Frequently Asked Questions
Does it cost me anything to publish with Oghma?
No. We are not a pay-to-publish press. If we accept your book you will be offered a standard contract and at no point will you be required to pay anything out of pocket.
Will editing, layout, and cover design costs come out of my royalties?
No. Oghma receives remuneration for providing those services in the form of the publisher’s split on royalties.
What are “production costs”?
Production costs vary from book-to-book and format. The most common costs are the fees websites charge for selling a book on their site (Amazon, B&N, Indigo, et al). For print copies, this includes the cost to actually print the book. Oghma has negotiated great rates from our printer to keep these costs to a minimum. All production costs are paid to the respective billing organization and what remains is split between Oghma and the author (60/40) from the sale of your very first book.
Why does it take so long to publish my book?
We’re not a vanity press. We have a set production schedule to ensure each phase of the publishing process receives the attention it deserves so we can put out the highest quality product. We know you are eager to get your book out to the world—we are too—but we refuse to cut corners and rush it to market.
If you’re interested in signing a series contract with us, though, be aware that we will not move to release the first book until we have at least three more completed manuscripts in the series in hand. Series sales are built on name recognition, and in today’s world of on-demand content and binge-watching/reading, series entries must come out on a regular schedule of at least two books per year. The days when you can release a book and not have a follow-up available within six months are long past.
What is the purpose of having all those imprints?
We are on a schedule to publish more than fifty books a year for the next few years. Not all of them fit the same genre. In the same way we want to make sure your book receives the attention it deserves before we release it, we want to set it up for success after release as well. We’ve established imprints to facilitate different sales and marketing strategies that best suit the genres of the books contained therein.
Do you really need all those subsidiary rights?
It’s not about control, it’s about exposure. As a writer, do you want your books in as many different formats and markets as possible? We don’t simply publish in hardcover, paperback, and eBook. Many of our titles are now available in audiobook. Others have been published in large print, braille, and foreign languages worldwide. We sold our first screenplay option—Painted Woman, the adaptation of The Mustanger and the Lady by Dusty Richards, in 2015.
You have writers who are also on staff. How does that work?
It’s true we have some writers on staff and on the board. Every one of them was a writer for us first and it was through working together that we identified some synergies and formalized the working relationship. The contracts for staff are independent of their author contracts and at no point is an author on staff working on one of their books. Their work goes through different editors, layout and cover artists, and pre-sales and marketing staff. In the case of voting members, they recuse themselves from any vote on their work or where a conflict of interest exists (e.g. they recommend a friend’s manuscript for consideration).