Money, establishing tenure and a passion for ideas are just a few of the many primary and secondary motives for publishing, said sociologist Mark Schneider and linguist Joan Friedenberg, both of Southern Illinois University at Carbondale.
Many of these motives, they said, can be fulfilled by different types of academic publishing. They have come up with 20 ways to get published in an academic environment. They are:
Alex Holzman, director of Temple University Press, and Jessica Gribble, acquisitions editor at Lynne Rienner Publishers, share their advice on how to best handle the peer review process:
Don’t take it personally. “Remember that the purpose of this review is to help you make your manuscript the best work it can be,” said Gribble. Also, reading criticism, even constructive criticism, of something you’ve worked on for so long can be emotional, so it is wise to wait several days before discussing it with your editor.
As a professional freelance copy editor, I have the pleasure and honor of working with publishers and authors of scholarly titles. I have known authors who resisted copy editing (or any kind of editing), and publishers who won’t pay for a thorough edit of a manuscript. Sadly, these occurrences generally result in inferior work being published.
You may wonder why you should work with an editor at any stage of your writing. Working with an editor that you hire can help prepare your book for a publisher by making it clearer, effective, and easier to read. Most reputable publishing houses will have copyediting done as part of the process of publishing to clean up your text and make sure it conforms to the publisher’s style.
Q: “What are the tax advantages and disadvantages of a textbook author setting up an incorporation rather than operating as a ‘sole proprietor’?”
A: Stan Gibilisco, author of several textbooks including Geometry Demystified:
“I tried this when I lived in Hawaii and discovered, to my horror, that my royalty income was subject not only to their income tax, but to their ‘sales’ tax as well (they call it a general excise tax). I figured that if I formed a Nevada corporation and had all my income channeled into it, and then became an employee of that corporation, the royalty income would not be subject to that onerous tax. It was a beautiful theory, but, like so many theories, did not work. The legislators in Hawaii had thought of that before I did and the law was airtight. Love it or leave it. I left.
Q: “How do you find an artist for images in a text or trade book? Who pays? At what point is the art done? If the images are an integral part of the book, how does all of this work?”
A: Elsa Peterson, Freelance Editor, Norwalk, CT:
“Most of my experience is in college-level textbooks. In that industry, it is typically the publisher who hires the artist to render the images. The cost may come out of the author’s royalties or it may be part of the publisher’s investment, or some of both, depending on the terms of the author’s contract. Naturally the author is asked to submit ‘scrap’ (rough sketches, diagrams, and/or copies of similar images to what is desired) for the artist to work from. The author also typically gets to approve/suggest modifications to the renderings before they are final.
Q: “My coauthor on several different titles is transitioning toward retirement. I will soon be starting a revision without his active participation. We have a succession agreement on the royalty split in future editions, so that’s (hopefully) not an issue. However two questions have risen to top of the swirl of concerns that I have as I face this transition: 1) Is this a good opportunity to renegotiate my authoring contract? I suspect that my publisher will want to simply change the authoring designations as an addendum to the current contract. Should I insist on a new contract? Should I avoid that if they insist on a new contract?; 2) Assuming that I should renegotiate, how likely is it that I’ll be able to break them out of their boilerplate?”
A: Stephen E. Gillen, Attorney, Wood Herron & Evans:
“Taking on 100 percent of the writing responsibility is essentially a new deal necessitating some change in the terms of the relationship (royalty share, to name but one important term). There is no magic to how this change in the relationship is memorialized. It can be by amendment or addendum or by substituting a new contract. What is important is that, however it is memorialized, you capture all of the relevant changes.
