What do those big publishers want anyway? Editors for major publishing houses tell how they scout for acquisitions among self-published titles

Black Issues Book Review, Sept-Oct, 2004 by Victoria Christopher Murray

We've all heard the rumors. Every few months, there's a new deal: A self-published author who has parlayed entrepreneurial success into a six-figure contract from a major publisher. While that news travels fast through the gossip mills, no one mentions the numerous self-published authors who have sold respectable numbers of books in a respectable amount of time, yet receive rejection upon rejection from the big publishers. What makes the difference? What are the editors at mainstream publishers looking for from self-published authors?

"I read a lot of self-published books," says Cherise Davis, senior editor at Touchstone Books, a division of Simon & Schuster. "But I don't buy many: few have the quality we re quite. When reading self-published novels, I look for the same things that I look for with any manuscript: a strong plot, appealing characters, a page-turning, compelling story," she says.

Among the select titles she has acquired is Michael Baisden's self-published novel, The Maintenance Man: It's Midnight, Do You Know Where Your Woman Is? (Touchstone Books, October 2000). She says that self-published authors do help expand the writers' talent pool. "Self-published authors really know their market, and this does give them an advantage when talking to a mainstream publisher."

Davis also looks at how the self-published author has packaged himself. At the same time, Davis acknowledges that the success a self-published author has experienced could be a downside. "I ask the author are they willing to work with a publishing company," adds Davis. "With self-published authors, it's difficult sometimes because they may have trouble fitting in with the marketing plans of a mainstream publisher."

Melody Guy, senior editor at Ballantine Books agrees. "The disadvantage of self-publishing and then going to a mainstream publisher is that many times these authors find it hard to work within the corporation," says Guy. "Often, the goals and expectations the author has--moving from self-published to mainstream--are unrealistic."

However, Guy, who has purchased many self-published works including Travis Hunter's The Hearts of Men (One World/Strivers Row, May 2001) and Gloria Mallette's Shades of Jade, (Villard Books, June 2001) looks at self-published works as a viable source for acquisitions.

"I usually hear about these books from the market--the buzz that is going on from booksellers and readers" Guy says. "With Shades of Jade, I saw it everywhere, and I decided to read the book myself."

Like Davis, for Guy sales alone are not enough. "I'm looking for good writing, good storytelling," she says. "I want an author who is paying attention to the craft."

Guy takes the time to discuss expectations before any offer is made. "From the beginning, I want to lay out the plan," she says. "It's important to discuss what the author hopes to get from the relationship with their publisher. After all, they were able to do so much on their own. What does the author expect the mainstream publisher to add?"

Victoria Christopher Murray is the author of Truth Be Told (Touchstone, July 2004). She recently signed with Simon & Schuster to publish her next book, Grown Folks Business, the story of a woman's journey in rediscovery after she finds out that her husband is gay.