Alexia Lawson, Arts Editor
Featured image courtesy of Luzzo Images
Students of the fourth-year book publishing practicum are reaping the fruits of their year-long labour. Their books, All 4 the Money by Chris Eyles, and Beyond Hollywood: 21st Century International Film by Tom Greenwald, were published in early March through Leaping Lion Books, York’s student-run publishing house. The course is directed by Mike O’Connor, publisher of Insomniac Press, and divided into two sections, one for each book, turning manuscripts to published masterpieces. Bianca Ricci, the editorial and marketing director for All 4 the Money, Becky Friedman, editorial and design director, and John Lantz, designer, web, and marketing director for Beyond Hollywood, shared with us the journey of book publishing.
Excalibur: Can you describe the initial phase of book publishing?
Becky Friedman: The first thing we do for copy editing the manuscript is fact-checking. For fact-checking we go through the entire manuscript, looking at every fact: every movie title, director for that movie, the country it was produced in, [and specific] things about the content of the movie. Second, is making sure that people’s names and countries are spelled right. Since this is a book about international film, a lot of people have foreign names with different accents. We check how people prefer their names written, with either first name [before] last name, or last name [before] first name. In some countries it’s normal to have it written as last name [and then] first name.
E: What is the most challenging aspect of copy editing?
Bianca Ricci: The challenge isn’t in the copy editing; [it’s] in stylistic and substantive editing. Copy editing is simple: you go through and look for grammatical, usage, and spelling errors. However, when it comes to actually making changes to the content of the book, that’s where it becomes challenging. You can’t just do whatever you want, if you think a part of the book doesn’t sound good or work in that specific context. You cannot just make changes without consulting the author first, and even then, you have to have a list of reasons why you need to change it, [but] the author may disagree with you. So I would say rationalizing substantive changes to an author that is unwilling to compromise is the most difficult part of my job. If you want to talk about the hardest part of copy editing though, it is the fear that you’ve missed something. The quest for perfection in literature is unrealistic, and that is something I had to learn. Even within the Harry Potter series and Twilight saga, there are copy editing mistakes. So I guess the hardest part is accepting that there will be flaws.
E: What type of marketing products and tactics were used to promote the book?
John Lantz: As a philosophy student, my experience marketing Tom’s book has been something similar to a fish trying to make his way on land. Primarily we’ve been using social media [marketing], which is an altogether foreign technology to me. I believe wholeheartedly in word of mouth as the best means for marketing. However, in the digital age, the speed and transience of trends, not to mention the competition for attention, [makes it difficult] to get something out there that will “stick” in people’s consciousness. We’ve been doing our best ?to get the word out. Contacting film schools and studios by email, visiting local book stores, sending out digital review copies, and sharing bookmarks with friends and colleagues. We also have about a dozen promo books that we’re planning to distribute to people around the city who might have a network of people who would enjoy Tom’s book.?
E: What are the challenges of book promotion? How can one distinguish a book in a saturated market?
JL: With so many great books out there, promoting and distinguishing one from the rest is hardly easy. I think the most valuable aspect of any book is of course, its content. Also, as much as great content speaks for itself, the way it is presented also influences how it is experienced by readers. An awesome cover, for example, can really set the stage for how a book is received. Layout, presentation, and organization of the text are equally as important.
E: Now that the book is published, how do you feel?
BR: Well my job isn’t quite over yet. I feel a sense of calm about the actual book being in physical copy, but a sense of urgency to get people to see what a great piece it is. We feel a sense of relief collectively. We’ve put our blood, sweat, and a surprising amount of tears into the production of Chris’s novel and we are all excited to hold the physical copy of the fruits of our labour.
E: What makes Beyond Hollywood special?
JL: I love the notion that books are cultural artifacts. Those 700 or so films in the book have such a varied range of experiences from all over the world. It is dizzying just thinking about all of the historical and philosophical content one might find exploring these films. I believe that Tom has done something very special with his book. My book publishing colleagues have truly outdone themselves. I’m overjoyed that I’ve been able to be a part of bringing Tom’s book to life.
E: What makes All 4 the Money special?
BR: Our book is an action-packed thriller with many unexpected twists. I know the first time I read it, I was so shocked at the ending that I emailed our advisor, Mike O’Connor, and asked if there was going to be a sequel. The book is captivating and fun to read, the banter is realistic, and the setting is right in Toronto, so it is definitely fun to recognize street names and buildings and to picture exactly where the [characters] are.
