April Eberhardt is not only my agent, but a trusted friend. She has championed my work, and the work of other debut novelists like Mary Rowen, author of Leaving the Beach, who recently posted an interview with April on her website. As an author advocate, April has brokered traditional deals for her clients, and even encouraged some of us to choose more lucrative, independent paths to publishing. To learn more about April’s cutting edge approach to representing authors in today’s rapidly changing publishing world, click here.
One of the wonderful benefits to partnership publishing my novel in the U.S. is that I’m able to choose the printer and sign off on the interior and cover proofs before we go to print. It’s wonderful, but scary, because the buck stops with me! These proofs arrived from Color House Graphics today. Now it’s my job to review them with a fine-toothed comb before we print this week in anticipation of our August 5 paperback pub date!
Cover proof of The Vintner’s Daughter from CHG
Text proof of TVD from CHG
Although I adore the french flaps and deckled-edge pages of the Harper Collins Canada edition, to print the same paperback in the U.S. would have been too costly. For my indie-published writer friends who may be choosing their printing options right now, do ask for multiple quantity and shipping quotes from at least three printers–I was shocked by how much the quotes varied! Also, ask for the text and soft cover proofs as part of the quote.
For my U.S. paperback, I chose a 6×9 book (a little larger than the standard 5.5×8.5, to match the size of the Canadian edition), 55# natural paper, 360 PPI, and a matte layflat film lamination on the printed side. The cover stock is 10pt C1S. All pretty standard, and I have to say, the proof has the exact look and feel I want. Yay!