A short while ago I wrote a post about the different ways and reasons authors might sign their books. Why you should take signing and inscribing your books very seriously…
This post follows on from that one, but not along the route you might think.
Once again, this is an in-depth and informative article, from which I think you will take far more than just the main points I make.
At least, I hope so.
The idea for this post came about while I was chatting away with a friend, discussing how easy it is to recycle print books nowadays, especially since the introduction of environmentally friendly inks, papers, films, card and such.
However, as with most conversations, our chat wandered across many subjects, soon I found myself explaining how I sold several uncorrected proof copies of my books, ones which included errors, misprints, formatting issues and so forth to either fans or collectors.
My friend, who happens to be an avid collector of rare books, said this is not such an unusual occurrence, many book collections would not be complete without an uncorrected proof copy or two.
He said, some of these proofs are produced without cover illustrations, so the books are, in his words ‘raw’, just containing the writer’s words and little else. The resulting post is formed both from the information my friend shared and from research I undertook following our meeting.
I do understand why people collect first editions.
I the early days of printing presses the plates were made of lead, the sharpness of the edges on these plates would, after a number of impressions, wear. Thus, the earlier impressions would be far sharper and clearer than those printed later.
This was most important where the printed work contained illustrations or maps, which were generally finely penned pen & ink drawings or engravings, so clarity of reproduction was all-important.
In modern times, first with off-set printing and now with digital technology, this is no longer a factor and collecting ‘first’ or ‘early’ editions is now more of an act of faith than a practical necessity.
If one was to take the ‘early’ edition to its most, but logical, extreme, then it is the authors manuscript would be the rarest and most valuable version of ‘the book’… which it is.
Most collectors, including institutions, cannot collect authors manuscripts as widely, or as thoroughly, as they may wish.
There is, however, a preliminary state of a book, prior to the first published edition and therefore closer to the authors manuscript so it still holds a high rarity value yet is more readily available.
These fall into two categories.
The first is the authors proof copy(s). Dependent on how many ‘proof’ editions are required.
The second is the ARC’s or ‘galley’ proofs, which often need final-final proofreading before publication and printing start in earnest.
These copies of your own books can also hold a higher intrinsic value than those of your production run, including POD’s.
The reason is twofold; the first is they are early examples, so they are rare, most being produced in low quantities of a dozen or so.
Secondly, most books will undergo their final revisions, by the author and editors, after the printing of the proof copies; meaning these books often show a state of the authors work otherwise unpublished. This is enormously interesting and informative for scholars and students of literature and language studies.
The history of producing proof copies for distribution dates to the partly printed ‘salesmen’s dummies’ of the 19th century.
But ‘proofs,’ as part of the publication process, has a shorter history.
Advance copies of books for in-house use by the publisher are customary, either as long galley proofs or in other formats. Printed and bound advance copies for distribution were rare in the 1930s and 40s, only becoming regular practice in the 1950s and 60s.
This was mostly due to Crane Duplicating Service, a Cape Cod printer, who promoted the idea to the publishing industry. Those who had a ‘Crane’ could print inexpensive prepublication editions which they could send out for early reviews, thus tempting the major wholesalers and retail buyers to place larger orders. Another development to assist with this was also devised by Crane, this was the placing of promotional ‘blurb’ on the rear covers or dust jackets of these promotional books.
This practice gained such wide acceptance proofs became known as ‘cranes’ by the print industry for many years, a practice which has only recently fallen from fashion.
You can see the natural, almost organic progress of how this influenced the concept and design of the modern book, which still sports the back cover and dust jacket ‘blurb’ first fashioned by those early publishing houses.
The number of proof copies is a secret kept by each publisher, but some figures have escaped, such as the 57 copies of Robert Stone’s first novel, The Hall of Mirrors, or the 39 proofs of Kurt Vonnegut’s Slaughterhouse Five.
One of Phillip K Dick’s novels contained ‘potentially libellous’ text. It is said that 19 proof copies of this book still exist… somewhere.
Not satisfied with these simple proof copies, many publishers (since the 1930s) issue elaborately produced prepublication volumes in hope of generating further interest in forthcoming releases.
Raymond Chandler’s first novel, The Big Sleep, was issued in such a prepublication form, as were Dashiell Hammett, and James M, Cain and, in 1961, an ‘advance reading copy special edition’ of a forthcoming first novel called Catch-22 by Joseph Heller, was created.
Since then, ARC’s have become commonplace, they are now par-for-the-course for most releases, such is the case for ‘The World According to Garp‘, John Irving’s breakthrough novel, which used 1500 advance copies printed for promotional purposes. Martin Cruz Smith’s ‘Gorky Park‘ had two printings of ARC’s totalling 2500 copies; it was his first bestseller. Since which he has become one of the most popular and successful thriller writers of all time.
Examples of textual changes in proofs abound. Most are never discovered until someone does a line by line comparison with the final book.
Tim O’Brien revised his National Book award-winning novel, ‘Going After Cacciato‘, after the proof was printed, and O’Brien’s own copy has whole paragraphs marked out and rewritten. His second novel, Northern Lights, has a two-page section in the proof that does not appear in the finished book.
Peter Matthiessen’s National Book Award-winning ‘The Snow Leopard‘ has major changes made after the proof was printed, after he sent it to a friend, and Buddhist scholar, for comments on his references to Buddhism.
Kent Anderson’s powerful Vietnam war novel ‘Sympathy for the Devil‘ has the most stunning passages excised after the proof was printed, perhaps because they were deemed by editors to be too harsh for publication.
Oh, and no one would have known just how bad Ernest Hemingway’s Spanish was in the late 1930s if the proofs of ‘For Whom the Bell Tolls‘ was not found.
So, even if you change, finalise, re-edit sections or whole parts of your book after feedback from your ARC’s, this may not be a bad thing.
There is a case made because proofs are printed first and are distributed outside of the publishing house, they comprise the ‘true first edition’ of a book, as such distribution constitutes the ‘publishing’ of said work. i.e., making a book available to the public, however limited the availability may be.
Combining their historical scarcity, and likely future scarcity, with the textual variations which are often found and which, by definition, represent a state of the text closer to the author’s original manuscript, the value in collecting proof copies is self-evident.
Which brings me, albeit by such a circuitous route, to where this post links back to my previous one about book signings.
I have sold all the copies of my own proof books and intend to do so in the future as I release new works.
I combined the rarity of such with the opportunity to sign and/or inscribe each copy as described in the previous post on this blog.
Of course, the cost of these rare editions is a little higher than the general releases and, as I have the physical copies, shipping charges are also paid by the buyer.
Some may think this would dissuade the regular purchaser, but I have found otherwise and, on two occasions, had people bidding against each other.
I no longer allow people to get embroiled in this way and set what I consider to be a fair and reasonable price for each book.
Taking this one step further, I would also welcome the sale of my original manuscript, should I have handwritten, typewritten or even made handwritten alterations on hard copy, which I have, sadly, not.
Personally, I do not work that way. I do know some authors who prefer to do so and maybe this is an option they may like to consider?
To cap this post off, here are some points you may like to consider in your future marketing plans. Please note, these are ideas for Paperbacks and Hardcover books, they are not ideal or workable for eBooks.
The following notes are based on the premise from which I started this post… “are you sitting on a fortune without knowing it?”
1, Create a ‘first edition’ short run of your next book.
You could do this as a time-limited promotion or for a set number of books. Of course, you may find some little niggly alterations you need to make, which would only better the rarity of this first edition run.
2, Use any ARC copies (which could simply be a small number of the above or a set number of pre-proofread editions) to your benefit.
Don’t just send them to ‘reviewers’ or ‘friends’ seeking Amazon/Goodreads reviews. Such reviews now lack credibility as their authenticity is under challenge, which is why Amazon deletes so many ‘reviews’.
Instead, give them to your local radio and TV stations; in the UK seek out the local BBC stations as well as the independent ones. Do the same with your local newspapers. Give one to the manager of your local Waterstones bookshop, (these managers have a say in selecting the books their stores stock.)
The main reasons I suggest ‘local media’ is they are constantly hungry for ‘local’ news, so an author from the area who has or shall soon, be releasing a book is exactly the type of story they need. You may well get an interview or be asked to appear as a guest.
Try and milk the airtime. Do a pre-book release show with the ARC & get invited back, in say, two weeks, once your book has been released and is ‘live’ online. (Get two bites of the cherry & create a relationship with the host(s))
I have appeared on two of the three local radio stations in my hometown. Including several guest appearances on the primetime breakfast show.
Note: Do think outside the box, which is especially relevant for certain genres and non-fiction. I have some of my own books in maritime museums, seafarers, and naval heritage centre gift shops and online websites.
You can try your local tourist information centres if your book is about, or set in, the locality. Check out your local museums, galleries and tourist hot spots. Your book may just be welcome on their shelves.
3, If you want to try to attack the regional market, which will encompass your ‘State’ in the USA, then why not produce your own ‘special prepublication edition’ to send to the key organisations? (This would work for National campaigns too, but they are far more difficult to organise and manage.)
As with #2 above, only offer to sign or inscribe these ARC’s for the host when you are interviewed or appear on their show, or when your recorded slot has been aired. Try not to do it pre-show or during recording sessions.
After which, it is always worth turning up ‘out-of-the-blue’ on another day to sign the book when the show is on-air. (It is to the hosts benefit… they will almost certainly ‘fit-you-in’. Trust me, I have done this.)
Even if you do not get lucky with more airtime immediately, you can arrange a time to go back for the signing, even offer to give a signed book or two to the listeners, suggest holding a little quiz or competition. Anything that engages the station’s listeners will make them jump all over you for the privilege.
4, Manuscripts.
A, If you handwrite and are willing to sell your manuscript, either your first draft of your final draft, then please offer it for sale at a price that reflects your love for your story, (i.e. not cheaply). You could fashion a loose cover or folder to keep the whole thing neat, or at least together for presentation purposes. If this has your signature or additional notes written on it, it will add to the overall provenance.
B, If you use a computer to write, as I do, why not consider printing out your draft, at least the ‘final/final first draft’ and making your own handwritten editorial notes on the physical copy, along with and as, you edit the on-screen copy.
This could then be treated as the manuscript above.
Please, however, only have one copy of your first draft and one of your final draft, (although other working copies are acceptable, such as the ARC draft, bot ONLY as long as each is a sole copy and unique), any other/repeat copies will only devalue your manuscripts and will be considered fraudulent, which is not, I am sure, a label you want to associate with your good name.
The more handwritten crossings out, margin notes, additions and so forth the better. These are the things collectors, libraries, scholastic establishments and museums adore. Such items tend to lend people a sense of ‘knowing’ the author as they work, an insight into their mindset if you will.
Well, that’s it from me for this post.
I do hope you can use some of these ideas or, indeed, find fresh ones which suit your own unique situation.
Finally, I can’t help think of eBooks as being ephemeral, subject to being lost in a power outage or, as Amazon.com did with a number of George Orwell books, when it found it sold them without having rights to them, simply erased them from the face of the earth. Something which is far harder to achieve with printed books…. note ‘Fanrenhight 451‘.
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The thing is, those subconscious bits of my mind remember it all, record it, and mull it over, twisting totally unrelated events, jiggling individual occurrences, shaking them together until a kaleidoscope pattern of instances that hold the possibility of illusory whimsy forms.
Tom C. Hunley says. “I asked Rodney Jones, American poet and retired professor of English at Southern Illinois University at Carbondale, why he crossed his name out in a book he signed for me. He told me it makes it more valuable for collectors. Also, if it has a date and location, it makes it even more valuable. So, I’ve been crossing out my name and writing in a date and location at every book signing since.”
Ramblings from a Writer's Mind 