Small Press Business Plan
The Small Press Collection
In Spring 2022 I took a course that covered the necessities of running a small press. The final assignment was a complete business plan, and the one I created (or a re-edited version of it) is below. The verbiage suggests that these were goals I intended to accomplish, as the assignment asked us to suspend the reality of whether we were planning to go ahead with our small presses, and act as though they were a certainty.
My favorite part is that I got to use the word “dinkus.” Those are the little symbols that separate sections in a book that are a greater separation than a paragraph and a lesser separation than a chapter. Y’know. **** is a common one, but they can be anything.
The timeline is, of course, no longer up to date.
Will most people want to read this piece? Probably not. It’s long. But man, it was a thing, and I’m proud of it, so I’m posting it. Also, if you think to yourself, “Maybe I should start a small press! It can’t be that hard,” then go ahead and read this. It will give you a faint shadow of the work, time, and money that people pour into small presses. They’re labors of love, and I salute those brave and probably exhausted individuals who run them well.
Great Escape Books
Executive Overview
Great Escape Books publishes escapist speculative fiction. To whit:
In the Venn Diagram of escapist fiction and fiction that looks at the world and asks “what if?”, we’re the fanfic-level, Fury-Road-intense, improbably fecund frontier of the overlap.
Speculative fiction often mixes elements of fantasy or science fiction, but it can contain the tropes, arcs, aesthetics, and narratives of romance, mystery, thriller, science fiction, fantasy, and horror to create books that hold the truth of each. By working between genre boundaries and creating books that can technically be called “sci fi” or “fantasy”, we are able to make stories that are more surprising, and therefore more impactful and evocative. Even in the narratives where an ending can be guessed at, the story might take a shortcut to get there. (The shortcut is not shorter. It’s just super sketch). All this while still wedging them into the traditional brick and mortar shelving system.
We focus on escapist speculative fiction because it’s engaging and enjoyable, and it’s necessary. These are books that give the reader a break from reality. Simultaneously, they resonate with people because they contain the emotions that are most real to the reader at the time. The protagonist feels as the reader feels, they deal and they fail and they fall and they keep fighting in ways we all must. Hopefully readers return to the world rested, having remembered in themselves the strength that allowed the protagonist to keep trying, stop to rest and learn, and try again.
With these two aspects combined, Great Escape publishes stories that are immersive, thrilling, and feed people that need to stride through the world in big black boots and also take a fucking nap just so the world will leave them alone. It’s contradictory. It’s meant to be. It’s human.
So this is Great Escape Books. As weird as fanfic. Just edited, full length, and vetted for dangerous levels of awesome.
Founder
Name: Vivian Walker Ward
Title: Owner
Bio:
Vivian wrote morbid stories when she was little (she was a super fun kid). She continued with novel-length fiction, even when it became clear that doing so gave her stepmother a free pass to chortle things like “don’t quit your day job!” An avid reader (it’s obligatory I say that part) (of course she was), little Vivian devoured all genres, and no one told her not to mix them until mystery and sci fi were hopelessly tangled with romance and fantasy in her head. After a long time writing and a few spots of semi-professional editing, she wanted to get her novels published. Her stepmother, who really does mean well, chortled some more.
In studying the set-up of modern publishing, she became more aware of the academic and social hierarchy that places literary fiction above genre fiction. She’s a genre girl, and remains in a constant state of irritation that, because a book is approachable, it might be dismissed as less impactful. That because something transports, it’s seen as more shallow than an obtuse narrative about the intensely boring midlife crisis of yet another John Updike wannabe.
She can feel someone muttering “maybe her writing just sucks more than literary fiction.” Just to be safe on that front, she wrote more, studied writing craft, and was admitted to an MFA program to get nearsighted about the writing and publishing of genre fiction. She studies there currently.
Editorial Strategy
Books We’ll Sell and Authors We’ll Work With:
Great Escape Books will publish novel and novella-length escapist speculative fiction. Despite the logo, we promise it’s not tentacle porn. We’re looking for things that are engaging, outlandish, immersive, and fun. We also thrive on angst of the romantic variety. Give us a whole forest of pining, but then please, if the ending could be hopeful or happy? Much appreciated.
We’re open to working with anyone whose writing falls along those lines (if we like their writing, of course), and who can deal with and incorporate reasonable constructive feedback. We’ll use to social media and our website to show a public face, and we’ll reach out to indie and unpublished authors who we find through social media, through local events, through the workshops we’ll host, and through fanfiction sites. While the Big 5 may no longer cultivate authors who have talent and a perspective from their inception on the idea that they’ll produce something that will be awesome, we’ll do just that. For example, if we find an author who has talent on a fanfiction site, we will obviously not publish the work from that site (as the characters are probably licensed), but we will contact the author and ask if they have any original work, and if they’re interested in submitting it.
Artists We’ll Work With:
We live in an area with a high density of talented artists, so we’ll focus on reaching out to the local arts community to find original work that could be used as book covers and illustrations. We’ll go to gallery showings, visit local arts schools, programs, and colleges, and advertise on student and university forums to let people know that we’re looking for original work. We’ll be willing to pay for the use of the artwork, or the artist will get a cut of the proceeds from the book sales in the same kind of profit-sharing as the author.
Formats in Which We’ll Publish:
The format in which we’ll publish will focus on digital, though we will offer print on demand options through Blurb for a significantly higher price than the digital copies. We’ll work with the Ingram Spark/Lightning Source network for distribution, and we’ll also sell on our website.
Timeline:
The three-year timeline is structured roughly around the school year, with releases in the summer. This works with the idea that people have more time in the summer. While we do plan to look at fanfiction sites to search for talent, our hope is to acquire work by writers who are local, simplifying the author event process by ensuring that we’ll know local bookstores.
April 2022:
Initiate online presence: Build website, create Instagram account, create TikTok account
May 2022:
Start posting regularly on social media and continue tweaking website.
Reach out to local libraries and bookstores to see if they would be interested in hosting and helping to advertise my hosted writing workshops for summer.
Select final location, lock down dates, and start advertising on social media. Create MeetUp group.
Start review of previously self-published works to make edits, change imprint, etc.
June 2022:
Complete review of first previously self-published work. Start advertising release date in 2023 on social media, website. Work on timeline for publication and advertising.
Start hosting workshops.
Post regularly on social media. Continue updating website.
Create section of website that advertises editing services.
July 2022:
Post regularly on social media. Continue updating website.
Continue hosting workshops.
Start search for cover artists by attending gallery shows, looking for local artists on Instagram and reaching out, etc.
Start review of second previously self-published work.
Continue with editing services.
August 2022:
Wrap up workshop. Give contact information to any participants whose work I admired and encourage them to reach out.
Post regularly on social media. Continue updating website.
Continue building relationships with artists. Select cover for first work.
Finish review of second previously self-published work. Start advertising release date in 2023 on social media, website. Work on timeline for publication and advertising.
Continue advertising release date and teasers on social media for first self-published work.
Continue with editing services.
September 2022:
Reach out to Bookstagrammers, bloggers, and Book Tokers (reviewers on TicTok) re: upcoming releases to request reviews.
Post regularly on social media. Work on website.
Continue to cultivate relationships with artists. Purchase cover for second work.
Keep up contact with anyone from workshop.
Continue advertising for first and second reworked manuscripts.
Tease cover for first
Review each for pull quotes to post
Work on formatting for first and second reworked manuscripts.
October 2022 through April 2023:
Progressively tease reveals and eventually release cover for first, then second, reworked manuscript on social media/website
Reach out to fanfiction writers whose work I like
Continue engaging with arts communities (attending gallery showings, reaching out on social media, etc)
Visit local writing groups as guest to talk about next summer’s workshop and Great Escape Publishing
Continue relationships with local bookstore(s) to host and help with events/writing workshops
Set up for publication through Ingram Spark/Lightning Source
Advertise for manuscripts on social media and via fanfiction websites and local networks.
Make contacts with other area writers through networking with bookstores, on social media, and in writing groups to organize signing/reading during release of first reworked books. Idea: more established writers are paired with emerging talent to do a series of readings and signings at area bookshops.
Plan for/advertise summer workshop
April 2023 through September 2023:
Organize and attend signings/readings
Post regularly on social media and update website
Continue to support local arts community
Host summer workshop and advertise GEB and editing services
Sign at least two new author works for release in 1-2 years
Start process of editing, choosing cover art, etc.
Schedule out new releases of works, including newly acquired works and 1 new work of my own.
October 2023 through April 2024:
Continue:
Social media posts and website updates
Support for and networking with local artists and authors
Support for and networking with local bookstores
Advertising editing services
Visiting local writing groups
Do:
Complete editing and formatting drafts for upcoming releases
Lock down cover art for upcoming releases
Continue editing services
Write for press
Advertise upcoming releases and plan future advertisements for upcoming releases through social media, local book stores, etc.
Ask writers with whom I’ve networked if they’d be willing to contribute quotes for covers, ads, and reviews
Reach out to Book Tokers, Bookstagrammers, and bloggers re: upcoming releases to ask for reviews
Plan:
Writing workshop for coming summer
Continued teasing and advertisement for upcoming releases
Continued networking efforts
Continued events
May 2024 through September 2024:
Ramp up advertising for next year’s releases
Finish final edits and formatting for next year’s releases
Send upcoming releases to reviewers and authors who want to read them, along with timelines for what to release and what I’ll need back when
Format final cover and create new advertisements to include pull quotes
Organize and assist with author and writer events at local bookstores (to continue trend as yearly whether any of my books are being released or not, and to generate community goodwill. Also because it’s fun and cool and interesting.)
Host summer workshop, discussing GEB and editing services
Visit writing groups to network and scout for talent
Sign at least two new works
Write for press
Continue posting on social media and updating website
Continue attending events and supporting local arts community
Post on social media, maintain website
October 2024 through April 2025:
Work on edits for new works
Increase advertising further for upcoming releases
Network with local artists and get covers for upcoming releases
Attend book groups to hunt for talent and network
Go to author signings and writing/book events
Post regularly on social media and update website
Complete any final tweaks for upcoming releases
Prepare for publication through Blurb/networking with bookstores/setting up events for summer
Reach out to writers and reviewers for last minute reviews for summer and early reviews for next works
Prep for summer multi-author signings and readings at local bookstores
Summer 2025: Release of first acquired books (Books not by me)
Audience and Competition
Audience:
My target audience will consist largely of women between the ages of 25 and 50.
These are probably people with a high degree of quirk who spend time scrolling through fan fiction forums, who like their books a little off-beat, and who appreciate humor as well as angst, lightness as well as tension.
The popularity of fanfiction is part of what makes me think there’s a market for this work. Fanfiction is wildly popular, and also just wild. It takes characters that rightfully belong in, were created for, have thrived through other worlds and arcs and tropes. Then it puts them in completely divergent scenarios, with other arcs, other tropes, other developments to their characters.
Competition:
In the same way that fanfiction is part of my basis for thinking such work is viable, it is also our main competition. It already combines genres, it’s highly speculative, it’s infinitely searchable, and it’s free. The characters are already ones the audience favors and has specifically searched for, and the scenarios are ones that they’re specifically interested in, down to the tags. We encourage people to read this stuff. It can be awesome.
Our edge will come in the form of low digital prices, well-crafted stories, and superior editing, as well as original cover art.
We read fanfiction, too. We might look for a mystery involving two people from a favorite science fiction series, or a character development piece that stemmed from a thriller. After an hour of searching, though, we might have a handful of fics that don’t have the voice we’re looking for, lack paragraph breaks, and only nod in the direction of punctuation, correct or otherwise. We’re not trying to insult beginning fanfic authors. They devoted their time to writing, and they’re offering it for free. They’ll probably keep doing so, and they’ll probably keep getting better, and they might become some of the many absolutely badass fanfic authors we’re planning to poach.
We’ll offer fiction as quirky, wild, and cool, but we’ll offer consistently high quality work. When a reader buys a book from Great Escape, they won’t have to filter for hours.
Design and Layout
Aesthetic:
I want my books to look edgy, interesting, and cool: visual fragments of indie rock, whether the chorus, the opener, or the drum solo.
Front cover:
The cover art will be designed by local artists. Speculative fiction covers seem to contain the most story or boldest graphic intensity, and we plan to pursue that standard.
Back cover:
The back cover will be retro in that it will contain a book blurb as well as endorsement quotes from other authors.
Technical details:
Size: In most cases, book size will be 6 by 9 inches.
Paper: The paper will be bookwove white for more modern or futuristic novels and probably bookwove cream for anything with a fantasy or historical feel, both at 80 gsm.
Cover stock: I’d like to play with 14 pt. cover stock silk or matt covers, because they look simultaneously more raw and more expensive to me. I may consider soft-touch matt if it fits the aesthetic of a narrative, as it adds a mossy, deep dimension of look and feel to a cover.
Binding: Until I reach a point of greater financial stability, I’ll probably stick to paperback, though I would love to do hardback eventually. As I’ll be doing softbound books, I’ll go with perfect binding rather than case binding until I make that later transition.
Interior Layout:
Typography: We want to ensure the typography fits the feel of the narrative. We also want the text to be reasonably easy to read for readers who are dyslexic, autistic, ADHD, or in other ways neurodivergent. The plan is to have two different versions of the text: one with standard 12 point font, and another with larger print for those who have challenges related to vision.
White space and text: To appeal both to readers who are neurodivergent and readers who are neurotypical, we’ll try to ensure good use of white space throughout each book, break up walls of text, and avoid rivers of white. I’ll also work to avoid “windows” and “orphans.”
Start of chapters: Chapters will start on the right-hand page. Depending on the narrative style and cohesive feel of the rest of the design elements, we’ll use drop caps to start chapters.
Page numbers: Pages will be numbered in the center bottom of the page except the first page of a chapter or an intentionally blank page. Even page numbers will be on the left-hand page, odd page numbers will be on the right-hand page.
Running headers and footers: While most fiction books omit running heads, we may include the book title on the exterior upper corner of the left page and the author name on the exterior upper corner of the right page. As our founder, Vivian, has ADHD, she can be absorbed in a book and completely forget the author or even the title. Reminders are helpful. As well, if someone asks a reader what they’re reading and who wrote it, the reader would be able to tell them without breaking flow to look at the front. In short, it grounds the reader in the book. As previously stated, we’ll have the page number be the running footer.
Line spacing: I’ll likely go with line spacing between 1.2 and 1.5.
Paragraph spacing: First-line indents will be used to indicate a new paragraph rather than additional space.
Front pages: Each book will have the usual cover page, half-cover page, and copyright page, and table of contents or chapter list, as well as the author’s option of a dedication page.
Back pages: The back of each book will contain an author bio and picture. If the author does not wish to include a picture of themselves, they can choose a picture of an old movie star, a religious icon, their favorite houseplant, or a dog they pass on the way to work (if they get the permission of the dog and the dog’s person).
Section breaks: The elements that create the section breaks will vary from book to book, and will, in some cases, be small icons related to the narrative. In other cases, I’ll go with the traditional dinkus.
Marketing and Distribution:
Marketing:
Self-Controlled Social Media: We intend to attract attention to our books through a combination of regular posts on social media and regular website updates. We’ll set up a schedule of weekly Instagram and TikTok posts, and interact with the posts of reviewers, readers, and authors.
Outside-Controlled Social Media: We’ll schedule times to reach out to bloggers, BookTok personalities, Bookstagrammers, and podcasters. Some of these times will be: when we acquire a new title, when the edits are done and we would like reviews, and when it’s time for the reviews to go out, as well as when the book is about to be published for any last push.
Local Efforts: This area is dense with authors, artists, and bookstores. We’ll network with local authors by researching them on social media, going to their events, and asking if they would be interested in having double events at times when my own authors are scheduled to do signings or readings. We’ll outline my idea of more established authors and emerging authors working together to increase the readership of both, and we’ll offer to assist with events outside of our own (we have a fair amount of event planning experience).
We’ll network with local bookstores to see if they would be willing to host signings, but particularly to see if they would be willing to host our summer project. We intend to volunteer to host summer writing workshops at a local bookstore. We’ll work with a group to set up peer reviews of each group member’s writing (We’ll review it, too, of course) and host weekly discussions surrounding the work and some basic applicable writing tips.
We’ll visit local writing groups to scout talent, simultaneously spreading word of Great Escape.
At the same time, we’ll network with artists by looking online and striking up conversations, going to showings, and advertising via social media and in conversation that I’m in the market for book covers. Considering that the cover artist will be local, as well the author (likely) they can both display their work at the book signing, each bringing in their own audiences, as well as the audiences of the authors with whom we partner.
Distribution:
Publishing and Distribution Service: We intend to work through the Ingram Spark/Lightning Source network when we publish through Blurb to distribute to bookshops. We’ll stop by stores to talk to bookstore buyers in the area. We’ll also donate copies to local libraries. At the same time, we’ll be selling electronic copies through B&N, Amazon, Ingram, and our own site. If the book fills a certain niche, we’ll also research niche bookstores across the country and reach out to them.
Pricing: We would price the print versions of books at $15.00 each, and would have a 40% wholesale discount, then proceed with 50 books or less to start with, resulting in royalties of $1.77 per unit, which would be split 50/50 between GEB and the author. We’ll focus largely on digital copies, and hope to sell most of them through the website to maximize the funds going to the authors and to GEB. The digital copies would be a much more affordable $2.50.
Online Strategy
Website:
The Great Escape website will serve as a central informational hub and e-sales platform. On this website, readers and reviewers will be able to:
Look at the advertisements for, endorsements of, quotes from, and revealed covers for upcoming and featured books
See information on our authors and the artists who create covers
View online versions of info sheets
Visit the online bookstore to buy books, read blurbs, and see prices
Learn about submission guidelines
Read about Great Escape’s mission
See calls for submissions
See calls for cover art
See how to contact us if they’re press or if they have questions
Link to cover artist sites
Link to author sites
Link to social media
We’ll also have a section of the website dedicated to advertising editing services and advertising our local summer writing workshop.
Instagram:
On Instagram we’ll focus on pull quotes from, and updates regarding, soon-to-be-released and recently released books, as well as writing quotes, quips, and bits of questionable writing wisdom. We’ll also use Instagram to research and reach out to other writers, artists, and (potentially) editors.
TikTok:
We’ll use TikTok to post video clips of writers and/or guests giving writing, editing, and publishing advice. We’ll also use it for book advertisements and discussions and mini author interviews,. I’ll encourage people to message, reply, and engage with the writers in and for follow-up videos.
We’ll also post funny (?) clips that point out common writing issues, tropes, and memes. We might post about running a small press in order to attract people to the press itself.
Tone:
We’ve heard arguments against being honest regarding the difficulties of writing and publishing in social media posts. People aren’t that stupid, though. We know the commitment to start a small press or to write doesn’t result in Gatsby parties and diamond-studded Doc Martens. We know what we’re in for, and we’re all here anyway. Unless we grew up rich, we’re poor, and we’re tired because we already worked a full day, and we’re still doing this. So if we’re going to talk about writing or publishing on social media, we’d better be real.
If the truth is that we love what we’re doing so much we’d do it forever even if it made us exactly two shiny pennies, that speaks to how awesome the work is. Money is persuasive, but no one runs or publishes through a small press to get rich. Everyone interested has already made that call.
In Short:
Through Instagram and TikTok we hope to attract press, reviewers, authors, and artists. They’ll find more in-depth information on the Great Escape website. Hopefully they’ll reach out from there.
Revenue and Costs
Here is the honest sad part. After completing this academic year while working full time, moving twice, ending a toxic long-term romantic relationship, and continuing to write, I am too tired to lie to myself. I can barely do school and work. I cannot do school, work, and a small press. I don’t have start-up time. I also don’t have start-up money. Here, I look back on the earlier reading that talked about the costs of publishing, and the fact that, most of the time, it meant only people who already had luxuries of time and money were able to invest in a publishing career. This system, if sustained, will always give greater voice to people already in power and, unless they choose to question their biases and values, people who make them feel comfortable in that power.
So against my capital of 0, there’s the necessity of buying a reliable new computer. The cost of purchasing the artwork for covers. The cost of Canva for putting ads together. The cost of reading everything to stay apprised of the shifting market, but I’d buy books, anyway, so nevermind. The website domain hosting. The reason I’m not factoring in office space is because I never thought I would be able to afford an office, and figured I’d just work from home. But I’d still need business cards, so there’s that, too. I would likely buy a starter package of 10 ISBNS, 5 barcodes, and 1 QR code. I would then spend some shoe leather traveling to area bookstores. Even if the majority of marketing is free on social media, it would be up to me to pay for at least the launch parties. The venues would be covered, as they would be in bookstores, but food and drinks would not be. Great Escape would also pay for the initial printing of minimum 50 books through Blurb. Then there is the nearly incalculable cost of time, which I will ignore for now. If I sold all 50 of each of the 4 books that I would intend to launch in the first three years, which I almost certainly would not, and if I sold the same number of digital copies, that would net:
(Here there sat a table of calculations that would be boring and depressing).
With that, I conclude my findings. On the salary of an office manager who is already burdened with overwhelming student loan debt, I can’t afford to start a small press. Money isn’t the only issue. There are also the joint resources of time and energy. I’m willing to work hard, but my energy is used up at my job, and every pilfered ounce I keep back I funnel into school and writing. It would be great to spend the time I don’t have, the money I haven’t got, and the energy that I never have enough of for this enterprise, but I would need to be guaranteed wild success, and failure is more likely. I am sorry to say this, and sorrier, still, to believe that it is true.
