not find yourself in position to negotiate much over your contract. Some presses have standardized royalty schedules, etc., that aren't subject to negotiation. You may also be pressed by your tenure clock to get the book out ASAP.
*contract* It goes without saying to read your contract thoroughly - you may find interesting idiosyncrasies you weren't expecting that may or may not matter to you. For example, we found Michigan specifies it will store a book in its digital library after a few years - neat!
*contract* Things you should consider negotiating include TIMELINE (when you promise to deliver the finished manuscript), WORD COUNT, ILLUSTRATIONS (graphs, tables, pictures, maps, etc.). Note: don't haggle over more than you need, but also try not to constrain yourself too much.
*contract* Editors do care about word count b/c it dictates book size and hence production cost (know this when revising your 300+-page dissertation 😉). In my experience, 80,000 words makes it easy to say yes; 110-120,000 is an upper limit; more raises an editor's concern.
*contract* An editor may agree to raise the word count, but think carefully how many words you really need before negotiating. I negotiated for 120k in my first book (and ended up under 118k 😎), but my first draft was 140k+ - turns out I definitely didn't need that many words.
*contract* Don't set a timeline you can't meet. Consider wiggle room for life events like baby births. Once signed, you're legally bound to your delivery date. Your editor may grant an extension, but they schedule upcoming books and may cancel the contract if you fail to deliver.
*contract* Illustrations can be very useful but also drive up production cost, so editors will often not want too many. Also make sure well in advance that you can get any necessary funding/permission to generate/use maps/graphs/photos/etc.
*process* Try to ensure you have all necessary funding and permissions at least six months before submitting your final manuscript. Don't assume a professional will be available to generate something at the last minute, or that something not public domain will be free to use.
*process* Your job isn't done when you submit your final manuscript. There will be marketing materials, copy editing, indexing, etc. All will take time, spread across 8ish months. Anticipate funding for an indexer, without it you may have to pay $1000+ or do the index yourself.
*process* Finally, the thing perhaps most likely to shatter dreams: you almost definitely won't control the design of your book's cover (the press' designers will). But you may be able to offer your ideas for it, so inquire about this when negotiating your contract.
*postscript* I hope some of these reflections are helpful for those approaching their first academic book project. Happy to answer any questions!
