All Categories - Belle Isle Books

March 2023 - Words as Windows into the Natural World

3/31/2023

A friend of mine recently shared an experience he had while teaching some years ago. One day, he took a group of inner city kids on an outing to the James River and was astounded to learn that not one of them had ever swum in a river, or even seen one up close. They had only read about rivers, herons, and woodlands, or seen them in pictures—even though they lived only a few blocks from the James.

Over the last few years, Brandylane has been proud to publish dozens of children’s books, including illustrated picture books, chapter books for advanced readers in late elementary school, and middle grade novels for preteens. As I considered my friend’s story, I realized that for too many children, and particularly those living in big cities, books like these were their only insight into the magic provided only by natural landscapes, wildlife, and the outside world—especially as more and more children participate in a digital world, glued to their smartphones, video games, or tablets, and pausing only to text their friends or reload their Xboxes.

The dancing bears, strange flying creatures, trees and moons that sing and speak, and other characters that populate children’s books may be fantastical—but they often introduce children to a natural world they've never seen or known. As publishers, we want to give kids excellent, informative books at a young age, so that every child can read about, learn about, and experience—albeit vicariously—the beauty and majesty of our planet.

written by Robert Pruett, publisher

February 2023 - Author Feature: Craig Bradley on Lengthy Treks and Narrative Journeys, as Depicted in His Peter Polo Adventure Series

2/28/2023

Q: Both of your Peter Polo books are full of rich cultural and geographic details of the time period. I understand you've spent a good deal of time in Asia yourself! What would you say sparked your interest in the history of the Silk Road?

A: I started reading about Marco Polo when I was in elementary school, and I was especially interested in his adventures along the Silk Road. His tales of encountering new foods, customs, and landscapes really stoked my imagination, and I tried to read everything I could about the history and culture of that part of the world. As I grew older and had the chance to live in and travel to many of the same places Marco had visited, I was even more amazed at the stories he brought back with him to Venice, particularly at a time when Europeans knew so little about Asia.

Q: Writing a long journey can be tricky: If it's too long and detailed, the reader will get bored; but if the trip is too short and easy, the main conflict loses steam, and the stakes don't seem very high. Peter's stories both begin with long, dangerous journeys across the Great Khan's empire. When working on this type of narrative, what do you do to maintain that balance?

A: That is a great question, because I struggled throughout the book to maintain the balance you mention. I tried to break up the journey with moments wherein Peter and his friends encounter dangerous situations, and then sustain the action long enough build a sense of suspense in the reader. After I wrote the scenes, I would try them out on my chief critic—my wife—and often, it was back to the drawing board, based on her advice! The experience really made me appreciate the true masters of writing adventures for young readers.

Q: An important part of any great journey is its end—when characters can either remain where they are, return home, or find some new destination or goal to pursue. If given the choice, which do you think Peter would choose? Would he want to remain in the Great Khan's court, return to his childhood home in Venice, or strike out in search of his own adventures?

A: Another great question! Peter would find himself in a quandary when it comes to where he wants to be, as do many of us at different points in our lives. On the one hand, he is with his friends and brother at the court of the Great Khan in China, and that is certainly where he is happy in the moment. However, in both books, he exhibits a touch of homesickness for Venice, in particular his family and the food, and he daydreams of going back there one day. And then there is his longing to go places where he can make his own mark on the world, just like his brother Marco. That desire keeps him motivated to seek out new adventures with his friends—and it is what will take him to ancient Korea in the next book!

To learn more about Craig, check out his two books, Peter Polo and the Snow Beast of Hunza and Peter Polo and the White Elephant of Lang Xang!

January 2023 - Publishing Poetry

1/31/2023

In today’s crowded digital world, searching for and finding the right publisher for your poetry can be hard, frustrating work that often comes down to pure luck. Years ago, poets often published a chapbook, a collection of ten to fifteen poems assembled in a small volume, often saddle-stitched or artfully handmade. Chapbooks are still common among new poets who want to publish and print a limited number of copies of their work for their family, friends, and community; and they are still an excellent way to produce a small, attractive, polished sample collection with which to query larger publishers.

For serious poets who want to reach wider audiences, poetry journals publish poetry by both first-time and more established poets. Wildness Journal, Little Death Lit, Rattle, and Southeast Review are a few such journals, some of which actually pay poets upon publication. Exclusive journals like Poetry, Kenyon Review, and Ploughshares are looking for higher-level poetry for their audiences, and expect poets to have a portfolio of poems previously published by smaller journals, or a successful book. When it comes to journals and publishers that publish book-length collections, it’s important to study these publishers’ work before submitting to familiarize yourself with the style, themes, and subject matter they publish. And be sure to submit your work according to the publisher's guidelines—sending a manuscript by mail when the publisher requires an online submission will likely lead to rejection.

Speaking of rejection: Expect it. Rejection is part of the process of becoming a better writer. It may mean you have much to learn, or that your poem or collection just hasn’t found the right home.

Over the last few years, a number of poets have found a home for their work at Brandylane. We believe in nurturing our authors, guiding them through the publishing process, and helping them find and develop their audience. And although we don’t publish single poems, if you have even a small collection you’d like to put together in a chapbook or book, we're here to help.

written by Robert Pruett, publisher

CBeebies Bedtime Stories – Everybody Can Dance!

12/9/2022

Watch Rose Ayling-Ellis read Kara Navolio’s Everybody Can Dance! on BBC’s CBeebies Bedtime Stories program.

November 2022 - Soliciting Book Reviews from Lesser-Known Sources

11/18/2022

During a recent marketing session on accruing book reviews, I encouraged authors to build business relationships with booksellers, reviewers, and media. In response, attendees asked one key question: How can a relatively unknown author compete with major marketing firms, big publishing houses, and PR companies, all of which have deep pockets and established connections with media and booksellers?

One way to achieve success in the face of this seemingly overwhelming competition is by using an old-school method that has recently lost favor, especially among younger authors. While it's true that in today's world, book marketing happens largely via email and online contact forms, this alternative approach can still see success: making connections with editors and reviewers via phone calls, or even in-person visits. Authors might make these connections with smaller, local media outlets rather than with a major publication like the Washington Post or the New York Times—but at the same time, the editor of a smaller publication may be more likely to write a review. Authors who do their research to learn what genres a reviewer is interested in and the titles he or she is currently reviewing are more likely to receive a coveted "Yes!" to their requests.

I also challenge authors to invite local or even national celebrities, corporate leaders, and other influencers outside the book world to write and post reviews for their book on Amazon and other major retailers' websites. Such reviews can be persuasive—sometimes more so than reviews from lesser-known reviewers in the publishing industry. Authors can establish connections with these reviewers in the same way one builds any relationship: saying hello, making conversation, and being friendly and excited about their ideas, fields, and books.

Authors have to be bold and courageous in these efforts. They also have to wear their armor when they do this—because for every success, some rejection is inevitable. Busy and overwhelmed bookstore owners will turn you away; an executive's secretary may refuse to connect you to the CEO; an editor may be rude—but on occasion, you might be fortunate enough to reach the right person at the right time.

Ultimately, depending solely on social media or emails to spread the word about your book may not be enough. To give your book the best chance, you have to take risks and challenge yourself to reach out to people you never imagined contacting. Stand strong, and be endlessly persistent—and you might just be surprised!

written by Robert Pruett, publisher

October 2022 - The Language of Publishing

10/24/2022

I’ve always believed that if you learn the vocabulary of a profession or field, you can understand it much better—and this is certainly true of publishing. Publishers often use language unfamiliar to laymen—terms like developmental editing, line editing, and copy editing; soft proofs, hard proofs, interior proofs, and cover proofs, and others.

Often, some of the most confusing terms for new authors are those that involve the period between the moment they finish working with their publisher to edit and revise their book, and its actual publication. When all files are approved and the author has no further changes or corrections to make to their book, the publisher will usually ask them to sign a print release—essentially a form declaring, “I’m ready to print my book!” Once the print release is signed, the publisher sets a release date three to six months in the future, to mark when the book will be shipped to the booksellers and customers who preorder it.

The intervening months, or pre-release period, allow the author and publisher time to promote the book. The promotion accomplished during this period is similar to a preview announcing the release of an upcoming film: it introduces the work to its intended audience—and to the press, reviewers, and bloggers—to inspire them to talk and write about the work in advance of its release. Like filmmakers, authors hope that when the fruit of their labor is finally released into the world, hundreds or thousands of potential audience members will be moved or persuaded to purchase their work: if a filmmaker’s marketing is successful, tickets will be sold, and the theater will be packed at the premier; and if an author’s marketing is successful, their book will fly off the shelves.

At Brandylane, we know that this outcome is what every author wants. We believe that forewarned is forearmed, and that it’s never too early for an author to learn about every aspect of publishing. That’s why we do our best to provide our clients and readers alike with jargon-free instructions and explanations about the publishing process—a process that can sometimes be complex and intimidating, especially for new authors. If you have questions about the lexicon of the publishing world—whether you’ve already written a book or not—feel free to call or email us. Answering questions is one of our specialties—and we do it in simple language.

written by Robert Pruett, publisher

September 2022 - The Rise and Reception of E-books

9/30/2022

When people learn I'm a publisher, their first questions usually include the following: "Do you publish those electronic books?" and "Do you think printed books are going to disappear?" Sometimes, these questions are asked with not a little trepidation - a fear of losing something they clearly hold dear. After all, holding a book in your hands, turning the pages one by one, and smelling the incomparable scent of paper make printed books truly irreplaceable, and most book lovers agree that the tactile experience is what they love most about the printed format.

The rise of e-books has been swift and strong. While they first emerged as early as the '70s, they didn't become mainstream until the 2000s - but today, they comprise 20 to 50 percent of all book sales, depending on the country. This chart from the Visual Capitalist gives a global breakdown:

"The Staying Power of Physical Books" by Rosey Eason

While it's clear e-books are popular, it's also clear that the majority of people still buy their books in print. So as long as paper is available and printers remain in business, we believe the printed word will prevail - which makes us happy, as both publishers and readers!

written by Robert Pruett, Publisher

June 2022 - The Path to Traditional Publication

6/30/2022

Almost every author would love for their book to be published by one of the Big Five—HarperCollins, Macmillan, Simon & Schuster, Hachette, and Penguin Random House, the five largest publishing houses in the US. This is the holy grail, a prize coveted by authors in every genre. But unknown—and even veteran!—authors have a slim chance of being signed by one of these houses. Their acquisitions editors refuse unsolicited manuscripts, so authors must first find an agent willing to represent them—and these agents are also highly selective. They require authors to submit a query and an impressive professional proposal, and to have a substantial following or track record of success from previously published books. And of course, they also require an author to have a compelling manuscript—or at least some portion of it. Authors also need lots of patience in pursuing an agent, as these professionals are notoriously slow to respond—if they respond at all.

Even if an author finds they are one of the chosen few, this may be a less satisfying position than they originally expected. Unless you’re an award-winning author like Stephen King or Cormac McCarthy, a popular political figure, or a Pulitzer prize-winning journalist, you may have very little involvement in the production of your book. Your manuscript may be restructured and developed in a way that is completely contrary to your vision—and you may not even see your book’s cover until it’s published, let alone have the opportunity to offer your input!

In addition, the big houses are always looking for a quick success. With traditional publication, the publisher invests one hundred percent of the cost a book—and an unknown author with no track record poses a significant financial risk. Given this, it’s understandable that publishers are wary and cautious when it comes to signing a new author. If a book doesn’t perform successfully within four to six months, the publisher’s promotional efforts will likely wind down, or even cease completely. One author I know who was published by one of the major houses was expected to hire her own private publicist, fund her own travel, and build her promotional effort largely on her own. And though the young, inexperienced, overworked in-house publicist who was promoting her book was available at its launch, four months after her book was released, the publicist stopped calling. Why? Because her book hadn’t sold five thousand copies, only four hundred—not unusual for a new author.

So if you are a hopeful new author who expects to sit back, hold a few book signings, and wallow in your success after your book is published, waiting for royalty checks to pour in, take a moment to research the industry, and traditional publication. You may find you wish to consider another path to publication—one that might be more realistic and attainable. At Brandylane, we don’t require an agent; we stick with our authors for the long run; and our authors have the opportunity to work cooperatively with talented editors, designers, and an active PR team ready to support them. Let us know how we can help you!

written by Robert Pruett, Publisher

May 2022 - Self-Publishing: The Realities and Pitfalls

5/31/2022

Many authors who contact Brandylane are struggling with an important decision: Should I self-publish my book, seek a literary agent, or submit my work directly to publishers? In recent years, self-publishing has become a popular option; but as it’s still a fairly new option for the broader public, misconceptions abound. Perhaps chief among these misconceptions is confusion over who is actually publishing the work, if an author receives help from another party during this process. The answer, however, is simple: When you self-publish—in the purest sense—you are the publisher of record. Your book and its International Serial Book Number (ISBN) are registered in your name, or in the name of a company you create, via which you will promote and market your book. In this case, any publishing company you may be paying to produce your book—that is, to create the physical copies, including printing, binding, and sometimes formatting the work—is the packager. In contrast, when you engage and pay a publishing company to publish your work under their imprint or name, they are the publisher, and you are not self-publishing in this case.

Self-publishing is challenging, and costly if done well. For many authors, it’s a journey into the unknown—and as a result, self-published books are often substandard or amateurish. Most savvy readers can easily tell when a self-published book hasn’t been produced by a crew of professionals: the manuscript may not have been carefully edited or proofread; the cover may be poorly designed, with photographs or illustrations that haven’t printed well due to their poor resolution; or the book may simply fail to meet other basic industry standards. Often, these shortcomings happen because, in an effort to save on costs, the author didn't hire an experienced designer or editor.

Another aspect of book publishing that some authors who choose to self-publish rarely consider is marketing. Successful marketing is an enormous factor in a book’s success, and people who choose to self-publish their work don’t receive the benefit of a publisher who will cooperate in the book’s marketing effort. While writing and producing their book, every author becomes their own promoter—but this is especially true of authors who choose to self-publish. The best time to start marketing your work is while it is still in production, so that when your book is released, you will have already built an eager audience that will incite book buyers to come knocking on your door. At this stage, smart self-publishers engage a marketing company or team of friends and family to provide support. Going it alone in your book’s marketing effort is a mammoth undertaking—and a mistake.

In summary, if you choose to self-publish your work, you must become a specialist in many fields at once—writing, design, market research, promotion, sales, even web design and accounting—or you must hire knowledgeable people to assist you. In addition to publishing titles under our imprints, Brandylane has guided many authors through the self-publishing labyrinth, making the process less intimidating and helping them avoid tricky turns and dead ends. We’re always happy to help authors self-publish their work—and we cheer their success as much as we do the books we publish under our imprints!

written by Robert Pruett, Publisher

April 2022 - The Hidden Process of Book Production - and Why Publication Takes So Long

4/30/2022

As a publishing company, one of our primary jobs is to gently guide our authors through the process of book production, causing them as little stress as possible as we turn their lovingly drafted manuscript into a professionally edited, designed, and polished work of art. Most authors are familiar with the first part of this process: editing, wherein they enter into a dialogue with their editor and continue writing and revising their work until every word is finally ready for print. But far fewer authors are familiar with the next parts of the publishing process: design and production, which take place behind the scenes, and with less author input. This perceived separation from the manuscript they've been so involved in editing can be something of a shock, and can sometimes make authors anxious. “Now that my book has been written and professionally edited, what could take so long?” they often ask. “It’s just a matter of printing the words on paper—right?”

Not exactly. Just as writing a book worth reading can be a slow slog, designing and producing a great book takes time. Preparing a finished, fully revised manuscript for the world to read involves a long series of steps, many of them unknown to authors who are going through the publishing process for the first time. From formatting to cover design to font selection to ordering an ISBN, every part of this operation demands strict attention to detail. The overall process is linear, but every stage of production requires recursive steps to check and recheck language, design, and many other elements for accuracy. And all this is part of the reason why, for us, the entire process of publishing and launching a work takes twelve months or more—and why, for major publishers, this process can take as long as two years. But when production is complete and the book’s final proofs are approved, most authors feel it was worth the wait—even if it took longer than expected.

written by Robert Pruett, Publisher