Publishing Glossary

A Plain-English Guide for Aspiring Authors

Publishing has its own language, and learning it before you sign anything, frankly, just makes good sense. This glossary covers the terms you are most likely to encounter on your journey from manuscript to published book, organized by stage so you can find what you need when you need it.

  • The model most people picture: a major publisher acquires your manuscript, covers all production costs, and pays you an advance against future royalties. Entry is fiercely competitive, typically requiring a literary agent, and the process can take years. Authors also give up significant creative control and receive lower royalty percentages.

  • A query letter is a one-page pitch sent to a literary agent or traditional publisher introducing your book. It typically includes a brief summary of the book, information about the author, and why the project is a good fit for that agent or publisher.

    Why it matters: A strong query letter can determine whether your manuscript gets read.

  • A book proposal is a business plan for a nonfiction book. It usually includes an overview, chapter outline, sample chapters, target audience, competitive titles, and the author's credentials or platform.

    Why it matters: Many traditional publishers evaluate nonfiction books based on a proposal before requesting the full manuscript.

Types of Publishing

  • The process by which a publisher evaluates and selects manuscripts to add to its list. At BSP, this includes a review of your manuscript, a conversation about fit and vision, and a publishing agreement.

  • A brand name under which a publisher releases books. A single company may operate multiple imprints serving different genres or audiences. Bold Story Press and Xander Press are both imprints.

  • A literary agent represents authors and submits manuscripts to traditional publishers. Agents negotiate publishing contracts, advocate for their clients, and earn a commission—typically 15%—on any publishing deals they secure.

    Why it matters: Many first-time authors assume they need an agent. Whether you do depends on your publishing goals. If you're pursuing traditional publishing, an agent can be essential. If you're considering hybrid publishing, you generally don't need one.

  • An advance is money paid by a traditional publisher before a book is published. It is an advance against future royalties, meaning the author does not receive additional royalty payments until the advance has been earned back through book sales. (Think interest-free loan.)

    Why it matters: Most hybrid publishers and self-publishing companies do not pay advances because the publishing model is different.

The Publishing Industry

The Editorial Process

  • Your complete written work before it becomes a published book. Publishers typically refer to a manuscript as "ms" (singular) or "mss" (plural).

  • A beta reader is someone who reads your manuscript before publication and provides feedback as a typical reader—not as a professional editor.

    Why it matters: Beta readers can help identify confusing sections, pacing issues, and places where readers may lose interest before you invest in professional editing.

  • A reader brought in late in the editorial process to review the manuscript with fresh eyes, catching issues that editors and authors who are close to the work may have stopped seeing.

  • The first and deepest level of editing, focused on structure, pacing, voice, point of view, and content. A developmental editor looks at the big picture, not spelling or grammar. This is where a book is shaped and strengthened before line-level work begins.

    Why it matters: This is the stage where books change the most. A strong developmental edit can dramatically improve the structure, pacing, and reader experience before sentence-level editing begins.

  • Line editing focuses on how your writing sounds at the sentence and paragraph level. A line editor improves clarity, flow, tone, and word choice while preserving your voice.

    Why it matters: Line editing helps make good writing stronger. It comes after developmental editing and before proofreading.

  • Line-level editing for grammar, consistency, style, punctuation, and clarity. A copyeditor works through the manuscript sentence by sentence after the structure is set. This is not the same as proofreading.

  • The final read-through before a book goes to press, catching any remaining typos, formatting inconsistencies, or errors that slipped through earlier rounds. Proofreading happens after the book is typeset.

  • A detailed letter from your editor outlining their feedback and suggestions for revision. A good editorial memo explains the why behind each suggestion, not just what to change.

  • The first typeset version of your manuscript, sent to you for review before the book goes to final proofreading. This is your final chance to identify and fix errors.

Book Design & Production

  • The typesetting and visual arrangement of the text inside your book: fonts, spacing, chapter headings, running headers, margins, and more. A well-designed interior makes your book easier and more pleasurable to read.

  • The process of flowing your edited manuscript into professional page layout software (typically Adobe InDesign) to create the final interior file. The person doing this work is called the compositor or typesetter.

  • The front, back, and spine artwork and typography that represent your book to the world. Your cover is your most powerful marketing tool; it communicates genre, tone, and audience before a reader has read a single word.

  • The narrow side of the book visible when it sits on a shelf. Usually includes title, author, name, and the publisher logo. Spine width is determined by page count and paper type.

  • The physical dimensions of your finished book (e.g., 6 x 9 inches). Determined early in production and affects page count, spine width, and price. Common memoir and nonfiction trim sizes are 5.5 x 8.5 and 6 x 9.

  • The pages at the beginning of a book before the main text: the half-title page, title page, copyright page, dedication, table of contents, and sometimes a foreword or preface.

  • Pages at the end of the main text, which may include acknowledgments, author bio, bibliography, index, and information about the publisher.

  • A foreword is a short introduction written by someone other than the author, often a respected expert or well-known figure who lends credibility to the book.

    Why it matters: A strong foreword can build trust with readers before they begin the book.

  • A preface is written by the author and explains why the book was written, how it came about, or what readers should know before they begin.

    Why it matters: Unlike a foreword, a preface comes directly from the author.

  • An introduction prepares readers for what's ahead by explaining what the book will cover and why it matters.

    Why it matters: An introduction focuses on the content of the book, not the story behind writing it.

  • A prologue is an opening section—most often found in fiction—that provides background information before chapter one begins.

    Why it matters: A prologue should deepen the reader's understanding of the story, not simply delay the start of it.

  • A required page (usually the back of the title page) listing copyright ownership, ISBN, Library of Congress information, publisher contact, and legal notice.

  • An index is an alphabetical list of important topics, names, and concepts in a nonfiction book, along with the page numbers where they appear.

    Why it matters: An index makes it easier for readers to find specific information and is expected in many nonfiction books.

  • An estimate of how many typeset pages your manuscript will produce. Used to calculate spine width, determine final price, and plan production timelines.

  • A 13-digit identifier unique to each edition and format of your book. Your paperback, hardcover, and ebook each require a separate ISBN. ISBNs are how retailers, libraries, and distributors identify and order your book.

Technical Specs & Distribution

  • The standard file format for ebooks, compatible with most e-readers and apps (Kobo, Apple Books, Google Play, and others). Amazon Kindle uses its own proprietary format, converted from EPUB.

  • A printing technology where books are printed individually as orders come in, rather than in large print runs. Eliminates warehouse costs and minimizes waste. Most hybrid publishers, including BSP, use POD for standard distribution.

  • Amazon's publishing and print-on-demand platform, used to distribute ebooks and paperbacks through Amazon.

  • One of the world's largest book distributors. Getting your book into Ingram's catalog makes it orderable by bookstores, libraries, and online retailers worldwide.

  • A book distributor makes your book available to retailers, libraries, wholesalers, and online booksellers.

    Why it matters: A distributor helps bookstores order your book, but it does not guarantee that bookstores will stock it.

  • A number assigned by the Library of Congress that allows libraries to catalog your book. Having an LCCN improves your book's chances of being acquired by public and academic libraries.

  • The information that describes your book to retailers, libraries, and search engines: title, subtitle, author name, book description, categories, keywords, price, and publication date.

    Strong metadata is essential for discoverability online.

  • BISAC (Book Industry Standards and Communications) codes are standardized categories used by publishers, bookstores, and online retailers to classify books.

    Why it matters: Choosing the right BISAC categories helps readers discover your book when searching by subject.

  • Amazon keywords are search terms assigned to your book to help readers find it on Amazon.

    Why it matters: Selecting thoughtful keywords improves your book's visibility in Amazon search results.

Marketing & Launch

  • Your existing audience and public presence: social media following, speaking engagements, newsletter subscribers, podcast appearances, and professional networks. Publishers care about platform because it directly affects a book’s reach at launch.

  • A professional biography used on your book cover, website, and press materials. You will typically need both a short version (50-75 words) and a long version (150 - 200 words).

  • The promotional copy on your back cover and on your retail listings. A great book description is part synopsis and part sales pitch. It should hook the reader and leave them wanting more. This is not the same as a plot summary.

  • Comparable titles, often called "comp titles," are recently published books that are similar to yours in subject, audience, or style.

    Why it matters: Comp titles help publishers position your book in the marketplace and help readers understand what kind of book you've written.

  • An early, unfinished version of your book distributed before publication for review and endorsement purposes. ARCs are shared with reviewers, booksellers, librarians, and potential blurb writers. They typically carry a banner indicating they are uncorrected proofs.

  • Praise quotes from notable people, other authors. subject-matter experts, or public figures, printed on your cover, in your front matter, and/or on retail pages. Blurbs lend credibility and should ideally be gathered before your book publishes.

  • A digital platform where publishers distribute ARC’s to professional reviewers, librarians, booksellers, and media. A strong NetGalley presence can generate early reviews on Goodreads and retail sites.

  • Goodreads is an online community where readers discover books, write reviews, and track what they are reading.

    Why it matters: Goodreads can help generate early awareness and reader reviews before and after your book is published.

  • A package of promotional materials for journalists, event organizers, and podcasters. Typically, it includes an author bio, headshot, book synopsis, key talking points, sample interview questions, and contact information.

  • A formal written announcement of your book’s publication, distributed to media outlets. Often invludes your book’s hook, key details, and a quote from you or your publisher.

  • The organized marketing push around your publication date: events, social media campaigns, email newsletters, media outreach, and review solicitations. A well-planned launch builds momentum in the crucial first weeks.

Rights & Legal

  • Legal protection for your original creative work that exists automatically from the moment you create it. Registering your copyright with the U.S. Copyright Office is optional but provides additional legal protections.

  • Written authorization required when quoting or reproducing copyrighted material in your book: song lyrics (very expensive!), poetry, lengthy passages from other works, photographs, and artwork. Obtaining permissions is the author’s responsibility and should be secured before your book goes to press.

  • The percentage of book sales revenue paid to the author. Royalty rates vary significantly by publisher and contract. Bold Story Press pays 60% on print book sales and 70% on digital, considerably higher than traditional publishing rates, which typically range from 8 to 15%.

  • Legal permission to publish, distribute, and sell your work in specified formats, territories, and languages. A publishing contract defines which rights you grant to the publisher and which you retain. Always read carefully, and ideally have an attorney review, before signing.

  • Rights beyond the primary book publication, audio rights, film and TV adaption rights, foreign language translation rights, serial rights, and more. Who controls these rigts, and who benefits financially, should be clearly defined in your contract.

  • Works in the public domain are no longer protected by copyright and may generally be used without obtaining permission.

    Why it matters: Just because something is old does not mean it's in the public domain. Copyright laws vary depending on the work and country.