James Rodrigues
How To Start My Own Publishing Company – Growing up, I was lucky enough to have parents who put books and reading first, although I didn’t have much money for anything else.
By Dorothy Maslowska, translated from Polish by Benjamin Palaf, and unlike anything I’ve read. Bold and uncompromising, it emerges from a world of drugs and nightclubs. I remember being confused by it, and it opened me up to the idea that I wanted to read more of the current literature on translation.
How To Start My Own Publishing Company
Published by independent publisher Grove Atlantic, which was about to publish my father’s book by Mark Haskell Smith.
Starting My Own Publishing Company?
My brother and I were often taken to Vroman’s and Skylight Books, two of the most popular bookstores in Los Angeles.
I started reading a trilogy by Jean-Claude Izzo, a French crime writer published by Europa Editions who writes with humor and vivid imagery. After that, I started reading everything I could find in European Editions, many wonderful books by European authors, and one of my all-time favorites.
Thanks to his words, I can go to many places, and when you’re young and insecure, sometimes there’s nothing better than thinking you can escape your life I created my own newsletter for authors I really admired – I started to understand what independent publishers could do.
After I graduated from college, I moved back home to Los Angeles and started working
How Can I Get Published?
It quickly grew from a blog to a popular website and quarterly magazine, and now its own publication. I am the advertising manager, working on the promotion of the magazine, social media and, for a non-profit, developing marketing and fundraising campaigns. When I met Chris Heiser, the company’s chief marketing officer
When Chris said he had plans to start his own publishing company. Chris worked at a publishing house in New York, and the original idea was to publish only international crime fiction as e-books. I grew up reading real life crime fiction, which was really interesting to me, so we kept brainstorming, and finally decided that if we were going to be interested, we should make an actual book.
Book publishing is a traditional industry and we felt that publishing physical books was more important. Publishing a digital book is risky in its new form, almost like an experiment. To get publicity for your e-books, you need to publish a print version. This was clear to us from the beginning, after we did the Los Angeles Review of Books. Chris and I love crime fiction, but we also don’t want to limit what we can produce.
Deji Bryce Olukotun, through our friend David Shook, founder of our sister press, Phoneme Media, publishes works exclusively through translation.
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It was not translated, so David could not publish it. Chris and I did it because we liked it and we thought readers would like it too. A story about a lunar geologist from Nigeria who works for NASA in Houston and wants to return home to start the Nigerian space program (it exists now, but not at the time of posting us), but it’s also a dark thriller, an exploration of Africa, and elements of science fiction.
, received a cease and desist letter. An imprint of a university press that published a book with the same name as our publishing house: Ricochet Books. Instead of fighting, we embraced “anonymity,” and it opened up a world where we could make amends.
Over the years, we continued to grow as we learned about the publishing business. I’m not crazy enough to throw myself into this full-time job. I was in college and had very few jobs, but I knew the publishing industry, which I knew was growing. More than anything else, the opening of Nominal Press seemed like an opportunity to seize: to create a new publishing house in Los Angeles.
When people think about publishing books, I’m not sure data entry comes up immediately. Yes, it’s not our favorite thing of the day, and it’s a bit out of place, especially compared to the literary world’s highest standards, but the publishing process doesn’t begin the first time it’s read. you in a written document or sign a contract. , but when it comes to collecting books, art, or any other genre, it comes down to marketing techniques.
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Publishing has created a system where a book is at risk depending on whether it fits the genre or not.
When we started calling names, we quickly saw writing that defied genre conventions—an unsolved mystery, a space novel that wasn’t science fiction. Literary entrepreneurs wanted to supply these texts, many of which were written by first-time writers of fiction (the term “fiction” is often used to describe books that have now only have pointers to semi-objects) but must be traditional type elements. , or written in a traditional style, but the result is not quite the same. Unlike the big publishers, we searched for books between genres and outranked them.
It’s often not a good idea for a publisher to have an author living abroad who can’t afford to go on a book tour, participate in a literary event, or get to know the people who will buy it. the book.
But books are a way for people to learn and connect with different cultures by reading perspectives other than their own.
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We decided if there was a way to bring new and international perspectives to American readers from talented writers whose work is more difficult to categorize in mainstream marketing and those who have been overlooked by major publishers for all these reasons, then we do. .
In 2014, a small press campaign took place across the country. We have been part of a global literary revolution that has spawned publications such as Restless Books and Deep Vellum, as well as our sister press, Phoneme Media. That era has been called the golden age of “indie publishing.” The Internet has made it possible to work in print without New York, and with presses such as Two Dollar Radio in Columbus, Ohio; Tin House in Portland, Oregon; Milkweed in Minneapolis, Minnesota; and fellow Angelenos at Rare Bird Books. They all made their own way to their cities.
When you’re young and insecure, sometimes there’s nothing better than thinking you can get away with your life.
Email has allowed us to read articles from authors around the world, but also to inform review editors, authors, and readers about the books on our list. This made book marketing more affordable than ever before, especially for small publishers. We just have to do our best to get our books into the hands of readers.
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Readers decide which books succeed and which books fail. And then there are the readers.
One of my favorite things is the Los Angeles Times Book Festival, where all the LA book publishers are there, and there’s an Unnamed Press booth where we sell books every weekend. Every year we have people excited to visit us because they like what we sold last year and want to know what’s new. This is a man who has been doing this for six years. For me, the dream of Anonymous Press came true – to be a press with an identity that readers trust and come back to because it’s part of their love of books.
Olivia Taylor Smith is the founder and managing editor of Named Press in Los Angeles. He is also a certified sommelier with the North American Sommelier Association and the translator of the Angolan graphic novel Panthers in the Den 3. Connect with him @OliviaTSmith or @UnamedPress.
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If you are publishing a book, the best thing you can do is to get your own ISBN as the author.
Even when a
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