Publisher’s Minute: April 27, 2018

In my last blog post, I discussed some of the issues I was having with bringing the 25th Anniversary Edition of Carnavale to print, and took a deeper look at our mission statement and quality control guidelines here at Iaconagraphy Press. I also promised total transparency with the process of applying all of those things to publishing my own work as it is being published on my imprint. So, let’s dive right into doing that!

To get started, let’s look again at the official definition of the term self-published work, versus a work that is published by a small/indie press:

• A small or independent press screens submissions: they won’t simply publish something because they or a friend or family member wrote it, so “naturally it’s good”.
• A small or independent press has what I like to call working parts: someone edits the book; someone designs the book (you will find this frequently referred to as “book layout” by moi); someone creates artwork and a cover for the book; someone markets the book. These things are done at and by the employees of the small/indie press, they are not “farmed out” to freelancers or other outside professionals.
• A small or independent press doesn’t only publish its owner’s work; it does all of that stuff mentioned in the last bit for other authors as well. This does not mean that small/indie presses never publish their owner or founder’s work; it means they do not limit themselves to solely publishing their owner or founder’s work.

Bottom line: if you have a shiny new imprint, but you are only publishing your own work “on” that imprint, then you are a self-published author, not a small/indie press, even if you did edit, design, create artwork and cover art, and market that book. If you “farmed out” all of that stuff to freelancers or other outside professionals (and good on you if you went to that expense in order to assure a quality product!), then you are likewise a self-published author with your own imprint; you are not a small/indie press.

So, if I publish the 25th Anniversary Edition of Carnavale on my own imprint, does that make it an entirely self-published work? 

No!

Because:

• This submission was screened like every single other submission that will ever come across this Publisher’s desk, and it was screened by someone objective: in other words, somebody not me!
• This submission is going through all of the working parts of this press, just like every single other publication that will ever be published by Iaconagraphy Press: it is being edited by somebody not me, designed by somebody not me (though with my input and assistance, of course), and having artwork and a cover designed by somebody not me. All of these things are being done at this press, by employees of this press; none of this is being “farmed out” to freelancers or other outside professionals.
• My work is not the only work being published by Iaconagraphy Press: I highly encourage everyone to check out the first book on my imprint, Norse Witch: Reclaiming the Heidhrinn Heart,  by Connla Freyjason. In future, you can also look forward to books by Suzanne Hersey and others, as well as, yes, other books by moi.

So what are the actual screening criteria in that first bit of that list? 

First, the Iaconagraphy Press mission statement:

• This book reflects Pagan and Spiritual Themes, with a primarily Norse Traditional and Welsh-inspired focus. It also includes thematic elements touching upon Hermeticism, Tarot, and Theosophy.
• This book seeks to surprise its readers. (It attempts to be a “real page-turner”; ultimately, of course, actual readers will be the judge of that!)
• This book promotes social justice. (It contains dramatic themes touching on LGBTQA issues, eco-justice, and even racial justice.)
• This book inspires you to “think outside the box”. (It looks at things such as the history of Elizabethan England in profoundly new and different, albeit fictitious, ways.)
• This book challenges the status quo. (Primarily by fictionalizing certain portions of real history, but also by asking its reader to look past the fact that a character might have fur, snakeskin, bunny ears, or goat-legs, in favor of focusing on the humanity that we all share, regardless of our own outward appearances.)
• This book encourages empathy. (Hopefully you will be swept into this world, and heavily identify with its characters, and what they’re going through.)

Next, the Iaconagraphy Press quality control guidelines:

• Expert opinion/qualifications: The author and the original text (the initial 1993 publish of Carnavale) are award-winners, having been selected as such by a noteworthy playwright and author (Romulus Linney). The author has a degree in Creative Writing, as well as prior teaching experience in that craft. The author is also an ordained priestess, a professional Tarot Reader (30 years of experience), and a shamanic transformative-medium (all of which apply to the thematic elements and characterizations within this book).
• Content that is fresh and up-to-date: Well, clearly not yet, according to Frances, my editor. But I’m working on it, hence my current crisis mode!
• Citation and referencing: Does not apply, because it is a work of fiction. However, every single historical reference has been exhaustively researched, and readers will be readily able to recognize this in most cases (if they have any background with the Elizabethan Era, Doctor John Dee, the early period of the Hermetic Tradition, lobotomies, Tarot, T.S. Eliot,  Yukio Mishima, and/or a host of other important thematic elements touched upon in this book).
• Reputation for quality and accuracy: This is the third printing of portions of this book (the core that is the original 1993 publish of Carnavale), and the second book published by this author. The author has also been previously published in various anthologies. Again, both the author and the original text (as previously defined) are award-winners.
• Content is well-written, easy to read and comprehend, and free of grammatical and spelling errors: Largely true at this stage in the game; will receive further editing prior to publication.
• Acceptable length: Not in its original format. Again: hence the current crisis mode! “There’s a whole lotta addin’ goin’ on!” (Essentially, readers will be getting brand new, never-before-published material, in addition to the “classic” Carnavale core.)

If the “iffy bits” of the above criteria cannot be met by the stated deadline, this book will not publish. Period. Ultimately, I will not be the judge of that: my assistant editor, Frances, will be. Before May 3, 2018, The 25th Anniversary Edition of Carnavale must:

• Be brought up-to-date, so that it delivers a fresh voice.
• Be thorougly edited and revised for readability, grammar, and spelling errors.
• Become an acceptable length.

That is a lot to accomplish in a very short time! In fact, at this point in time, I am not certain that I can deliver the level of quality expected by May 3, 2018, so stay tuned for updates on our Midsummer Release!