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Asmall press is apublisher with annual sales below a certain level or below a certain number of titles published. The terms "indie publisher" and "independent press" and others are sometimes used interchangeably. However, when a distinction is drawn, there are about 100,000 small presses and about one million independent presses.[1]
Independent press is generally defined as publishers that are not part of large conglomerates ormultinational corporations. Even when owned by a larger business, an independent press is allowed to choose which books to publish, and the business will survive or fail as a result of how well those books sell.[1] Many small presses rely on specialization ingenre fiction,poetry, or limited-editionbooks ormagazines, but there are also thousands that focus on niche non-fiction markets.
Other terms for small press, sometimes distinguished from each other and sometimes used interchangeably, are small publishers, independent publishers, or indie presses.[2]
Independent publishers (as defined above) made up about half of themarket share of the book publishing industry in the United States in 2007.[3] The majority of small presses are independent or indie publishers, meaning that they are separate from the handful of major publishing house conglomerates, such asRandom House orHachette.[4]
Since the profit margins for small presses can be narrow, many are driven by other motives, including the desire to help disseminate literature with only a small likely market. Many presses are also associated withcrowdfunding efforts that help connect authors with readers.[5]
Small presses tend to fill the niches that larger publishers neglect. They can focus on regional titles, narrow specializations and niche genres.[1] They can also make up for commercial clout by creating a reputation foracademic knowledge, vigorously pursuing prestigious literature prizes and spending more effort nurturing the careers of new authors.[6] At its most minimal, small press production consists ofchapbooks. This role can now be taken on bydesktop publishing andweb sites. This still leaves a continuum of small press publishing: from specialist periodicals, short runs orprint-to-order of low-demand books, tofine art books and limited editions of collector's items printed to high standards.
Unlike avanity press orself-publishing service, a small press rarely publishes books written by the owner or publisher.[1] Instead, these are small businesses, often with only a few employees, who select books written by other authors.[1]
There is now also a distinction made between small presses and micro-presses. A micro-press can be defined as a publisher that produces chapbooks and other small books on a very small scale (e.g. 50 copies of one book per year). It can also be defined in terms of revenue. Micro-presses are often run as ahobby or part-time job because of their low profits. They may not produce enough profit to support their owners.[3]
InCanada, these are considered small press publishers, but the standard small press book run is accepted at 300 copies of achapbook and 500 or more copies of a spine-bound book. In doing this, small press publishers are eligible for grants from theOntario Arts Council and theCanada Council.[citation needed]
Small presses should not be confused withself-publishing presses (sometimes called "vanity presses"). Self-publishing or subsidy presses usually require payment by authors, or a minimum purchase of copies. By comparison, small presses make their profits by selling books to consumers, rather than selling services to authors or selling a small number of copies to the author's friends.
Small presses should not be confused withprinters. Small presses are traditional publishers, which means that they engage in a book selection process, along with editing, marketing and distribution. Small presses also enter into a contract with the author, often paying royalties for being allowed to sell the book. Publishers own the copies they have printed, but usually do not own the copyright to the book itself. In contrast, printers merely print a book, and sometimes offer limited distribution if they are aPOD printing press. Printers have a very low selectivity. They will accept nearly anyone who can pay the cost of printing. They rarely offer editing or marketing. Printers do not own the copies that are printed, and they do not pay royalties.
Book packagers combine aspects of small presses and printers, but they are technically neither small presses nor printers.
Small presses became distinguishable from jobbing printers at some time towards the end of the nineteenth century. The roots lie with theArts and Crafts movement, particularly theKelmscott Press. The use of smallletterpress machines by amateur printers increased proportionately to the mechanization of commercial printing. Later, the advance of practicallithography made small press publication much easier. The 1960s and 1970s are considered the small press's golden age in the USA. The unprecedented proliferation of small and independent publishers at the time was a result of the so-called 'Mimeo Revolution' and the proliferation of DIY and affordable reproduction technologies.[7]
A recent burgeoning of small presses has been caused by the introduction ofdigital printing, especiallyprint on demand technology. Combined withInternet based marketing, digital typesetting, design tools with the rise ofeBooks, the new printing technologies have lowered the economic barriers to entry, allowing many new niches to be served, and many new publishers to enter the industry. A notable boom of small press publishing has been observed since the 2008 economic crisis.[8]
Small presses have played a significant part historically in recognising new voices and publishing notable works ofliterary fiction inAustralia,[9] but the market was seen as a tough one in 1999, despite about 80 per cent of the Australian Publishers Association being small book publishers (defined as those with less than AU$2m), nearly all Australian-owned.[10]
In recent years, though, the small publishers have especially made gains as big publishers have backed away from publishing literary works. Small press publications have won some of the greatest literary prizes, including theStella Prize, thePrime Minister's Literary Award for Fiction and theMiles Franklin Literary Award. There was a strong upward trend in the number of titles published by small press and shortlisted for the Miles Franklin and the PM's Fiction Awards in the two years preceding 2017.[9]
The Small Press Network (SPN), located at theWheeler Centre inMelbourne, represents small and independent publishers in Australia, which promotes independent publishing and supports diversity within the industry "as a vital component of Australian literary culture". Founded in 2006, it has grown to represent more than 140 members in Australia andNew Zealand. Its members include such publishers as theGriffith Review,National Library of Australia Publishing,Scribe andWakefield Press, as well as many smaller publishers.[11]
The 1960s marked a significant period for small presses in Kenya following the country’sindependence from Britain in 1963.[12] During this period and into the 1970s, small press publications played a crucial role in reflecting social and political trends such as urban corruption and the legacy of colonial rule.[13]
Universities, notably theUniversity of Nairobi, played a pivotal role in shaping this literary culture, with student publications serving as platforms for early experimentation in creative writing for latterly well-known writers.[12]Zuka: A Journal of East African Creative Writing, founded by theEast African Literature Bureau in 1967, published authors such asTaban Lo Liyong,Ngũgĩ wa Thiong'o,Angus Calder, andOkot p'Bitek.
