Are you an author on the hunt for a traditional publisher? Are you looking to break into publishing the old fashioned way? With all the options available to debut authors or seasoned authors looking for a traditional support system, it’s easy to feel overwhelmed. One fresh option to consider is Cook Publishing. The talented duo behind the name, Stephanie (Steph) and Russel (Bones) Cook, stopped by for an interview to share all they’ve got going on and exactly what they’re looking for.

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Steph Cook has an MA in English Literature and has been teaching online university courses in writing and literature for over 10 years. Bones Cook is a career military officer with multiple graduate degrees ranging from business operations to National Security Strategy. Cook Publishing was born out of a desire to work together and build a company that could both provide a platform for writing projects they were interested in and publish works they are passionate about.

Cook Publishing is a traditional publishing startup that currently contains two imprints, Chatelain Press and Ops Check Books. Cook Publishing’s traditional publishing approach is team-oriented. They connect writers with a diverse team of editors, artists, specialists, and marketing experts from all over the world to produce quality projects of value.

Steph (SC) and Bones (BC), it’s wonderful having the two of you by for an interview to give us a glimpse behind the Cook Publishing curtain. Founding a traditional publishing company takes not only hard work, but a complex understanding of the publishing industry at large. How did the idea of Cook Publishing come to be and what went into committing to the decision to create the company? What separates Cook Publishing from the many traditional publishers already in the market?

SC: I have always had an interest in writing and literature, and we liked the idea of creating a project that we could develop together. We are excited about the opportunity to find and cultivate relationships with authors with unique stories and voices. Because we only focus on a few large projects a year, we are able to fully devote our time and attention to the authors we work with.

BC: Steph and I wanted to do something together and our educational background and shared interests and experiences in books and media were the obvious avenue. We also knew we had a unique opportunity to finance a publishing startup that could experiment and try out new approaches. That opportunity is what led us to make the personal commitment to starting a publishing company. Like most startups, we are built around a core assertion. We believe there is an under-served and talented community of writers that is disinterested in the time and distraction of self-publishing and marketing but is struggling to gain the attention of major publishing companies because they have not published previously or don’t have a readily recognizable name. From that community we believe there is an opportunity to develop some truly valuable projects. On top of that assertion, we try to bring together a team that is interested and vested in every project.

Traditional publishing companies often represent the personal style or affinities of leadership. In this case, the two of you, Mr. and Mrs. Cook! When someone sees a book was published by Cook Publishing, what impact should that have on them? For authors and agents looking for just the right publisher, what core message are you hoping to communicate?

SC: We hope that our readers expect engaging stories and unique voices from the authors we publish. We’re committed to creating partnerships with our authors to help them publish the best version of their work and promote it across multiple platforms.

BC: The funny thing about publishing companies, unlike most industries, is that very few customers notice the publisher at all. Some specialized publishers have generated a niche audience, but for the most part, no one walks into a bookstore and says “Hey, where’s your X Publishing section?” So, from a customer perspective, we don’t expect to be noticed. Our intent is for the quality of the project and product to take center stage. However, the area we do intend to stand out in is with our relationship with writers and artists. Our intent is that writers walk away from anything they do with us thinking, “What a great company to work with, what a great experience.” The blogs are littered with writers who have had horrible experiences with publishing companies. One of the first things we did was identify the approach publishing companies were taking that was causing the adverse reaction from writers. At the heart of the problem, honestly, was just not caring about the writers and artists. When everything is viewed as a commodity, even people, the relationship will fail. We aim to be different.

Currently, Cook Publishing has two imprints: Ops Check Books and and Chatelain Press. Can you share the purpose of each and elaborate on what went into selecting those imprint names?

SC: Chatelain Press focuses on adult fiction and essays. Chatelain is my family name and was chosen because it has a connection to both our past and our future. Chatelain translates roughly to “keeper of the castle.” We like to think that we are the keeper of our author’s work – helping them to cultivate their voice and produce works that we are proud to publish.

BC: Ops Check Books is focused on non-fiction projects surrounding military subjects. I already knew quite a few people working in this genre and I knew I wanted to have an avenue to get them in front of a broader audience. An “Ops Check” can have multiple meanings in the military depending on what community you hail from. As a pilot, an “Ops Check” was a quick check that could be routine or after a significant event to determine if you had everything you needed to continue the mission. The name hailed from our commitment to our teammates, to ensure we had everything we needed to continue forward.

With your military background, Bones, it makes a lot of sense to offer Ops Check Books. That’s a unique offering not many publishers can tailor for readers. Every veteran and service member I’ve met has a plethora of stories to tell. How would you describe the military book market? What would you like veterans or active duty members to know about writing a military themed book?

BC: The contemporary military market is a little underdeveloped right now. There are a significant amount of personal narratives that have made it to bookshelves which is great to see. We have also seen some senior military leaders publish their autobiographies to set the record straight, at least from their point of view. What I would like to see more of is a critical look at contemporary military history since 2001, particularly at the operational level. We are in need of professional work that can help bridge the personal narratives that are coming out of the last two decades with the larger planning effort.

During a recent Twitter #DVpit party, I believe Cook Publishing expressed some interest in picture books. Is there a new imprint coming soon to focus on younger readers? What would be some example dream projects in the picture book realm you would love to see?

BC: Yes, but unfortunately it’s not coming anytime soon. We did reach out to a few artists to both show support to some great pitches and to help develop an idea we have for the future in the children’s genre, but it’s a long way from ready. The children’s market is arguably the most primed for some significant changes in the future in how media is presented to younger audiences and how they interface through technology.

As a small publisher, time truly is a limiting factor on new projects. What has been the most challenging aspect so far of running a traditional publishing company? What has been the most rewarding?

SC: One of the most challenging aspects so far has been staying on top of manuscript submissions. We take the time to read each piece and respond to the authors who are kind enough to share their work. The most rewarding aspect so far has been reading the submissions and seeing the wide range of ideas and creative abilities that have been shared with us. It’s really fun to read their work and chat with authors about their ideas.

BC: Another challenging aspect has been intentionally limiting ourselves to a few projects and not trying to move too big too fast. We want to leave space to stay true to our values of experimentation and generosity. It is easy to load up on projects in order to get scale and produce profits quickly. What we remind ourselves is pursuit of volume and focus on projects as if they are a commodity is the part of the publishing world we are trying to avoid.

You note on your website that Cook Publishing is traditional in business model but modern in methodology. I’ve seen this play out with your social media engagement. What practices make you more modern than some others, say, those still requiring snail mail submissions or publishers who don’t even have social media platforms established?

BC: At the heart of what makes us different is how we connect authors and experts. We are completely digital, unencumbered by geography and distances. This allows us to put some truly unique teams together. As a result, our marketing and distribution approach is closer to large publishers in that it is built on large market contact and less on localized interaction that most small press publishers leverage. We are also very much a startup in that we are experimenting in new approaches. A lot of what you see us do on Twitter or our website is experimentation within the writing community. We’re always looking for new ways to collaborate and communicate.

Care to weigh in on the current events with Barnes & Noble bookstores? It’s clear they have been facing tough times while Amazon has seen tremendous success. How might we as an industry deal with these upheavals, changes, and technological updates to accomplish the primary mission of connecting a book to a reader?

BC: Barnes and Noble’s current situation is disappointing but not surprising. Barnes and Noble has always been a step behind the technology side of distribution and tried to face-off with Amazon in a few areas that I always thought were more risk than promise. The question is, can they adjust and adapt or will they go the way of Toys R Us? I think they will adjust, with some reduction in size, and focus on their store fronts and their respective local markets. That, coupled with a strong internet distribution plan, will keep them around….hopefully. I think the big concern for most writers and publishers is that if Amazon corners the market, we’ll all be beholden to Amazon’s rules which will become more draconian without significant competition. That’s a fair concern, but Amazon still has to appease customers and providers, something Bezos has seemed to continue to keep in focus. One unintended but potentially beneficial consequence of a loss of Barnes and Noble is an increased customer density on the Amazon market, making marketing and distribution even easier for small and self-publishers. As a general rule, reduced complexity will reduce overall costs and increase return on investment. So time will tell – in the meantime, if you like Barnes and noble, now is a time to grab that cup of coffee and start buying from your local store.

Let’s speak to authors and agents for a moment. When you are evaluating a manuscript, what key aspects are you looking for? What elements have some of the successful manuscripts contained that unsuccessful manuscripts lacked? How could submissions more clearly peak your interest?

SC: We are primarily looking at the ideas expressed in the work and how it is presented. A work that is more polished – ideas that are presented clearly with attention to detail and editing concerns – is better received than a work which has massive grammar errors or an unclear plot. We enjoy reading new ideas – authors who reexamine or reinvent traditional genres or have an inventive plot or unique perspective. Because we’re most interested in the story itself, it’s helpful to send a brief synopsis of the work and a chapter which showcases the author’s best efforts in the work. For example, a first chapter may simply be setting the scene and may not necessarily be the best way to draw our interest. But choosing a selection from later in the work – at a key point or plot twist – could be a way to invoke our interest in the story.

Looking ahead, what’s in store for Cook Publishing in 1-2 years? How about 3-5 years down the road?

BC: We’re focused on a few projects in the short term that we’d like to develop into standing commitments and publishing lines in the future. What I think most people will notice however, is increased interaction with the writing community and development of emerging writers.

Thank you, Steph and Bones, for taking the time to share so much of your journey as a traditional publisher and what you’re looking for!

If you enjoyed this spotlight interview with traditional publisher Cook Publishing, give it a like and share it socially with the buttons provided. Have a question for Steph or Bones? Take a moment to share your thoughts in the comments provided! Don’t forget to subscribe with your email in the space provided so you never miss a new post! Oh, and I almost forgot, Cook Publishing runs a short story contest! Get over there and submit your story for a chance to win! You can also follow them on Twitter @CookPublishing.

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