The Author represents and warrants to the Publisher that: (a) The Author is the sole author and proprietor of the Work submitted. (b) All material of whatever kind, written, prepared, created, composed and/or submitted by the Author hereunder or to the Publisher: (I) Shall be wholly original with Author and not in the public domain; (ii) Shall not heretofore have been published in book form; (iii) Shall not be copied in whole or in part from any other work; (iv) Shall not contain any matter which is scandalous, obscene, libelous, an invasion of privacy or otherwise contrary to law, and (v) Shall not infringe upon any statutory copyright, proprietary, common law or other personal property right whatsoever of any person, firm or corporation; (c) The Author is the sole and exclusive owner of the rights herein conveyed to the Publisher, the Author has not heretofore assigned, pledged or otherwise encumbered any of such rights; and the Author has full power to enter into this Agreement and to make the grants herein contained.
Promotion of the book:
Floricanto Press, when it publishes a book, basically makes an investment on the future sales and acceptance of the author. The author, in return, is required before publication of the book to present: 1. A plan for the promotion of the book and assisting our press in selling the book. The author, before publication, must provide the press within the plan, which must include a list--e-mail and postal--of 500 potential bona fide buyers who are interested in purchasing the book, organizations, associations, and institutions the author belongs that may be interested in acquiring it. When is the Promotion Plan expected?
The press needs it before the publication and release of the book, so it is able to contact these people, or organizations and get them in the loop. The point here for the author is to contact friends, colleagues, associates of them, and begin building your list. We'll keep it online and notify them of the progress, advance notices, postcards, etc. 2. The author will secure 3 reviews. Will Floricanto provide a list of potential reviewers for the book?
We'll send the book to traditional review sources. However, these are flooded with books from other publishers, thus YOU are critical in this process, you need to persist, contact, smooth your way through reviewers to make it happen, such as local newspapers, media, etc.
3. The author will conduct in addition 5 book readings in the local and immediate area for the promotion of the book, such as local bookstores, colleges, reading clubs, etc. The author will also mail 500 postcards to prospective buyers.
If, despite your best efforts you are unable to secure 3 reviews and/or 5 readings, what are the implications? Very likely the book will not do as well at first, but persistence and consistent promotion we'll work. Independent book stores love author's readings, because they mean sales. They don't care if you bring friends and family, as long as the book moves.
Rules for Succesful Writers
Although you are a writer, don't begin to write your next book until this one--the one you are submitting to us or attempting to publish--sells well. This is critical. For no one will care about your second book, if no one heard about or read your first one. This is your first and most strategic decision in making yourself a success. Second Rule: Don't take chances with your product. Treat your publisher as a distributor; ergo, you are the only--salesperson--who can truly sell your book. You are a true believer in yourself. Third: Seek out and make yourself available to groups and people to promote your book (book readings in bookstores, public libraries, colleges and universities, reading clubs, class readings, etc.). Remember to be an author means to have made a deliberate decision to be well known in your universe. Fourth: Develop a loyal audience; a customer base of repeat buyers is a classic economic formula, which works for churches to bakeries, and coffee shops for centuries. It does also work for authors. People buy books, again and again, not bookstores; for the latter will return the unsold books to the publisher. Fifth: Court the media; an author's best friends are the book reviewers and reporters, regardless how small. Sixth: Be special--as you are--and attract attention (preferably the media). Don't let yourself be ignored. Do not hide from people and do not shy away from the spotlight. Do not live an ordinary life; remember you seek fame and fortune, in that order.
Background on the Latino/Hispanic Market & publishing you need to know :
(It’s not the money, stupid!!)
What motivates Latino/Hispanic publishers to endeavor day in and day out releasing new titles and providing a platform for academic and new writers? This question cannot be answered unless we explore the Latino/Hispanic publishing effort in the U.S.
Hispanic publishing in the United States is best described as a multitude of small niches. Although, this is also true of traditional publishing, Cooking, Gardening, Psychology, Fiction, and many other subjects, these niches are substantial enough to be profitable in themselves. Unlike, Latino publishing niches which are rather small, and sometimes unprofitable. What makes Latino/Hispanic publishing so unique, and distinct from traditional publishing?
First, there is language divide among Spanish, English language, and bilingual readers. There two distinct markets in the U.S. between Spanish and Latino/English readers.
The Spanish language market is small. It is mostly dominated by large, traditional Spanish and Mexican publishers who export their books to the United States. Their investment and publishing efforts do not occur with the U.S. market in mind, but rather as an extension of their national and local demands. Another, difference, sadly to say, the growing Spanish speaking population in the United States, caused mostly by immigration from Mexico and Central American countries, comes with very low educational backgrounds and are not frequent readers or book buyers.
Now, the Latino English and bilingual book market is also a small market. English-reading Latinos read mostly English books, not necessarily Latino books. Thus, Latino publishing houses serve academic authors, who are very good, but their titles are not popular titles; and Latino authors who are mostly new and unknown—most of them are new writers—and there is no given demand for them, as well, unlike well-known Latino writers. The latter ones prefer to publish with large traditional houses, rather than small Latino presses. The big challenge for Latino presses is to cross over to traditional markets.
The Latino/Hispanic market will continue to challenge small publishers who provide opportunities to new writers for years to come. Latino publishers often dream of that one title, which will provide the rewards for all the efforts made.
Second, the size and scales of the markets are the heart of the problem. The Spanish and Latino markets are relatively miniscule compared to the traditional book market. What constitute a bestseller in the Spanish market and what is the print run of a regular book (non-bestseller)? In the Spanish market, mostly served by imports from Spain and Mexico, a bestseller generally is at best about 30,000 copies. A normal print run is not more than 5,000 copies. Of course, there are a few titles which defy these conditions, but not generally. The Spanish market has one bright spot, the children’s book market. Spanish and English speaking readers are interested in buying early-readers Spanish books. However, the juvenile book market is very small, almost non-existent and it is dominated by imports. Latino young adult readers read mostly English better than Spanish. Spanish adult fiction and non-fiction are mostly an import market. Few presses have attempted to do it and have been unsuccessful. Another bright spot in the Spanish market is the school and college driven curriculum for Spanish and Latin American literature. This market is mostly served by imports.
Once more as for the Spanish market, Latino Children’s books in English, like the character Dora, is a great success of traditional publishing with the help of mass marketing and heavy investment, not available to small Latino publishers. A bright spot in the English language Latino market, again, is the college driven market to meet mostly Latino literature courses. The size of the English Latino market is very small and print-runs often do not exceed 5,000 copies.
Thirdly, the answer to the original question, why we do it, is not simple. Publishing has always been an effort where there is commitment and love for furthering the culture and trade. I remember my granddaughter meeting a fisherman on his fishing boat in Half Moon Bay, California. He lived in his fishing boat, come to the wharf to sell his catch and return to the sea. She asked him, why do you do it? The fisherman looked briefly at the sky, reflecting for a few seconds, and said to her “Certainly, it’s not for the money. It is a way of living . . .”
Some Latino publishers depend heavily in public or grant funding to finance their publishing efforts. Floricanto Press, on the hand, is an independent and private publishing concern. We consciously have chosen this route to maintain our autonomy and clarity of purpose.
Latino publishers, if I could generalize, have a greater commitment to the preservation of the Latino/Hispanic culture than to profit. Floricanto Press have contributed to shed light on how Latino culture evolves and develops in the United States. Thus, our slogan:
"Por nuestra cultura hablarán nuestros libros. Our books shall speak for our culture."Roberto Cabello-Argandoña