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Book Fairs vs. Festivals: What’s the Difference?

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Book fairs and literary festivals are both important events in the publishing world, but is there a difference between these two literary exhibitions? Before learning more about publishing and becoming the rights manager at Ooligan, I had always assumed they were interchangeable. In my mind, fairs and festivals were just two different ways of saying the same thing: an event for readers, authors, publishers, and more to come together and celebrate reading. While this remains true, there are a few key distinctions between these events that are helpful to know as a reader, author, and/or publishing professional.

Book or literary festivals are geared mainly toward readers and fans of books. They can last anywhere from a single day, such as our local Portland Book Festival, to up to three weeks, such as the Edinburgh International Book Festival. These festivals usually feature author speaking events, where authors and sometimes publishing professionals give talks about books, the writing process, and more. Readers get the chance to learn more about their favorite books and authors, and ask questions. Afterward, there are usually author signings, where attendees can get personalized, signed copies of their favorite books. Sometimes, if you’re lucky, publishers will have giveaways for advance copies of their upcoming releases or other kinds of giveaways—the amount of tote bags I’ve gotten from festivals is insane! Festivals for younger audiences, such as YALLFest, also often have fun games, food trucks, and more. The main purpose of book festivals is to serve as a fun gathering for all book lovers to come together and celebrate the joy of reading.

Book fairs, while also serving as a gathering place for book lovers, tend to differ in their main purpose. While some book fairs have an option for readers to come and visit, there usually aren’t any events such as talks, signings, or giveaways. These fairs are mainly for people working in publishing to promote themselves and/or their books. Publishers from around the world set up booths with their information and upcoming titles, and meet with other publishers to buy and sell rights. Fairs such as the Frankfurt Book Fair, the largest book fair in the world, only have a few days that are open to the public to visit. The rest of the fair is spent facilitating meetings between literary agents, publishers, and editors. As Schoko Press writes, there might also be “Workshops and seminars . . . presenting topics on trends and industry news and developments.”

Book fairs are the best opportunity to meet more people in the industry, especially those in other book markets across the globe. Walking around these fairs, you’ll see industry professionals greeting old friends, pitching their books or authors, and meeting to collaborate on new projects. It’s basically a massive networking event for the publishing industry.

So, if you didn’t know, then now you know! Book festivals and fairs may seem similar, but they each serve a different and important purpose. If you’re a reader who’s looking to hear from your favorite author or get a signed copy, then you might want to stick to festivals. If you’re an author wondering about the difference, you’ll most likely be attending festivals to give talks and sign books, not the fairs. If you’re new to publishing and curious about the exchange of rights and networking in the industry, then a book fair might be the best bet! However, both provide amazing experiences for any lover of books and publishing, and if you get the chance to attend either, it will be an amazing experience you won’t forget.

If you would like to learn more about fairs and festivals or what events might be near you, here is a great article from Books Make a Difference that dives deeper into fairs and lists when and where they take place, and here is a great list of literary festivals from The Reading Lists.

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Inside Ooligan Press: Your Manuscript is Accepted! Now What?

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Note: This is part of the blog series “Inside Ooligan Press”, about how we take a manuscript from an idea to a professionally published book.

So, you wrote a killer query letter and submitted a proper proposal. You won over Acquisitions and we pitched your project to the press successfully, then we offered to publish your book: now what? For the sake of transparency and in an effort to demystify this crazy little thing called publishing, I humbly offer you an inside look at what you can expect when working with Ooligan Press.

Once you get notified that our pitch was successful, we enter into the contract negotiation phase of the process. We are a small, not-for-profit press that generally cannot offer author advances. However, authors are compensated for their work, receiving industry standard royalty rates for trade paperbacks based on cover price and units sold, paid out biannually after publication. The Publisher and author negotiate terms of the contract including dates and deadlines for revisions, the final manuscript and any additional materials, and publication, among other things. This process generally takes about two weeks, give or take, during which time it is encouraged that the author has a trustworthy individual review the contract with them.

Once the contract is signed, we will typically go straight to work with a light or heavy developmental edit, determined by the Acquisitions Editors when we evaluate your manuscript. As a teaching press, we accept manuscripts that are strong and show immense promise, but that offer learning opportunities for the members of the press. This includes the need for editorial work. Expect to do revisions! The Acquisitions Editors lead a team of editors in reading and analyzing your manuscript to determine what is working and what needs work based on our knowledge and experience. We craft an editorial letter full of our critiques, compliments, and suggestions for revision and deliver it to the author for review. We follow up with a phone call or video chat to discuss the letter if the author feels it would be beneficial to do so. The DE process takes about a month, sometimes more. Then the author gets to work on revisions, for which they also get about a month to complete, though timelines may vary based on the project.

During development, your title may change. Sometimes it is necessary to tweak the title, or change it altogether, but not always. Acquisitions Editors must consider best practices for title generation and consider whether yours is appropriate for the genre and market, the literal and connotative meaning of the words or phrases used, and whether it encapsulates or represents the content found within the book. If we feel a change is necessary, we provide the author some alternative titles to consider and deliver them with the editorial letter. While the author’s input is taken into account, the final title is decided upon by the editors.

While we are hard at work developmentally editing your manuscript, you will be completing Ooligan’s Author Questionnaire: a document that will be used by all departments to produce and promote your book. While this questionnaire is lengthy and can feel slightly invasive, the author can of course choose which questions they will and will not answer depending on their comfort level.

Upon delivery of the revised manuscript and questionnaire, the author is then introduced to their Project Manager: the person who will see the project through the rest of the way. They are responsible for keeping the production of your book on track and are your primary point of contact for questions and concerns after acquisition and development.

Your manuscript will undergo copyediting by a team of editors, led by Ooligan’s Managing Editor. Depending on the needs of your manuscript, this may be a light, medium, or heavy copyedit. We use The Chicago Manual of Style as our primary style guide. This process may take one to two months depending on the time of year and the current stages our other titles are in. The author then receives the edited manuscript and reviews and implements the editorial suggestions, for which they typically get a month to complete.

While these editorial processes take place, your book’s dedicated project team, led by your Project Manager, has already begun their work crafting the sales hook, back cover copy, and so much more. They work with the managers of each department, Acquisitions, Editing, DEI, Digital, Design, Marketing, Publicity, and Social Media, to create a master plan to produce a quality book and launch it into the world. But wait, there’s more.

Be sure to check out future installments of this blog for a look at more stages of the production and promotion process at Ooligan Press!

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What’s in a Proper (Book) Proposal?

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Note: This is part of the blog series “Inside Ooligan Press”, about how we take a manuscript from an idea to a professionally published book.

So, you wrote a killer query letter and we requested a proposal package, but what does that mean? Before you go and resubmit the same query letter and call it your proposal (as MANY have done) think again!

The proposal package consists of two crucial items, submitted together on our Submittable page. They are your cover letter and your full manuscript, but let’s break it down even further. If you followed our directions with your query, you only sent us the first ten pages of your manuscript. When we request a proposal package, this is your invitation to submit the full manuscript—you got a full read request. Go you! Submit the most up-to-date, most polished version of your manuscript, preferably in a Word document.

The how and why of the cover letter are a little more complex. With your query, you provided just enough to get us interested in reading your full manuscript. With your cover letter, you are trying to convince us that you and your book are the right fit for our press, for our mission, and for our reach. You’ll want to help us envision the future for your book and provide pertinent details about how to best present it to the world—and how you plan to participate in that presentation if we publish it.

Your proposal cover letter can be a beautifully designed document organized into sections and contain striking headings, images, and mock-ups of the cover, or it can be a bunch of words on a page. While a stylized document certainly helps us envision your book and its potential future more readily, it is not required, and words alone will suffice. Just be sure to include the words we’re looking for.

First up is the content warning. This means letting us know if there is anything in your manuscript that may be triggering to a reader. Triggers vary, but the most common ones include self-harm, suicide, sexual assault, graphic violence, substance abuse, and disordered eating. If you are unsure whether something you’ve written may be a trigger, err on the side of caution and warn us. Do note that this warning will not prevent your manuscript from being read and considered: it simply ensures that the right person will be reading and evaluating it (the right person being an editor to whom the content will not cause mental or emotional harm).

The rest of your letter should include a synopsis of your book, the projected page count, a table of contents if appropriate, the genre and intended audience, comp titles, marketing ideas, and any connections or platforms you have that may be utilized for marketing and promotion purposes. If your query letter did not contain an author bio written in the third-person detailing your pertinent background information, include that here as well. Yes, this requires a little effort, but there is a reason for it, I promise.

Once the Managing Acquisitions Editors decide yours is The One, we still have to pitch your manuscript to the entire press before voting to accept or reject the project. We must convince them to see what we see, that there is potential for a successful collaboration with you and your book. We do this with a pitch presentation, which contains the information from your cover letter, along with our own in-depth market research guided by our expertise in the publishing industry. We set it to music and a little light choreography. That last bit is not true. But we do have to make a strong case for why we should publish this book and be convincing in its presentation: a solid informational foundation and an author who understands their book, has realistic expectations, and is willing to work alongside us to get the job done can make or break our case—and it is your cover letter that reveals all of this to us.

Every manuscript for which we request a proposal package gets thorough, careful consideration. But even with an excellent manuscript, the author’s work is not done. You’ve got to convince us that you and your book are the right fit for us, that you are willing to do what is asked of you and more—and that begins with creating a proper proposal.