#publisher interview

[kanika456]

Explore the visionary journey of Chitwan Mittal, Founder of AdiDev Press, as she revolutionizes children's literature with cultural diversity. To learn more about the interview, please visit: https://www.frontlist.in/interview-with-chitwan-mittal-founder-adidev-press

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Ehrlin Publishing: A Small Publisher with Big Ambitions

Read our interview with editor Elin Westerberg @ Ehrlin Publishing: A Small Publisher with Big Ambitions.

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#kidlit Interview with Clavis Books Publisher, Philippe Werck

#kidlit Interview with Clavis Books Publisher, Philippe Werck

I am proud to say that soon I will be a Clavis Books author. I loved their books and mission from the moment I Googled them and saw their catalog. It’s why I submitted to them, even though they were an international publisher. When I received my acceptance via e-mail, it was from the Publisher, Philippe Werck. I interviewed him for Writers’ Rumpus. Carol Gordon Ekster: Please tell us how Clavis…

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[poetrychapbooks2016]

Horse Less Press Q&A

Featuring your questions!: How do you think that operating in a smaller city has affected your process (finding authors, distribution, community, etc). When I started Horse Less, I lived in Providence, Rhode Island, and then I continued editing the press while in Denver, Colorado. I’ve been editing the press from Grand Rapids, Michigan for the last five years. In both Providence and Denver, I was a graduate student and pretty involved in the local poetry community, so I relied much more on IRL communication with writers: I’d solicit work after hearing someone read, and I was more likely to publish the work of writers in my physical community, with readings and events in that community. Both because I’m no longer a student and because Grand Rapids doesn’t have the same kind of literary community, I definitely feel like the press’s online presence has been more important, and I’ve been less involved in the readings and even the direct distribution of books we publish. When you think about distribution, do you focus on expanding your business or supporting friends/a smaller community? At one time or another, we’ve felt more motivated by each approach. Most recently I’ve been trying to expand our reach, and there’s a lot of good that’s come of that, but it’s left me feeling spread a bit too thin, and I think “business” is a real key word here – I don’t really want to think of the press as a business, but at some point, expansion seems to make that inevitable. Part of the reason that Horse Less Press is taking a publishing break next year is so that we (I) can reflect on our ultimate intentions and think about what a good balance between maintaining intimacy and joy of the work and reaching outside our familiar zone might look like. Do you prefer when poets want to be very involved in the materiality of their chapbooks, or do you find that more separate roles work best in the layout and design process? I look for some kind of balance that feels like a collaboration. I really love it when authors have ideas about the look and layout of their work; it’s especially great when authors have artists friends they want to involve in the process. Occasionally we receive submissions from writers who’ve already planned the entire layout and design of their books, which always makes me wonder why they don’t just make the object themselves! I’m not really interested in being a printing service. When I lived closer to the writers I was publishing, we’d sometimes get together to fold or bind their chapbooks, which was nice; I miss that. How does being a small press editor affect your being a reader of poetry and a consumer of books? I am a major patron of libraries, but because I realize how difficult it is to support a small press financially and energetically, I make a point to use all my book dollars to support the small presses I love, especially via pre-orders and subscriptions. Though I rarely have the time to write real book reviews, I try to use social media to help boost awareness of those presses and books as well. I also find I have a bias—which I know is sometimes problematic—in favor of writers I know are involved in their literary communities in other ways: as event curators or publishers or reviewers or writing teachers and mentors. I have a tendency to listen to those voices more carefully. I feel I’m also aware of how much good pr—the kind of pr that most small presses can’t afford—can determine the success of a book; I know there are great books out there not getting the attention they deserve, so I try not to only read the books that everyone is talking about. I try to remember to browse and hunt and work a little to find the good work that doesn’t have the budget to yell about its goodness. What do you do when you realize you've made a printing error? Any coping mechanisms to suggest? I curse and promise not to waste paper and time and money and ink next time around and get on with it. We’ve gotten pretty creative with our recycling, finding new uses for the errata.

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Publisher interview with Beverley Cousins from Random House Australia.