令状/Edit for Hentzenwerke
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How the publishing 産業 一般に 作品 (the other guys)
Many 可能性のある HWP authors and editors are new to the biz, and thus
don't know much about the 産業. ーするために 高く評価する／（相場などが）上がる how HWP does
things, and why we're different, you need to know something about the
other players.
Many of the practices of the publishing 産業 are a natural result of the tremendous 勢い that any 円熟した 産業
acquires over a long period of time. But before we look at those practices, it’s a good idea to について言及する that the publishing 産業 has been を受けるing tumultuous changes in the past fifteen years, more so than in any other fifteen year period since Gutenberg did his thing over 500 years ago.
As a result, the 産業 is getting a little manic in its 行為.
First, the 概念 of the superstore, such as Barnes and Noble and 国境s, became popular in the 中央の-80’s, much to the chagrin of small, 独立した・無所属 bookstore 操作者s. A 味方する 影響 was the consolidation of 購入（する）ing 力／強力にする in a smaller number of 手渡すs.
The next shock wave that 攻撃する，衝突する was アマゾン.com, where a 事実上の 在庫 of millions of 調書をとる／予約するs could be easily browsed and 即時に ordered. Compared to the few thousand that were 在庫／株d (and often categorized and 位置を示すd incorrectly) in even the largest 蓄える／店s, the アマゾン experience made 調書をとる／予約する buying easier and more successful for many readers. アマゾン 強固にする／合併する／制圧するd its position by introducing such 革新s as 地位，任命するing reader reviews, automatically 示唆するing 類似の 肩書を与えるs, and continuing to 高める what is often regarded as the friendliest e-商業 interface on the Web.
The third shock wave, one that is just starting to make its 影響 felt, is that of the ebook. This has many different 面s, but the 核心 idea is that once a 調書をとる／予約する has been put into electronic 判型, it can be 分配するd in a variety of 判型s, and unlike a print 調書をとる／予約する that has a 直す／買収する，八百長をするd cost of 生産／産物, never goes out of print.
As a result of these changes, the 産業 is 存在 knocked about a lot. This 不確定 has 原因（となる）d daring 危険-taking and 勇敢に立ち向かう new 投機・賭けるs in some areas, and panic and irrational moves in others.
However, the 産業 has been around in the same basic
form for hundreds of years. Thus, even given these changes, the publishing 産業’s 抱擁する 量 of 伝統的な
勢い will keep it steering in the same direction for やめる a while.
I want to 強調する that the often sad 明言する／公表する of 事件／事情／状勢s of the 伝統的な 調書をとる／予約する publishing 産業 is the fault of the structure of the 産業. It is not because 調書をとる／予約する publishing is run by a group of sneaky, beady-注目する，もくろむd, greed-filled (n)役員／(a)執行力のあるs sitting in their offices, rubbing their 手渡すs over one another, cackling with evil glee as they produce another shoddy 調書をとる／予約する to the detriment of the public.
By and large, publishers are in the 商売／仕事 because they love 調書をとる／予約するs. But just as a lot of people are in the car 商売／仕事 because they love cars, but still produce mediocre cars, mediocrity is 一般に the order of the day in publishing.
I also want to 強調する that this is the 事例／患者 for many, but not all publishers. There are a number of publishers, 特に smaller ones, that 定期的に produce very good 調書をとる／予約するs. Unfortunately, they have a small slice of the pie, just as Mercedes, BMW and Jaguar have a 比較して small slice of the automobile market.
The 調書をとる／予約する
For big publishers, there’s not a lot
of money to be made with a 選び出す／独身 調書をとる／予約する ? unless that 調書をとる／予約する
turns out to be a best 販売人. The way big publishers make
their money is through series, be it two dozen Danielle Steele
bodice rippers or a dozen Tom Clancy techno-thrillers ? or
a brand like Hungry Mind’s “for 模造のs” series. Thus, there
isn’t a lot of 利益／興味 in producing a 広大な／多数の／重要な 調書をとる／予約する; rather,
they look for a 決まり文句／製法 that they can clone time after time.
This approach often leads to mediocrity, as a series 要求するs
‘slots’ to be filled ? the same type of 肩書を与える for Excel, Publisher,
WordPerfect, sendmail, Fortran VII, and so on.
This means that when an author has an idea for a new or different type
of 調書をとる／予約する, a big publisher is most likely going to see 危険, and it won’t
get published. The 調書をとる／予約するs that do get published ? and you can see this
by walking into any mega 蓄える／店 and seeing series after series （人が）群がるing
the 棚上げにするs ? nearly all follow the same cookie-切断機，沿岸警備艇 mold.
The 取得／買収
Given that the publisher has to “fill slots” for a
series, the next step is to find authors for 明確な／細部 肩書を与えるs in that series.
Most publishers 雇う what are called “取得／買収 editors” ? people
whose 職業 it is to find authors. いつかs, an acq editor is also 告発（する），告訴（する）／料金d
with developing new 肩書を与えるs, and so you’ll often see these people at 会議／協議会s,
trying to 位置／汚点／見つけ出す new 傾向s 同様に as 会合，会う 可能性のある authors.
The acq editor, once they find an author for a 肩書を与える, will 行為／法令／行動する as 連絡事務
ーするために get the 調書をとる／予約する 輪郭（を描く） developed, a schedule 大打撃を与えるd out, and
a 契約 調印するd. The acq editor may or may not 行為／法令／行動する as a 事業／計画（する） 経営者／支配人
for the 調書をとる／予約する; often that 仕事 is turned over to someone in the 生産／産物
味方する of the 商売／仕事.
With very few exceptions, acq editors are not technical people ? they
come from 調書をとる／予約する publishing areas. Thus, they are not 井戸／弁護士席 qualified to
裁判官 the technical 質 of a 調書をとる／予約する, nor the competence of a 可能性のある
author. As long as an author can talk a good story, 納得させるing the acq
editor that they can 令状 and 会合，会う a schedule, they are likely to get
the 調書をとる／予約する 取引，協定. Once 調印するd, the publisher and author have to live with
each other 関わりなく their 未来 competences in, それぞれ, 現実に
令状ing and publishing the 調書をとる／予約する.
That’s why you see so many 普通の／平均（する） 調書をとる／予約するs, and more than a few pitiful
調書をとる／予約するs. The way the 産業 is structured, there is 簡単に no way for
a technically qualified individual to 適切に 評価する 調書をとる／予約する 提案s,
search for and 評価する authors, and 確実にする high 質 contents. It’s
類似の to the 状況／情勢 with math teachers ? many of the good ones go
into 産業, where they can earn a lot more as engineers, scientists,
and programmers. An acq editor who has the technical wherewithal to 適切に
評価する 調書をとる／予約する 提案s and authors can make a lot more in another 職業.
This doesn’t mean that acq editors are bad people ? indeed, やめる the
contrary. As with most others in the publishing 商売／仕事, they’re there
because they love 調書をとる／予約するs, and they want to do the best 職業 they can. It’s
簡単に the 組織／基盤／下部構造 of the 産業 that constrains them.
On the flip 味方する, there are lot more 調書をとる／予約する 取引，協定s going around than there
are qualified authors. That’s why, in many 事例／患者s, a 調書をとる／予約する topic will get
shoddy 治療 ? the publisher has been 軍隊d to settle for someone
who may not be technically qualified or competent. Sure, there are some
極端に 広大な／多数の／重要な 調書をとる／予約するs out there, but those are usually the luck of the
draw, rather than happening because of an 組織するd, repeatable 過程
of the publisher.
The schedule
There’s a hidden dynamic in the 調書をとる／予約する 商売／仕事 that
原因（となる）s 不当な schedules to be created at nearly the same pace that
不当な schedules are created in ソフトウェア 開発. This dynamic
has to do with how the 大多数 of 調書をとる／予約するs are sold ? through 小売 設立s.
There’s a tremendous 圧力 for the bookstore to have 調書をとる／予約するs 利用できる
for a 見解／翻訳／版 of a 製品 or 道具 as soon as the 見解／翻訳／版 is 解放（する）d.
(These 調書をとる／予約するs are called “day and date” 調書をとる／予約するs.) In other words, as soon
as SuperDuperWord 2.0 is 利用できる for 購入（する）, there’d better be 調書をとる／予約するs
on SuperDuperWord 2.0 in the 蓄える／店s. The bookstores will place large orders
for 調書をとる／予約するs that are scheduled for availability on or before that date,
and 調書をとる／予約するs that show up later will be （人が）群がるd out.
This may sound bad, as you can imagine the 圧力 伴う／関わるd in getting
that 調書をとる／予約する on SuperDuperWord 2.0 to the 蓄える／店 on time. In fact, though,
it gets worse. The first 調書をとる／予約するs on the new 見解／翻訳／版 will 獲得する the 大多数
of shelf space, and, 自然に, will sell more, because they’re what’s
明白な to the 顧客. 調書をとる／予約するs that come later, even if they’re 意味ありげに
better, will get いっそう少なく shelf space, if any at all. Then, when reorder time
comes, the 調書をとる／予約するs that have done the best will be reordered, while those
調書をとる／予約するs with poor 購入（する） 率s will be ordered in より小数の 量, or perhaps
not at all. 自然に, the 調書をとる／予約するs that （機の）カム out the earliest, and had the
most shelf space, will have the best sales, even if they weren't very
good.
Thus, the 圧力 to produce a 調書をとる／予約する for concurrent 解放（する） with the 見解／翻訳／版
of the 製品 is enormous, to the 除外 of everything else. And that
“everything else” 含むs 質. That’s not to say that an author can’t
produce a good 質 day and date 調書をとる／予約する ? but if that happens, it’s 厳密に
予定 to the talent and fortitude of the author, and a bit of luck with
尊敬（する）・点 to the 製品. If the author is 専門家 with the 製品, has
a chance to work with it in depth during the beta cycle, has a の近くに 関係
with the members of the 開発 team, and the 製品 doesn’t change
too much during the latter parts of the beta, the author could very 井戸／弁護士席
produce a 広大な／多数の／重要な 調書をとる／予約する on the 製品.
But it’s also possible that other かかわり合いs on the part of the author
make it impossible to spend enough time to really understand and use the
new 見解／翻訳／版 of the 製品. And it’s possible that the 製品 can change
徹底的に in later 見解／翻訳／版s of the beta cycle, which means frantic rewrites
of 構成要素 thought to be covered and put to bed months earlier ? or perhaps
just letting incorrect 構成要素 go through to print. And, finally, it’s
possible that the author, ーするために 会合，会う a hectic schedule, or because
they don’t have that good a knowledge of the 製品, has to settle for
令状ing up a superficial 治療 of topics, doing a disservice to the
reader. This is, unfortunately, more the norm than an exception, and that’s
why you see so many 調書をとる／予約するs that are warmed over rehashes of the help とじ込み／提出する
and marketing 構成要素s from the vendor of the 製品.
There are exceptions ? 調書をとる／予約するs on 科学（工学）技術 that doesn’t change much don’t
have the 圧力 of a schedule to 会合，会う a new 見解／翻訳／版’s 解放（する） date,
for example. But those are 比較して a small number of the whole.
The authors and tech editors
Once a 調書をとる／予約する 取引，協定 has been made, it’s the
authors’ 責任／義務 to 令状 the 調書をとる／予約する. Authors come in
two flavors ? those for whom the 調書をとる／予約する 令状ing gig is part
or all of their 'real' 職業 (perhaps they also do 協議するing
or training, but 調書をとる／予約する income is a 重要な part of their
ordinary income), and those who have ‘real’ 職業s, and who
are producing the 調書をとる／予約する on the 味方する. The 圧力 on both types
is high. The 十分な-time author, not having another source of
income to rely on, has to crank out 調書をとる／予約するs one after another,
hoping that one of their publishers will put some marketing
muscle behind a 調書をとる／予約する so it will sell, ーするために 生成する
any type of reasonable income. They’re a slave to the schedule,
because if they 落ちる behind, the publisher can pull them from
the 事業／計画（する）, or bring in 付加 職員／兵員, and thus 減ずる
their 収入s.
The moonlighter, on the other 手渡す, already has a 十分な-time 職業, and quickly
finds that the publisher, while perhaps 同情的な to personal 苦境s,
still needs the 調書をとる／予約する done によれば the schedule ? the author has essentially
調印するd up for a second 十分な-time 職業. In some 事例／患者s, the 質 苦しむs,
as the author 押し進めるs 構成要素 out the door to the 会合，会う the schedule, with
関心 for 質 coming in a distant second.
Tech editors come in many different flavors ? some are 献身的な professionals
who know the 製品 inside and out, and won’t let an 不確かの 声明
get past them. Others, on the other 手渡す, have 圧力s that don’t 許す
them to do as 徹底的な a 職業 as they’d like, or are 簡単に looking for
a quick buck or a fancy line on their 再開する. So the 質 of the technical
review of a 調書をとる／予約する can, like the 令状ing, 変化させる 広範囲にわたって, and the big publisher
is unable to 決定する, much いっそう少なく 支配（する）／統制する, the 質.
The marketing, selling and 配当
As putrid as the 生産／産物 of a 調書をとる／予約する can be, it's
golden when compared to marketing. The 証拠不十分 of publisher’s marketing,
selling and 配当 are 事実上 全世界の／万国共通の （民事の）告訴s of computer
調書をとる／予約する authors everywhere. To understand why, you need to understand how
a 調書をとる／予約する makes its way from the printer to the 消費者.
A publisher will produce a run of 調書をとる／予約するs ? typically a print run will be
between 10,000 and 20,000 調書をとる／予約するs for most 肩書を与えるs. A few 肩書を与えるs might be
いっそう少なく, and some very popular will be more, but 95% or more will print in
this 量 範囲.
Publishers will market their 調書をとる／予約するs to the people who buy 調書をとる／予約するs ? 購入（する）ing
スパイ／執行官s (they’re called “調書をとる／予約する 買い手s”) at 蓄える／店s through a variety of 基準
機械装置s, catalogs, direct mail, calls by sales reps, and so on. They’ll
also occasionally do some marketing direct to the 消費者, such as with
広告s in 貿易（する） magazines, ーするために develop some 需要・要求する at the 蓄える／店s
that 誘発する 購入（する）ing スパイ／執行官s at 蓄える／店s to order or reorder.
Additionally, just like every other 産業 under the sun, the publishing
産業 has 会議／協議会s with 貿易（する） shows where publishers will 展示（する）
their 調書をとる／予約するs and 調書をとる／予約する 買い手s from 蓄える／店s will wander around and 調査／捜査する
what’s hot.
結局, 調書をとる／予約する 買い手s will decide what to buy ? but they don’t buy direct
from the publisher. Believe it or not, there are thousands of publishers
in the 部隊d 明言する／公表するs alone ? and a bookstore doesn’t want to have to 扱う
buying from thousands of vendors.
Instead, publishers sell 調書をとる／予約するs to intermediaries called 卸売業者s or
distributors. 調書をとる／予約する 買い手s at bookstores then buy 量s of 調書をとる／予約するs from
these intermediaries, who do 倉庫／問屋ing and order fulfillment.
Once the 初期の sales 押し進める has been made by the publisher, the sales
過程 is over. There might be some follow up, but it’s often a haphazard
試みる／企てる done by the seat of the pants, rather than a 一致した, methodical
approach that you and I ? technical people ? might sort of 推定する／予想する.
An 付加 factor to be aware of is the 問題／発行する of returns. The bookstore
doesn’t 現実に ‘buy’ the 調書をとる／予約するs from the intermediary. Instead, an intermediary
will send, say, ten 調書をとる／予約するs to a bookstore on consignment, and thus the
bookstore doesn't have to 支払う／賃金 for those 調書をとる／予約するs for, on 普通の／平均（する）, 90 days.
At the end of the 90 days, the bookstore will 支払う／賃金 for what they sold,
and then return the 残り／休憩（する）. So if four of those 調書をとる／予約するs sell, the intermediary
sees income for 4 調書をとる／予約するs, and has to 支払う／賃金 for shipping for the other six
支援する. 結局 (as much as 180 days later) the publisher gets paid for
those 4, even though they shipped 10 to the intermediary a half year ago.
The returns 概念 can lend itself to all sorts of scams
on the part of bookstores ーするために, er, "manage" cash flow.
For example, suppose a bookstore orders 20 copies of a 調書をとる／予約する,
and over a month, sells 14 of them, leaving 6 in 在庫.
Instead of ordering another 8 so that they'd still have 14
on 手渡す to sell for the 近づいている month, they'll return the
six they have on 手渡す, and order 14 new ones. Why? Because
then they only have to 支払う／賃金 for 8, instead of for the 14 they
現実に sold. Kinda slimy, wouldn't you say? But this type
of thing happens more often than you would believe.
The money
How the
money is 分裂（する） up in the publishing 産業 comes as やめる
a shock to most people new to the 商売／仕事. Here’s how it
breaks out. The 抱擁する 大多数 of computer 調書をとる／予約するs sell at two
price points; one around $20 and the other closer to $50.
Since we sell high-end 調書をとる／予約するs, let's look at a 調書をとる／予約する that 名簿（に載せる）／表（にあげる）s
for $50 - that's the price on the 支援する cover.
A publisher sells that $50 調書をとる／予約する to a variety
of sources such as 卸売業者s like Ingram, chains like B&N
and 国境s, and online 場所／位置s like アマゾン for 40-45% of 名簿（に載せる）／表（にあげる）,
so the publisher sees いっそう少なく than $20 of that $40.
The publisher has costs that eat up some of that $16-18.
Printing costs for a 500-700 page 調書をとる／予約する would run $2-$3. 在庫 costs,
含むing returns, run about $3. And shipping to the source is also born
by the publisher.
The 大多数 of 契約s for professional 調書をとる／予約するs (not "模造のs"
or other end-使用者 type 調書をとる／予約するs) give an author between 10% and
15% of the 量 the publisher sees ? so for that $50 調書をとる／予約する,
the author would see between $2 and $3 for each 調書をとる／予約する.
This money ? a 支払い（額） for each copy of a 調書をとる／予約する sold
? is called a 王族. There are a large number of factors that 運動
the variances here ? for example, the number of 調書をとる／予約するs the publisher sells
at 深い 割引s (いっそう少なく than 40% of 名簿（に載せる）／表（にあげる）) often changes the author’s 王族
from 10% to 5%. Foreign sales also often carry a lower 王族 率, as
do 本体，大部分／ばら積みの sales, such as to 調書をとる／予約する clubs.
So, if a 調書をとる／予約する sells 10,000 copies, an author of one of those
$50 調書をとる／予約するs would stand to make $20,000 - $30,000. If that 調書をとる／予約する
sold 20,000 copies, the author could make, 明白に, 二塁打
that.
How do these 王族s 現実に get paid? Some publishers
支払う／賃金 the author a sum of money while they are 令状ing the 調書をとる／予約する.
This sum is divided into pieces, いつかs two 支払い（額）s, いつかs
three, and are paid after milestones of the 調書をとる／予約する 生産／産物
are passed. So an author might get a check after 調印 the
契約, a second after 配達するing half of the 一時期／支部s for
the 調書をとる／予約する, and the third after 配達するing the 残り／休憩（する） of the 一時期／支部s.
This sum of money paid in 前進する of the 調書をとる／予約する 現実に 存在
published is called an “前進する against 王族s”, or 簡単に,
an 前進する. 前進するs for computer 調書をとる／予約するs from big publishers
typically 範囲 from $5,000 to $10,000.
The 前進する is then deducted against the 王族s that are earned as
the 調書をとる／予約する sells. So if an author gets a $5,000 前進する, the first $5,000
in 王族s earned on the 調書をとる／予約する get credited against the 前進する. The
hope is that the 調書をとる／予約する will 生成する enough 王族s so that the 王族s
結局 become more than the 前進する. This is called “収入 out the
前進する”, and if it happens, then 付加 sales produce 付加
王族s that are paid to the author.
When an author 現実に sees the money 変化させるs. First of all, the author
won’t see any money during the time that the 調書をとる／予約する’s 王族s are 支払う／賃金ing
off the 前進する. However, it can often take even longer. Remember those
returns 述べるd earlier? 自然に, that タイミング 影響する／感情s the author's
income and cash flow, since the author isn't going to see the money for
at least that period of time. In 新規加入, some publishers 支払う／賃金 an author
年４回の, some as little as twice a year. There are some publishers who
also 支払う／賃金 井戸／弁護士席 into arrears, and if their 支払い（額） schedule is bi-年一回の,
that means a 調書をとる／予約する shipped to an intermediary in January could show up
on an author’s 王族 声明 a year later.
What happens if the 調書をとる／予約する doesn’t sell enough 調書をとる／予約するs to 生成する 王族s
to cover the 前進する? The publishing company takes it in the shorts. Some
unscrupulous publishers will try to get authors to 支払う／賃金 the 前進する 支援する,
or will try to get the author to 調印する a 契約 in which 赤字s on
one 調書をとる／予約する are covered by 王族s on a その後の 調書をとる／予約する, but that doesn’t
happen all that often. Usually, the publisher just loses money on that
調書をとる／予約する.
You would think that a publisher doesn’t lose money on a 調書をとる／予約する very often,
wouldn’t you? At least the ones that stay in 商売／仕事, 権利? Here’s the
shocker ? about 70% of computer 調書をとる／予約するs do not earn out their 前進する. That
means that, on 普通の／平均（する）, いっそう少なく than 10,000 copies are sold. Yes, 70% of
computer 調書をとる／予約するs sell より小数の than 10,000 copies.
So if most computer 調書をとる／予約するs don’t earn a 利益（をあげる）, how do publishers make
money? 容積／容量? 井戸／弁護士席, sort of. You snicker. A 調書をとる／予約する that sells 25,000 or
50,000 copies can quickly recoup the losses incurred by a 調書をとる／予約する that only
sold 8500 copies ? and a 調書をとる／予約する that sells 200,000 copies can cover the
losses of a lot of 調書をとる／予約するs, and make the 残り／休憩（する） of an entire 分割 look
広大な／多数の／重要な. Unfortunately, there are only handfuls of 調書をとる／予約するs that do that 井戸／弁護士席.
Look at the hundreds ? even thousands - of 肩書を与えるs at your nearest mega
蓄える／店 ? there are 井戸／弁護士席 over 10,000 different computer 肩書を与えるs 現在／一般に
利用できる. And いっそう少なく than 100 sold more than 50,000 copies. That’s one
パーセント. And of those 100, half are for game 肩書を与えるs (for Sega, Nintendo,
etc.) and another ４半期/4分の1 are 模造のs 調書をとる／予約するs. So the 半端物s of hitting a
best 販売人 for a big publisher are pretty わずかな／ほっそりした.
Still, it’s a game of numbers for the big publishers, and that’s how they
work it ? and why the 商売／仕事 作品 the way it does.
The follow up
When I wrote this a few years ago, I had been rather
pejorative about how most major publishers supported their 調書をとる／予約するs after
they got into the 配当 stream. Over the past year or so, 一般に,
publishers have gotten their 行為／法令／行動する together ーに関して／ーの点でs of making source code
and errata 利用できる on their website.
However, followup marketing and other sales support
is still mostly a crapshoot. Ask to see long-称する，呼ぶ／期間／用語 marketing 計画（する）s for
most major publishers and you'll get an embarrassed giggle. Just 手配中の，お尋ね者
to について言及する this for a point of 言及／関連.
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