TABLE OF CONTENTS

CHAPTER 1: INTRODUCTION

 Overview of AUTHORSPRESS

 Objectives of the study

 LIMITATIONS of the study
 RESEARCH METHODOLOGY

C H A P T E R 2 : P r o f i l e of t h e o r g a n i z at i o n
 Mission of AUTHORSPRESS

 Vision of AUTHORSPRESS

 Corporate strategy of AUTHORSPRESS

CHAPTER 3: ANALYSIS & INTERPREATATION

CHAPTER 4: CONCLUSION &RECOMMENDATIONS

CHAPTER 5: ANNEXURE

 Questionnaire
 Bibliography
 CHAPTER -1

INTRODUCTION
OVERVIEW OF AUTHORSPRESS

1. CORPORATE PROFILE
Authorspress — as the name suggests—is a publishing venture with a difference. It has a

missionary vision and zeal to translate the dream of budding as well as established

authors to publish their scholarly works and thus enrich the treasure-house of knowledge

for those who really look forward for such academically sound works. In the process, the

author has the potential to come onto the centre stage of national as well as international

academic circles. Authorspress values the work and creativity of the authors. We are

dedicated to seeking out and publishing both new and established authors who are

extending the possibilities of their work beyond the traditional definitions and restrictions

of, genre.

Established in the nineties Authorspress has received appreciation and applaud from

readers across the globe. We seek to respond to the need for access to ides, information

and trends which impact the efforts of the people to progress toward a better, happier,

more equitable life. By promoting empirical work and theoretical reconstruction of

discourse within traditional academic disciplines, we seek to advance revisions of

knowledge and re-evaluations of values that will lead to a world in which the dignity of

every human being matters. We are committed to promote books that educate, inspire,

empower and awaken. We publish books with challenging to ideas, concepts, and

analysis not readily found in the mainstream

.
 During these years, Authorspress has progressed at a pace unequalled in the world,

and we look forward with renewed vigor to documenting this progress by re-emphasizing

our role as a publisher for the free and open exchange on the issues, events, and scientific

data impacting the society. The titles have been endorsed by respected authorities, well

reviewed in mainstream and alternative journals, placed on university course lists and

promoted by advocacy organisations.

1. A.1. Market Overview

A market is a socially made system which lets the purchaser and the seller to invent
various informations and accomplish an exchange of commodity and service. It can also
be termed as a place where goods trading takes place. A Market Overview is very
important to understand the concept of market.
In the market both the buyer and the seller look to gain as much as they can. In
street markets, bargaining regularly take place and it stops when the buyer and the seller
feel somewhat happy with the price. Before entering a market a buyer needs to gather
information about the goods he is going to buy. For the seller needs to understand how
much a buyer can pay for his goods.
A market can run like complex institutions like stock market or through mutual
discussions. Most of the markets are influenced through state governed rules and
regulations. And the means of transactions are done through a particular currency or
something equivalent to money. There is no hard core rule about where a market can
arise. Whenever there is a demand for commodity or service and chances of good
transactions, a market can evolve. There can be markets for goods or services that are
banned in the country.

1.A.1.1. Market Features

Book publishing, a huge market worldwide, is chiefly fostered by voracious readers, who
make up the general consumer base and specific consumers such as students and
professionals, and institutional buyers such as libraries. The market would be driven by
the government’s rising emphasis on education, higher enrollment in schools/colleges,
rise in readership, and growing number of professionals in the modern workforce.
However, there are challenges too in the form of the advent of information technology,
and shifts in consumer preferences and hobbies towards other electronic forms of
entertainment.
Despite the challenges, the book publishing market will stand enthused by market
fundamentals, such as, conducive demographics, such as, students seeking educational
books, reference volumes and textbooks, parents and governments focusing more on the
spend on education, increasing number of women and the middle aged continuing with
and reviving their reading habits, professionals in various industries seeking books that
help them with their professions, parents wanting to read out to their children from books,
and individuals wanting books that assist in self-improvement.

1.A.1.2. Price Sensitivity

Price-sensitivity is the weight that customers place on price relative to other factors such
as brand, features, access or advice in making choices. Price-sensitivity varies among
customers in predictable and stable ways. For a particular decision, price-sensitivity will
depend on the characteristics of the customer, as well as the product, channel, and
relationship with the bank.

1.A.1.3. Problems with Raw Material Supply

The challenges would be many to doing so, however, not the least of which would be
suddenly managing cash flow without the corporate backing of RBI and with the credit
environment still very tight. Likely, the new team would try to get “angel” funding to
give it some money in the bank to provide some cushion in the early months as an
independent and beyond. If such funding becomes available, it again begets the question
of why such a move wasn’t made before the closing announcements, which clearly will
have some impact on advertising revenues at least in the short term even if the
management team is able to restart the publications.
Many wonder in the publishing industry, however, wonder if there is any real future for
hardcopy business-to-business trade publications in any sector, supply chain included,
given cost and advertising dynamics.

1.B. Company’s Stand in Market

The cost per book is critical! If the publisher charges too much to produce your book,
you will be priced out of the market. Many self-publishing companies are gouging
authors by charging way to much for their books.
Make sure the self-publishing company you select is going to do everything you
need to be done. Some companies with an excellent rating do not include covers in the
price of their packages.
Many companies will try to up sell you into a more expensive package. Resist the
temptation; remember you want to publish with a minimum investment.
Book marketing and promotion packages can be extremely tempting, especially if
you don’t have any experience in online marketing. Resist these packages. Most of these
consist of fliers, post cards, business cards, press releases, etc. Most of these are of little
value in selling books because they are not targeted to your audience.

1.B.1. Focus on Company Products

Editing manuscripts involves a lot of patience and a lot of time, often much more time
than someone new to publishing could even imagine. If you plan to accept the work of
outside submissions, than you can plan on spending 5 to 10 hours per day, doing nothing
but editing manuscripts. When it comes to editing, it may be best for you to take on
employees, as editing is a really big job, one that a single person can not do on their own.
Editing involves, first of all reading everything that gets submitted. At first, this
may not be very much, but once you have got a following, you well quickly become
swamped by the much feared and often dreaded slush-pile.
The slush-pile is a publishing term for the hundreds upon hundreds or thousands
of manuscripts that sit in a big pile, waiting for the editor to find enough time and sanity
to read them all. Once you started getting enough submissions to have a slush pile, than it
is time to hire at least 2 or 3 more editors for your staff.
After the editor has read the manuscript, they must next decide if this is a
manuscript they want to see published by their publishing house. For most manuscripts
the answer will be no. When the answer is “no”, it is the editors job to write a letter to the
author, explaining that the manuscript was rejected, and detailing the reasons why the
manuscript was rejected.
If, however, the manuscript is rejected by the editor, then your next job is to
convince first the editor-in-chief, and next the publisher/owner of your convictions that
this manuscript is worth their time and money.
If you are a small press editor, chances are, that you are the slush-pile editor,
editor-in-chief, and the publisher-owner all rolled into one. If that is the case than you can
skip the part of groveling to them to convince them the manuscript is worth their time,
because you are them, and you have already decided you wanted to publish it.
Once the publisher-owner has given the good ahead, than your next step is to actually edit
the manuscript. This mean reading it again, this time using a red pen to correct all the
grammar errors. Than reading it again, using a red pen to correct all the spelling errors.

Your next step is to have this corrected version typed up. If you are the only editor in
your small press, than it’ll be your job to type up the corrected version of the
manuscript.After typing up the corrected version, you must go through and read it again,
to make sure you did not miss any mistakes.
Finally it is your job as editor to submit the final edit to the printer, so that the
printer can mock up a galley for you. Once they have printed up a galley, you must now
read this and do the final edit, in red pen, directly on the pages of the galley. Depending
on the print shop you are using, you will either retype a new manuscript from this galley
or you will send them the galley itself and they will retype it. Be sure to ask your printer
how they handle galley corrections, before hand, and do exactly what they tell you to do.

1.B.2. Level of Product Awareness

There is a common change that is overtaking thousands of authors all over the world.
They no longer send their manuscripts in for consideration to be published. They are
writing books faster than ever releasing two or three books a year instead of one every 2
or 3 years. This new mutated breed of authors are no longer authors as we know them...
they are: The Pod-People!
The Pod People have invaded the earth. Editors run away screaming in terror.
Publishers shake their angry fists vowing revenge, and agents devise plots to put an end
to this newfound reign of the pod people. Yet, in the daily lives of the average civilian,
people have no idea of this invasion that has taken the publishing world by storm,
uprooting every tradition that traditional publishers hold dear.
But who are these Pod-People and what have they done? They are authors who
have turned their backs on traditional publishing and set out to self-publish. Not only do
they self-publish, but also they do it using the Print-on-Demand method.
Print on Demand or POD for short is quite simple: the book is stored on a
computer hard-drive and when a customer wants to buy it, the printer prints up, one
single solitary copy. Just one. Not 10,000, not 1,000, not 100, not even 10... just one
single copy, custom printed and bound just for you. This environmentally friendly
method saves trees by not having tens of thousands of copies stored away in a warehouse
not being sold. This method uses small sheets of paper, not giant rolls with lots of scrap-
waste, also helping to save trees. There is no longer the need to store 2,000 unsold copies
of your book in your basement. And best of all, your book NEVER goes out of print, it’s
always there, always available at any given moment, and ten, twenty, fifty years from
now, it’ll still be in print whenever a customer asks to buy one!

OBJECTIVES
  To study the history of AUTHORSPRESS.

 To analyze the publishers/ authors/ distributors/ voracious readers/ consumers

attitude towards the books published by AUTHORSPRESS.

 To know the marketing strategies of AUTHORSPRESS.

 To determine the effectiveness of marketing strategies adopted by

AUTHORSPRESS.

 To conclude and give recommendations with the help of this study.

LIMITATIONS

The Main Limitations Of The Study Are As Follows:

 The most important limitation is that the sample size, which is taken for the
study, is very small i.e. 30 only.
 Time was the biggest constraint as many times it was not possible to get the
respondents interviewed as they were mostly publishers/authors/distributors
and were busy with work.
 The area of the analysis is also limited because this analysis is based on these
questionnaires have been filled only by the people of South and East Delhi.
 Sometimes the people do not provide exact information required.
 RESEARCH METHODOLOGY

Meaning
Research- The advanced learner’s Dictionary of current English lays down the
meaning of research as “A careful investigation or enquiry especially through
search of new facts in any branch of knowledge”.

Redman & Mory defines research as “the systematical effort to gain new
knowledge”

According to Clifford Woody, research comprises defining & redefining problems,

formulating hypothesis or suggesting solutions, collecting, organizing and reaching
conclusions and at last carefully testing the conclusions to determine whether they
fit the formulating hypothesis.

Objectives of Research
The purpose of any research is to discover answers to questions through the
application of scientific procedures. The main aim of the research is to find out the
truth hidden and which has not been discovered as yet. Through each research
study has its own specific purpose, we may think of research objectives as falling
into the following broad headings or groups.

• To gain familiarity with the phenomenon or to achieve new insight into it

(exploratory/formulating research studies)
• To portray accurately the characteristics of particular individual, situation or
group.
• To determine the frequency with something occurs , or wit which it is
associated with something else. It is generally known as diagnostic research study.
• To test a hypothesis of casual relationship between variables and this is
generally known as hypothesis testing research study.

Motivation in Research
What makes people to undertake research?
This is the question of fundamental importance. The possible motives for doing
research may be either one or more of the following:

1. Desire to get a research degree along with consequential benefits.

2. Desire to face challenges in solving the unsolved problems i.e. concern for
practical joy of initiating research.
3. Desire to get intellectual joy of doing some creative work.
4. Desire to provide service to the society
5. Desire to get respectability.

However, this is not an exhaustive list of factors motivating people to undertake

research studies. Many more factors such as employment conditions, curiosity
about new things, desire to understand casual relationships, social understanding &
the like may motivate at times compel people to perform research operations.
RESEARCH METHODOLOGY

Research Methodology is a way to systematically solve the research problem. It

may be understood as a science of studying how research is done scientifically. In it
we study the various steps that are generally adopted by a researcher in studying his
research problem along with the logic behind them. It is necessary for the
researcher to know not only the research method/techniques but also the
methodology.

Thus, we talk of research methodology we not only talk of research methods but
also consider the logic behind the methods we use in the context of our research
study and explain why we are using a particular method or technique and why we
are not using others so that research results are capable of being evaluated either by
the researcher himself or others.

METHOD OF SAMPLING

SIMPLE RANDOM SAMPLING: This type sampling is also known as

chance sampling or probability sampling where each and every item in the
population has an equal chance of illusion in the sample and each one of the
possible samples, in case of finite universe , has the same probability of being
selected. This sampling design is used in this research.
 MODE OF COLLECTION OF DATA

This research design basically provides a framework for carrying out the entire
research to fulfill the desired objectives.
DATA means facts or information. In general, data can be defined as information
collected for analysis and interpretation for a predetermined purpose. In other
words, data are raw material to which the statistician applies his analysis just as
wood is the raw material for cabinet maker, and marble is the raw material for the
sculptor.

SOURCE OF DATA
There are two types of data:
1. Internal data
2. External data

INTERNAL DATA is collected from the activities within the firm or agency itself
for e.g. - The private agencies like banks and industrial concerns regularly compile
figures on their assets and liability, no. of employees etc.

EXTERNAL DATA is obtained source outside the firm. It is of two types:

1. Primary data
2. Secondary data
 PRIMARY DATA
Primary data are those which are collected afresh and for the first time, and thus
happen to be original in character.
We collect primary data during the course of doing experiments in an experimental
research but in case we do research of the descriptive type and perform surveys,
whether sample surveys or census surveys, then we can obtain primary data either
through observations or through personal interviews. This in other word means that
there are several methods of collecting primary data, particularly in surveys and
descriptions research. Following are the various ways through which primary data
can be collected:

1. DIRECT PERSONAL INVESTIGATION

2. INDIRECT ORAL INVESTIGATION
3. INFORMATION FROM CORRESPONDENTS
4. MAILED QUESTIONNAIRE METHOD
5. SCHEDULES SENT THROUGH ENUMERATORS

Primary data for the research is collected by the way of questionnaire method.

QUESTIONNAIRES: In this method, the investigator prepares &sends it to the

informants by post with request that the questionnaire filled up & sent back by a
specified data.
Sample: 30
The primary data collected consists of reply to the questionnaires of informants
consisting of publishers/authors/distributors/voracious readers/consumers.
SECONDARY DATA
The secondary data, on other hands, are those which have already been collected
by someone else which have been passed through the statistical process. The
researcher would have to decide which sort of data she would be using for this
study and accordingly she will have to select one or the other method of data
collection.

The secondary data can be collected through various ways:

• Websites
• Books
• Brochures
• Magazines etc.
CHAPTER-2

COMPANY’S
PROFILE
About the Company
Established in the nineties Authorspress has received appreciation and applaud from

readers across the globe. We seek to respond to the need for access to ides, information

and trends which impact the efforts of the people to progress toward a better, happier,

more equitable life. By promoting empirical work and theoretical reconstruction of

discourse within traditional academic disciplines, we seek to advance revisions of

knowledge and re-evaluations of values that will lead to a world in which the dignity of

every human being matters. We are committed to promote books that educate, inspire,

empower and awaken. We publish books with challenging to ideas, concepts, and

analysis not readily found in the mainstream.

Vision & Mission of Company

Authorspress has progressed at a pace unequalled in the world, and we look forward with

renewed vigor to documenting this progress by re-emphasizing our role as a publisher for

the free and open exchange on the issues, events, and scientific data impacting the

society. The titles have been endorsed by respected authorities, well reviewed in

mainstream and alternative journals, placed on university course lists and promoted by

advocacy organisations.

Company’s Corporate Strategy

 Moving on to actually getting started. How do you do it? Well, getting started is the easy

part. Anybody can start a publishing company; there is nothing to it really. The hard part

is keeping it running after you have gotten started.

The ten steps below can be used for both starting a Small Press Publishing House

and starting a Self-Publishing Press, however, they are writing with the intention of

starting a self-publishing press, and will need slight revisions to work for the small press

publisher.

i) Have a business plan.

ii) Know your customer.
iii) Plan a marketing Campaign
iv) Choose a name.
v) Assign jobs.
vi) Find a printer.
vii) Find a distributor.
viii) The ISBN
ix) Learn to know books.
x) Learn to be an editor
 CHAPTER-3

ANALYSIS
AND
ITERPRETATION

ANALYSIS AND INTERPRETATION

PRIMARY DATA
This is the analyses & interpretation of the Questionnaire prepared by me. This represents the
views of publishers/authors/distributors/voracious readers/consumers about the marketing
strategies of AUTHORSPRESS.

3.1 HAVE YOU HEARD ABOUT AUTHORSPRESS

Table3.1
RESPONSE NUMBER OF RESPONDENTS PERCENTAGE
YES 26 87%
NO 4 13%
TOTAL 30 100%

13%

87%

YES N0

Above pie-chart gives clear representation of the informants

(authors/publishers/distributors/voracious readers) who have heard about
AUTHORSPRESS.
 3.2 IF YES, SOURCE:

Table 3.2

SOURCE NO. OF RESPONDENTS PERCENTAGE

NEWSPAPER 10 38%

MAGAZINE 5 19%

INTERNET 4 16%

ANY OTHER 7 27%

TOTAL 26 100%

40%

35%
38%
30%

25%

20%

15%
19% 27%
10%
16%
5%

0%

NEWSPAPER
MAGAZINE b ÆÉ SOURCE OF ADVE
INTERNET
ANY OTHER

NEWSPAPER MAGAZINE INTERNET ANY OTHER

The above chart shows the sources from which the respondents have heard about

AUTHORSPRESS. Mostly respondents have heard about the company from newspapers

reviews given about their books. The any other source is prominent since respondents

constitute authors/publishers/distributors and they have heard because of the business.

3.3 WAS THE ADVERTISMENT IMPACTFULL?

 TABLE3.3

IMPACT NO. OF RESONDENTS PERCENTAGE

TO A GREAT EXTENT 10 38%

TO SOME EXTENT 7 27%

TO LITTLE EXTENT 3 12%

NOT SATISFIED 6 23%

TOTAL 26 100%

40%
35%
30%
25%
20%
15%
10%
5%
0%
NOT SATISFIED
TO LITTLE EXTENT
TO SOME EXTENT
TO A GREAT
EXTENT

TO A GREAT EXTENT TO SOM E EXTENT TO LITTLE EXTENT NOT SATISFIED

The figure clearly shows the impact of the advertisement of AUTHORSPRESS on the

informants and there was a mix response but majority of them (38%) were satisfied to a

great extent.

3.4 ARE THE BOOKS OF AUTHORSPRESS EASILY AVAILABLE ACROSS

LIBRARIES AND BOOK SHOPS?

TABLE3.4
 RESPONSE NO.OF RESPONDENTS PERCENTAGE

YES 25 96%

NO 1 4%

TOTAL 26 100%

4%

96%

YES NO

The above pie-chart shows the positive response of the respondents towards the

availability of the books of AUTHORSPRESS across libraries and book-shops. 96% of

the respondents were in the favour of easy availability of the books of the company.

3.5HOW DO YOU FIND THE QUAULITY OF PAPER USED IN THE BOOKS

PUBLISHED BY AUTHORSPRESS?

TABLE 3.5

RESPONSE NO. OF RESPONDENTS PERCENTAGE

SATISFACTORY 2 8%

GOOD 5 19%
 VERY GOOD 15 58%

EXCELLENT 4 15%

TOTAL 26 100%

58% 60%

50%

40%

19%
15% 30%
8%
20%

10%

0%

EXCELLENT
VERY GOOD
GOOD
SATISFACTORY

SATISFACTORY GOOD VERY GOOD EXCELLENT

There was a positive response towards the quality of paper used in the books published

by AUTHORSPRESS with majority of the respondents in favour of very good and

excellent(73%).

3.6. QUALITY OF THE COVER DESIGN/OVERALL DESIGNS OF THE

BOOK?

TABLE3.6

RESPONSE NO.OF RESPONDENTS PERCENTAGE

SATISFACTORY 2 8%

GOOD 6 23%

ATTRACTIVE 14 54%
 HIGHLY ATTRACTIVE 4 15%

TOTAL 26 100%

60%

50%

40%

30%

20%

10% HIGHLY ATTRACTIVE

ATTRACTIVE
0% GOOD
SATISFACTTORY

SATISFACTTORY GOOD ATTRACTIVE HIGHLY ATTRACTIVE

The above chart clearly shows that the informants find the cover design/ overall
designs of the books of AUTHORSPRESS attractive (54%).

3.7. HOW DID YOU FIND THE PRICE OF THE BOOK?

TABLE3.7.

PRICE NO.OF RESPONDENTS PERCENTAGE

NOMINAL 3 12%

RIGHTLY PRICED 6 23%

EXPENSIVE 12 46%

VERY EXPENSIVE 5 19%

TOTAL 26 100%
 19% 12%
23%
46%

NOMINAL RIGHTLY PRICED

EXPENSIVE VERY EXPENSIVE

The above chart shows the response of the respondents towards the price of the books

published by AUTHORSPRESS. The response was not so good as majority of the

respondents found the price of the books quite expensive (65% = 46% + 19%).

3.8. QUALITY OF THE CONTENT OF THE BOOK, WAS THE BOOK WORTH

THE PRICE?

Table 3.8.

RESPONSE NO.OF RESPONDENTS PERCENTAGE

YES 24 92%

NO 2 8%

TOTAL 26 100%
 8%

92%

YES NO

The above pie chart clearly shows the positive response of the informants towards the

quality of the contents of the books of AUTHORSPRESS. Majority of the respondents

(92%) found the book worth the price.

3.9.A POST PURCHASE WAS THERE ANY REQUIREMENT FOR FEEDBACK

TO THE AUTHOR/PUBLISHER?

TABLE3.9.A

RESPONSE NO. OF RESPONDENTS PERCENTAGE

YES 14 54%

NO 12 46%

TOTAL 26 100%
46%
54%
YES
NO
The above pie chart shows the requirement of respondents for feedback to the

author/publisher post purchase. 54 %( 14 out of 26) of the respondents required feedback

after purchase and 46 %( 12 out of 26) did not require any feedback.

3.9. B. IF YES, SPECIFY THE REASON:

TABLE3.9.B

REASON NO.OF RESPONDENTS PERCENTAGE

MISTAKES IN THE BOOK 2 14%

PURCHASE OF BOOKS 3 21%

APPRECIATION OF THE BOOK 6 44%

ANY OTHER REASON 3 21%

TOTAL 14 100%

44%
45%

40%
35%
21% 21% 30%
14% 25%
20%
15%
10%
5%
0%
ANY OTHER
APPRECIATION OF
PURCHASE OF
MISTAKES IN THE

REASON
THE BOOK
BOOKS
BOOK

M ISTAKES IN THE BOOK PURCHASE OF BOOKS

APPRECIATION OF THE BOOK ANY OTHER REASON

The above graph is a clear representation of the respondents reason for feedback to
author/publisher. The majority of the respondents have a positive feedback (65%) either

for purchase of books or for appreciation of books.

3.10.HOW WOULD YOU RATE THE ACCESIBILITY TO

AUTHOR/PUBLISHER FOR FEEDBACK?

TABLE 3.10

RATING NO.OF RESPONDENTS PERCENTAGE

SATISFACTORY 0 0

GOOD 4 29

VERY GOOD 6 42

EXCELLENT 4 29

TOTAL 14 100%

42%
29%

6
29% SATISFACTORY
GOOD
4
VERY GOOD
2 EXCELLENT
0%
0
1st Qtr

The above graph shows the respondents rating on accessibility to the author/publisher for

feedback. The respondents gave a positive response as none of the respondents rated it as

satisfactory. Therefore the company has a good after sales service.

SECONDARY DATA

Analysis of Product Market

New business start ups and can quickly result in your down fall if neglected. First off,

know that you cannot please everyone, you cannot sell to everyone, and not everyone is

going to like you or your product. What you have to do is decide who your ideal

customer is. Let’s look at three big names in the fashion industry for an example: Wal-

Mart, Macy’s, and Nordstrom’s Wal-Mart focuses on the average income family of a

$20,000 to $30,000 income and a family with an average of four children, who live in an

apartment but saving for their own home. Their ideal customer shops on a budget and is

looking for a bargain.

Macy’s focuses on the high-income family with a housewife whose husband brings

in an income of $75,000. She is the mother of two teenagers or college students. Their

ideal customer now has more time to spend shopping for herself than she did a few years

ago so she wants to splurge.

Nordstrom’s focuses on the elite high income business couple. Both have jobs

paying over $100,000, they have no children and live in a penthouse and attend high-

class business-cocktail parties on a weekly basis. Their ideal customer has money to

spend and wants one of a kind fashions straight from the Paris runways.

Each of these three company’s caters to a different type customer. They are

successful because they focus only on that one customer. If they tried to cater to multiple

customers, they would quickly fall and go bankrupt. Learn from the big companies and

focus only on your ideal target customer.

 In publishing, you need to do the same thing. Do your research and find out who

reads the type of books you plan to sell. What is their income? How do they live? How

much can they afford to spend? How much are they willing to spend?

3.1. Plan a Marketing Campaign

This will change over time and should be rewritten at least four times per year

(quarterly). You need to plan a marketing campaign if you want to be a successful

publisher. Knowing your ideal customer is not enough; you must plan how you are going

to get your business out there for them to actually become your customer. Research what

other publishers are doing. How do they advertise their business? What bookstores carry

their books? How did they get their books in their customers reach?

3.1.1. Choose a Name

What is in a name? Everything! A name can make or break your business. One of the

biggest mistakes a new publishing company makes is not choosing a name. Sounds silly,

but it is true. Most publishing company start-ups just use their own name: John Smith

Press or Jane Doe Publishing House. Ask yourself, would YOU buy a book from a

publisher called John Smith Press? Go to your local bookstore and take a look at a few of

the publishing house names. What do you see? Bantam Books. Scholastic Books.

Twighlight Manor Press. Firebird Fantasy. Story Press. Writer’s Digest Books. You get

the idea right? Sit down and really think about what image you want to present. How do

you want customers to see you? Than brainstorm names until you find one that fits.

3.1.2. The ISBN

The sheer cost of the ISBN frightens many new publishers into thinking they can go

ahead with out them. Not so. There is no bookstore online or local that will carry a book

without an ISBN, and only a limited number of libraries will add a non-ISBN book to

their collection. If you chose to go without the ISBN, know that you can than only sell

your book via tailgate. Be prepared to go to local beaches, fairs, and craft shows, and sell

copies of your book off your tailgate and be prepared to go out of business in your first

year. No ISBN equals no sales.

3.1.2. Learn to Know Books

If you want to be taken seriously as a publisher, than be sure that your books LOOK

professional. There is no bigger turn off to a buyer, than to open a book and see that there

is no copyright page, no dedication page, no about the author page, no LCCN page, no

ISBN, no table of contents, hard to read fonts, and a sloppy layout.

Buy copies of today’s best sellers: Harry Potter, Stephen King, etc. and do not read the

books, but instead look at the pages. How many blank pages are at the beginning and

end? How are the first 13 pages set up? Did you notice that there are always at least 13

pages of information before the book even begins? What do the margins look like? What

font was used? What color is the paper? Is the paper smooth or grainy? Forget about

reading the story; really get to know the book itself.

3.1.4. Learn to be editor

If you are going to self publish than you are going to have to learn the art of editing

manuscripts. This cannot be overlooked.

 Editing manuscripts involves a lot of patience and a lot of time, often much more

time than someone new to publishing could even imagine. If you plan to accept the work

of outside submissions, than you can plan on spending 5 to 10 hours per day, doing

nothing but editing manuscripts. When it comes to editing, it may be best for you to take

on employees, as editing is a really big job, one that a single person can not do on their

own.

Editing involves, first of all reading everything that gets submitted. At first, this

may not be very much, but once you have got a following, you well quickly become

swamped by the much feared and often dreaded slush-pile.

The slush-pile is a publishing term for the hundreds upon hundreds or thousands of

manuscripts that sit in a big pile, waiting for the editor to find enough time and sanity to

read them all. Once you started getting enough submissions to have a slush pile, than it is

time to hire at least 2 or 3 more editors for your staff.

After the editor has read the manuscript, they must next decide if this is a

manuscript they want to see published by their publishing house. For most manuscripts

the answer will be no. When the answer is “no”, it is the editors job to write a letter to the

author, explaining that the manuscript was rejected, and detailing the reasons why the

manuscript was rejected.

If, however, the manuscript is not rejected by you the editor, than your next job is to

convince first the editor-in-chief, and next the publisher/owner of your convictions that

this manuscript is worth their time and money.

If you are a small press editor, chances are, that you are the slush-pile editor, editor-

in-chief, and the publisher-owner all rolled into one. If that is the case than you can skip
the part of groveling to them to convince them the manuscript is worth their time,

because you are them, and you have already decided you wanted to publish it.

Once the publisher-owner has given the good ahead, than your next step is to

actually edit the manuscript. This mean reading it again, this time using a red pen to

correct all the grammar errors. Than reading it again, using a red pen to correct all the

spelling errors.

Your next step is to have this corrected version typed up. If you are the only editor

in your small press, than it’ll be your job to type up the corrected version of the

manuscript.

After typing up the corrected version, you must go through and read it again, to

make sure you did not miss any mistakes.

Finally it is your job as editor to submit the final edit to the printer, so that the

printer can mock up a galley for you. Once they have printed up a galley, you must now

read this and do the final edit, in red pen, directly on the pages of the galley. Depending

on the print shop you are using, you will either retype a new manuscript from this galley

or you will send them the galley itself and they will retype it. Be sure to ask your printer

how they handle galley corrections, before hand, and do exactly what they tell you to do.

While you are doing all of these steps, you are also, at the same time, in contact

with the author of the manuscript that is being edited. You will write up the contract and

mail it to the author. (NOT EMAIL! REAL PUBLISHERS DO NOT EMAIL

CONTRACTS!) The author reads the contract and may or may not agree to the terms. If

they agree, they sign the papers (often as many as 10 or 12 sheets) and mail them back to
you. If they do no agree they tell you so, possibly via email, and you take up their

disagreements with the publisher-owner.

And all that, in short, is what an editor does. If you cannot take the time to do all of

this, than you MUST hire either an in-house editor or an outside editor

4. FUNDING OR BUSINESS MODEL

Funding models for the collaborations include comprehensive development and operating

subsidies (about 30% of the projects), mixed models that combine subsidies and earned

revenue (almost 60%), and earned revenue models with no subsidy component (about 10%). Of the

90% of the projects that have received some level of subvention, approximately 60% received both

development and ongoing operating subsidies, with the remaining 40% receiving support for

initial development alone

The funding models for partnerships can be characterized as either parallel or integrated.

When the income models run in parallel, the press and the library each operates under its

own funding model, with the press typically using an earned revenue approach and the library

applying a standing budget or subsidy model. When the business models are integrated, the

organizations share the financial risks and rewards of the project.

Two-thirds of the projects have an earned revenue component, most frequently

implemented in parallel with an operating subsidy. For example, for projects where the

library provides an expanded, freely available, online version of a print edition published

by the press, or where the press markets content provided by the library, the online

component is typically subsidized by the host institution or the library, with the print
edition marketed and sold by the press under a conventional sales model. About 15% of

the collaborations appear to integrate earned revenue fully into their funding model, with

all the partners in the collaboration receiving distributions from the revenue generated by the

project. In several instances, this earned revenue supplements an operating subsidy (for example,

Érudit and Penn State Romance Studies), and in others (for example, CIAO, LEME, the Fontanus

Monograph Series, Metalmark Books, Project Euclid, and Project Muse), the collaboration

generates sufficient earned revenue to be operationally self-sustaining.

Collating funding model and collaboration type, we find that: All of the digitized

backlist projects are fully subsidized, typically by the participating library. In these instances,

the press contributes the content, while the library provides the labor and/or funding to

undertake the digitization itself.

All of the initiatives that entail the library providing online access to content

distributed by the press in print combine subsidies with earned revenue. In virtually every case, the

library and press income models operate in parallel, with the library’s participation subsidized, and

the press’s participation covered by earned revenue.

Most projects for which the press handles marketing and distribution of print content

created or controlled by the library also operate under a parallel subsidy-earned revenue model.

Half of the online research and reference services are sustained exclusively by

subsidies and half are supported through a parallel subsidy-earned revenue approach.

Table 1 summarizes the distribution of collaborations by type and by funding model.

 Table 1: Collaborations by Type & Funding Model

Collaboration Type

Funding Model Digitize Press Press Digital Online Totals

d Print; Distribution Research & Book or
Backlist Library of Library Reference Journal
Online Content Services Platform
Subsidy only 10 0 0 4 1 15
Subsidy & earned revenue (parallel) 0 8 8 6 2 24
Subsidy & earned revenue Integrated 0 1 0 0 1 2
Earned revenue only 0 0 2 0 2 4
Totals 10 9 10 10 6 45

As the overview of current library-press collaborations above suggests, many of the initiatives

represent stand-alone projects, while others represent exploratory pilots for long-term,

programmatic publishing partnerships. In the sections that follow, this guide explores some of

the strategic issues and practical operating concerns that libraries, presses, and other

university units will confront in defining, launching, and sustaining partnerships capable of testing

alternative publishing models.

4.1. Strategic Objectives for Presses & Libraries

A mutuality of interests is critical to creating a strong alliance. In many cases, a library and

a press will partner because each needs the other to advance its individual interests. If a partnership is

not recognized as central to each partner’s strategy, it will never gain the commitment and resources

it needs to succeed. Thus, a partnership requires that each party has an explicit

understanding of its own strategic objectives and of the practical activities required to
achieve them. To this end, it makes sense to review some of the strategic benefits a publishing

collaboration can offer to a press and to a library.

4.2. Monitoring & Balancing Benefits

In practice, both the library and the press will need to determine the value of a

partnership in the context of their own specific mission and strategic objectives. The

sustainability of the collaboration will ultimately rest on the value that it creates for each

partner and for the host institution. Therefore, the value that the collaboration intends to

create needs to be explicitly identified and thoroughly assessed

.
The partners also need to be explicit about their individual expectations and goals for an

alliance. These objectives will often be multidimensional, and include both quantifiable

financial benefits and qualitative mission-driven social benefits. At the same time, each partner

needs to monitor the relationship to ensure that it remains equitably balanced. For individual

projects, a temporary resource or benefit imbalance might not be a problem. However, if the

partnership overall lacks balance, the commitment of the less engaged partner may not be adequate

to sustain the alliance.

 CHAPTER-4

CONCLUSIONS
&
RECOMMENDAT
ION

Conclusion

The analysis and findings have led to the following conclusion:

Most of the authors/publishers/distributors/readers/consumers of AUTHORSPRESS

are satisfied and happy with the books provided by publishing house to a great
extent. They don’t have many complaints against the publishing house. The books
offered by AUTHORSPRESS are satisfactory for the people.

Amongst all the books provided by the publishing house contents of the book is
highly appreciated. A person’s selection for a particular book is effected to a large
extent by the contents of the book. A book’s selection is totally a self-decision
based upon its contents but sometimes it is also affected by the price, attractiveness
of the design, accessibility to the author/publisher, appreciation of the book by
literary reviews published in the newspaper, advertisements in the internet,
 magazines and the suggestions of authors/publishers/voracious readers and the
goodwill of the publishing house among the distributors.

AUTHORSPRESS is one of the largest book publishing house of India and is

ranked one of the top five book publisher’s in India. AUTHORSPRESS has
progressed at a pace unequalled in the world, and look forward with renewed vigor
to documenting this progress by re-emphasizing their role as a publisher for the free
and open exchange on the issues, events and scientific data impacting the society.
The titles have been endorsed by respected authorities, well reviewed in mainstream
and alternative journals, placed on university course lists and promoted by
advocacy organizations.

Recommendations

The following are some recommendations for the bank:-

1. The publishing house should have a business website with an online

catalogue as e-commerce has become a global phenomenon.
2. It should have strategic and important ties-up with other publishing houses
both national and international.
3. The book publishers should increase its advertisements as the company
already has goodwill among the authors/publishers/distributors/voracious readers but
there is a less outreach to the common masses. So thus by advertising it will attract
more consumers.
4. The company should reduce the price of the books as per the respondents
majority found the price on the higher side.
CHAPTER-5
 ANNEXURES

QUESTIONNAIRE

PART - 1 PERSONAL PROFILE

1. NAME
2. ADDRESS.
3. PHONE NO.:

PART – 2
1. HAVE YOU EVER HEARD OF AUTHORSPRESS?
□ YES NO

2. IF YES, SOURCE:
NEWSPAPERS MAGAZINES

INTERNET ANY OTHER

 3. WAS THE ADVERTISMENT IMPACTFULL?
TO A GREAT EXTENT TO SOME EXTENT
TO LITTLE EXTENT NOT SATISFIED

4. ARE THE BOOKS OF AUTHORSPRESS EASILY AVAILABLE

ACROSS LIBRARIES AND BOOK SHOPS?
YES NO

5. HOW DO YOU FIND THE QUAULITY OF PAPER USED IN THE

BOOKS PUBLISHED BY AUTHORSPRESS?

SATISFACTORY GOOD
VERY GOOD EXCELLENT

6. QUALITY OF THE COVER DESIGN/OVERALL DESIGNS OF THE

BOOK?
SATISFACTORY GOOD
ATTRACTIVE HIGHLY ATTRACTIVE

7. HOW DID YOU FIND THE PRICE OF THE BOOK?

NOMINAL RIGHTLY PRICED
EXPENSIVE VERY EXPENSIVE

8. QUALITY OF THE CONTENT OF THE BOOK, WAS THE BOOK

WORTH IT?
 YES NO

9.A. POST PURCHASE WAS THERE ANY REQUIREMENT FOR

FEEDBACK TO THE AUTHOR/PUBLISHER?
YES
9.B. IF YES, SPECIFY THE REASON
MISTAKES IN THE BOOK
APPRECIATION OF BOOK
NO
PURCHASE OF BOOKS
ANY OTHER REASON

10. HOW WOULD YOU RATE THE ACCESIBILITY TO

AUTHOR/PUBLISHER FOR FEEDBACK?
SATISFACTORY GOOD
VERY GOOD EXCELLENT