A house costs more than the timber. Everybody knows that about houses and almost nobody applies it to books. The question I get is what a ghostwriter charges, as though that settles it. It doesn’t, and a client who budgets for the manuscript and nothing else arrives at the finish line with a file and no book.
I don’t publish a price list here because the numbers move every year. The structure doesn’t move, and the structure is where first-time authors lose money they never planned to spend.
What are the actual line items in a book’s production cost?
Writing, editing, design, identifiers, proofs and launch. Six, and most people know about one.
Writing is the manuscript, whether you produce it or somebody does it with you. Editing is at least two separate services, and budgeting for only one is the most common error.
Design covers the cover and the interior. They’re separate skills and separate people. Identifiers are ISBNs and the associated registration. Proofs are physical copies you check before release, and skipping them is how books ship with the page numbers wrong. Launch is whatever you do so that publication isn’t a private event. Skip it and you’ve paid for every other line item to produce a book that only your family knows exists.
The book on this: Make a Living as a Self-Published Author works through the money side properly, for people who want the business and not the fantasy.
Which kind of editing do you need?
Developmental first, then copy editing, then proofreading, and they’re not interchangeable.
Developmental editing is about structure. Whether the argument holds, whether chapter six should be chapter two, whether the promise in the introduction gets kept. It’s the most valuable and the one people skip, because it’s the least visible on the page.
Copy editing is sentences. Proofreading is errors in the final laid-out file. Somebody who has had only a proofread has had none of the work that would have made the book better, and plenty of authors believe they’ve had an edit when they’ve had a typo check. If the budget forces a choice, developmental beats the other two. I’d tell any client to pay for structure first and fix commas later, because a broken argument with perfect punctuation still loses the reader by chapter three.
The book on this: Publish Your Book covers the production decisions that are expensive to reverse once made.
Where do authors waste money first when producing a book?
On the cover, by paying too little, and on marketing, by paying too early.
The cover is the entire shop window and a cheap one is visible instantly at thumbnail size, next to forty others. I’ve watched excellent books fail on this alone, and the amount saved is trivial against the effect.
Marketing spend before the book has any traction is the other one. Paid promotion applied to a book with no reviews and no positioning amplifies nothing. The same money spent three months later, once you know which readers respond, does considerably more.
The third waste is buying services in a bundle from anybody who also promises bestseller placement. Nobody can guarantee that, and the companies that do it make their money from authors who believe them. I won’t send a client to one of them.
What book production costs can you skip?
More than the industry suggests, if the book has a job other than sales.
A book written to establish authority with a specific professional audience doesn’t need a wide-release marketing campaign. It needs to exist, to be well made, and to be in the right hands. That’s a completely different budget from a book trying to reach strangers. Audio, translation and hardback can all wait. None of them is wrong, and every one of them makes more sense after the book has proved it can hold a reader. Paying for all three on day one is how an author ends up funding formats nobody asked for. What can’t wait is anything that affects whether the finished object is credible: editing, cover, interior, proofing. Those are the ones that determine whether a reader takes the book seriously in the first ten seconds.
The book on this: Sell Your Books is the launch half, written after finding out what publishing into silence produces.
How should you sequence book production spending?
In the order that lets you stop. Every stage should produce something you could evaluate before committing to the next. A structural edit tells you whether the book works before you pay for design. A proof tells you whether the interior is right before you order copies. Paying for everything at the start removes that option and it’s how people end up with three thousand printed copies of something they’d now change.
What is the return question for a book’s production cost?
Whether the book has a job, and whether you can name it.
A book that wins one consulting client has paid for itself several times over. A book that makes an expert credible in a room they couldn’t previously enter has done something that had no other price. A book expected to earn its cost in royalties usually doesn’t, and that expectation is what makes people feel it failed.
I tell every client up front that book sales are very unlikely to pay back what the book cost. The return comes from using the book as the foundation of their marketing, and a client who hears that early budgets like an adult. Decide the job before the budget. A lead-generating professional book and a memoir for the family need different spending, and both are legitimate. What I can’t stand is watching somebody pour money into a book with no job, then blame the book when it doesn’t earn back its cost.
The rest of this series works through what a book does for specific professions, including consultants, coaches and estate-planning attorneys. The Publishing and Marketing Hub has the practical material, and my ghostwriting service quotes the manuscript and tells you the rest of the shape before you start.
Books die three ways and none of them involves the draft. All three are in The Most Common Way a Book Dies.
