The Multimedia Approach to Publishing:
An Interview with Carol Woods, Senior Editor, Timberwolf Press
By Laura A. Hazan

Timberwolf Press is a relative newcomer to the world of publishing, and that’s okay with them.  Patrick Seaman, responsible for the world’s first Internet audio book, A Small Percentage by Jim Cline, started Timberwolf in 1999.  Seaman’s early success with Internet broadcasting at Broadcast.com shaped Timberwolf’s mission.  They are more than just another publishing house; in fact Timberwolf is striving to change publishing, one multimedia experience at a time.

I interviewed Carol Woods, Senior Editor at Timberwolf and asked about their unique vision as well as their basic procedures.  One innovative practice is how they handle queries; they only accept them by email.

“This policy saves the writer a lot of time and expense – no postage, no printing – just the cost of Internet access,” Woods said.  “It saves time and expense for Timberwolf too.  We don’t have to maintain space for manuscripts awaiting attention or make copies for in-house review.”

To catch Woods’s attention an e-query must have the same elements as any other query.  “This can’t be said too often: the query is the most important document the author will create while on the road to publication,” Woods explained. 

The query must describe why the manuscript is right for Timberwolf, what the story is about and why the author is the best person to write it.  However, Woods’s number one reason for turning down a query is, “It’s not for Timberwolf.  Our guidelines state that we do adult fiction.  That’s not poetry, cookbooks, how-to, biography.  All of those are wonderful genres, but not what we do.”  Her other reasons for turning down a query include spelling errors, poor grammar, unclear writing, lack of plot, flat characters and ideas that won’t work as audio theater.

If a query is well written, and right for Timberwolf, Woods will then request a manuscript be sent electronically, either on disk or via email.  “If there’s real talent, a real story, but it [the manuscript] still needs direction/cohesion/tightening, then we’ll suggest a re-write and see what happens,” Woods explained.  “If it is just not close enough, we’ll give the author an idea of what we see as missing or over-done, and then let them decide what to do.  We’ve turned down some [manuscripts] with the notation that we’re willing to look at other work from the same author.  We don’t say that unless we mean it.”

When Timberwolf acquires a manuscript it is done “with the intention of fully exploiting it.  Exploit isn’t a bad word; according to Dictionary.com it means to employ to the greatest possible advantage,” Woods said.  “Timberwolf’s multimedia approach allows each sale to create another market for the same title.”  Timberwolf accomplishes this by acquiring all rights to its titles and developing them as traditional print books, ebooks, MP3s, CD-ROMs, Audio CDs and cassette tapes.

According to Timberwolfpress.com “…we bring them [our titles] to life as dramatic audio.  Timberwolf does not use the traditional ‘solo narration’ format used by most publishers.  Instead, professional actors provide exciting dramatic performances.”  Timberwolf also adds special effects and music.  These performances are then available in serial form as streaming media on Timberwolfpress.com.  Woods said, “Tune in to www.timberwolfpress.com and listen to each week’s episode to discover the difference that serious audio theater can make in the entertainment value of an audio book.”

Ultimately, the multimedia approach does affect which titles Timberwolf acquires.  “It works well for science fiction, fantasy, mystery, thrillers and military fiction, which is what Timberwolf publishes,” Woods explained.  “This is why we put so much emphasis on pace in the titles we consider; they have to not only provide satisfying entertainment in the traditional book form, but be able to come to life as audio theater.”

Although sales and web broadcast statistics were not available, Woods said, “Our approach allows us to sell more product then the traditional avenues.  We’ve had customers buy the book for themselves and the audio for another family member who commutes.  So that’s two sales for one title to one consumer.”

Finally, I asked Woods about the events of September 11 and how it will alter the publishing industry. 

“My heart continues to go out to those folks.  I can’t imagine staying focused that close to Ground Zero.  September 11 may have sped up the publishing industry’s acceptance of technology.”  Woods has also noticed a rise in the overall number of submissions since September, especially terrorism and inspirational (which Timberwolf does not publish).  She also mentioned that, “Publishers can’t get CIP (cataloguing-in-publication) numbers from the Library of Congress.  Their building remains closed down due to anthrax.”

Woods thinks, “The public is still interested in the entertainment and adventure that can be found between the covers of a book or in an audio theater experience in their car, office or home.  September 11 was a reminder of how fragile tomorrow can be, and publishers need to focus on what they do best: finding, fostering and bringing quality stories to life.”

See Timberwolf's submission guidelines here: http://timberwolfpress.com/submissions/ 

After years of being surrounded by books in her career as a librarian, Laura Hazan has taken a hiatus to write a book of her own. Laura is currently working on her first novel and pursuing opportunities in freelance writing.