Genuine Billy, or, How I Was Given a Back-Stage Pass

Since the days of my recent post regarding Cemetery Dance and their new book, Blockade Billy, I have received a number of reactions. One rather noteworthy response included an email from Brian Freeman, the marketing director of Cemetery Dance. He told me that he had read my blog and that he was interested in talking to me, possibly hoping to clear up any misunderstandings that I may have had.

This past Monday, May 17, I had the opportunity to talk with Brian for nearly a half an hour. What follows is a rough translation of the information that I gleaned from our chat. While I did not record the interview, I did take a few notes and this post is a result of a couple of days thinking about that conversation.

I told Brian, that despite my other grievances mentioned in my original blog post, my biggest concern - what I felt was most disingenuous on the part of Cemetery Dance - was the following: I had just ordered a $25 hardcover book, supposedly a first edition, only to find out that just 35 days later a second hardcover edition (priced even lower and with additional material) was being distributed by Scribner, Stephen King’s traditional trade publisher. I felt (feel) that the second edition, so close on the heels of the first, devalued the Cemetery Dance edition and kind of gave lie to the fact that King was “debuting a work through an independent press.”

Brain suggested that he understood my frustration. He told me that when CD’s edition was announced, that to the best of their knowledge, it would have been the only edition of Billy for at least a year. The history of the book began something like this… Richard Chizmar, the founder of Cemetery Dance, has long been fan of baseball and has had the opportunity to spend some time talking to King (also a lifelong fan) about their shared passion for the sport. So when King wrote this baseball themed story, he immediately thought that Richard and CD would be the perfect venue for distribution of the new novella. After negotiations with King and his agent, Chuck Verrill, they came to an arrangement. Cemetery Dance would produce the world’s first edition of Blockade Billy, consisting of 10,000 copies. While this technically is a trade edition, Brian reminded me, it was by far the smallest trade edition for a new King book in 28 years when 10,000 copies of The Gunslinger were initially printed in hardcover.

At the time of the negotiations, it was thought around the various offices that 10,000 copies would be a sufficient number to satisfy consumer demand, Brain told me. After all, CD had printed only 5,000 copies of Secretary of Dreams and it had taken over two years to sell them. What it seems was not taken into account was that Billy was fresh work (as opposed to Secretary) and that it would be priced significantly cheaper – an edition affordable to the average fan. Needless to say, word spread fast and within a week of the announcement of the book, the first printing was well on its way to selling out. The buyers for the major retail chains were turned away; only direct independent orders would be fulfilled at this time. Getting back in touch with Verrill and King, CD arranged to produce a second printing, again of 10,000 books. This time however, these books would be dedicated to library sales, in the hopes to meet customer demand until sometime in the future when a new edition of Billy would be made. As Brian put it, it was anticipated that the libraries would be able to offer a “read-it-before-you-can-buy-it” type of deal, thereby driving people into the libraries for the summer and also keeping King fans happy at the same time.

Insistence for the title still was not satisfied however. The national booksellers had attempted to place nearly 100,000 copies of Blockade Billy on order – a number that was clearly not going to be met through Cemetery Dance’s plans for the edition. When Scribner heard these numbers however, they were very interested in finding a way to meet that demand. Negotiations between Scribner, Cemetery Dance, Verrill and King began again. It was then decided that Scribner would publish its own edition sometime soon to meet that retail demand. At this point Brian pointed out to me that Cemetery Dance did not have a contractual right to an exclusive Billy; their contract was only to produce the unique first edition.

As things continued to unfold, Scribner announced an audio edition for late May. Word of mouth and media outlets continued to spread the news of King’s new book and customer request for the title increased further still. At this point, to fill that demand, Scribner decided they needed to produce their edition from start to finish in less than 60 days. Scribner, having received the book files from CD, would be getting the book into the hands of the booksellers during the height of the baseball season and just in time for Father's Day – a sure win/win in terms of marketing and meeting consumer needs. In order to do this, they would drop production of a dust jacket, keep CD’s jacket art as a print-on cover (known as paper-over-board) and remove all of the interior art from the book. Publishing Billy as a paperback they realized would force them to make a rather slim $12 or $13 book. By bumping it up to a hardcover, they could ask $14.95, add an additional short story and make it into a respectable trade volume.

This is where I come into the tale. Of course, not knowing all the behind the scene drama, I assumed (but did not come out and say as such in my blog) that Cemetery Dance must have had some inkling of this the entire time. How could they not, I thought? It seemed to happen so quickly. It turns out that this was not the case at all. Indeed, I have independently verified 95% of this information though a contact in a major retail chain that had received contact from Scribner regarding how and when their edition would be coming to the stores. Cemetery Dance was very excited to produce the first edition of Billy. Richard and his crew were extremely thrilled to do something unique in King’s history of publishing. When they announced Blockade Billy for sale, I don’t think they intended to sell a less than genuine product to the fans. With each development in the saga however, a little wind seems to have been taken out of Billy’s sails, but there was not much CD could have done differently. As Brian noted, they had no contractual right to Billy’s future and even if they had, why would they go against Scribner’s, Verrill’s and King’s wishes to get the book into as many fans hands as possible? CD has a happy and productive working relationship with all parties involved; no one in their right mind would jeopardize that. They were content to have been allowed the honor of the first trade edition, something no independent publisher of King’s has been allowed to do since Donald M. Grant’s 1982 hardcover of The Dark Tower I: The Gunslinger (and the sequels).

In conclusion, it might be that my final thoughts on the edition may have been just a bit on the harsh side. That last paragraph was certainly twisting the knife a little deep, in any case. But on the other hand, it is possible that without reaching the conclusion that I did, that I would not have had the opportunity to talk to Brain and learn this fascinating, albeit convoluted story and I would not have been able to pass my information on to you.

Disingenuous Billy

“Am I a Limited, or Am I a Trade?” An essay.

When the publisher Cemetery Dance announced Stephen King’s new novella, they touted it as their “biggest news in twenty years” of publishing. And it may well be. I’m not one to argue. They claimed that almost never, not since the 1970’s had King debuted an original work through the specialty press – as opposed to his “mass-market” trade distributor, currently Scribner. (Previously Viking, previously Putnam). And again, they are probably not lying here either, though I have not verified this claim. (As as side note - all my pics are enlargeable via clicking)


In being the “World’s First Edition”, Cemetery Dance (CD) was releasing Blockade Billy in a trade state. For those of you unfamiliar with the publishing terms I use and the definitions I keep see my previous post. As a trade edition it was going to be a larger printing than CD was used to doing, 10,000 copies. But because Scribner and the other New York houses would print upwards of 500,000 copies for a new book by an author of Steve’s caliber, CD was also claiming that in essence, this was also a limited edition. And in a sense that was true as well, fewer King fans would have a 1st/1st in their collections than normal, lending Billy an inherent collectability.


CD also touted the “limited-ness” of the novella by noting that the first printing was densely illustrated and contained a reproduction baseball card featuring the main character of the story. “Cool,” I thought “Neat stuff to being including in a trade edition book!” This was March 29, the book due to be published in just 22 days.


A week later CD made the announcement that Lonely Road Books, another publisher that they somehow have a vested interest in, would be publishing the true limited edition of Blockade Billy. This was cool, very much in line with what happens to most of King’s books. These Lonely Road editions would be made of extremely high quality materials: dense, heavy weight paper, leather and specialty cloth covered boards, more art and handmade traycases. Signed by Stephen King himself and some even with unique – different for every copy – custom art, these editions were commanding typically high prices: $450 and $1,250 depending on the state you chose. Way out of my league, but nothing unexpected in that announcement.


Another week goes by. News of Stephen King’s new book spreads through the traditional media outlets. CD announces a second printing (sans baseball card) will be made for the libraries. The first printing is over 70% sold out. Major retail outlets will NOT be receiving any first or second print copies. Outcries rise from the Barnes & Noble and Borders “buyers” (those folks who choose what the stores will stock)...

“This isn’t what happens when Steve releases a new book! We demand piles of them, with which to make our towering displays!” they shout and grumble.

“But we are only a tiny press!” CD replies “This is our biggest trade printing ever!”

“WE WANT OUR STEPHEN KING” the world demands, whilst waving their arms and being all threatening-like.

…9 days before publication of the new book, negotiations begin anew.

CD announces, just two days later that they have made arrangements with Scribner, allowing King’s story to be traditionally published, just 35 days after the publication of CD's edition, a trade hardcover for the masses…


Wait, what now?


CD already did the trade hardcover, didn’t they? That’s what they said their edition was, over and over. Lonely Road is doing the limited and CD is doing the trade. Shouldn't Scribner at least be doing a paperback if they want reprint rights? Now suddenly, the world has two limited editions… or is that two trade editions? Or wait. Hold on, I got this one…


A Shaft to the Collector. That’s what it is. I knew I could figure out what the CD edition was called!

If CD was producing the trade edition, I would be okay with it. Sure, the book I received in the mail even looks like a trade! What with the scholastic-like illustrations, the photoshopped baseball card, and the paper covered boards. CD didn’t even bend me over a barrel on the pricing, though $32 (with their outrageous shipping) is a tad high for a book that is only 112 pages in 18 point font with 1½” margins.


If CD was producing the limited on the other hand, I would – at the very least – have expected cloth boards and illustrations that didn’t look like my fifth grader made them on the old dot-matrix printer in the garage.


“But Scribner is doing the real trade edition!” CD spouts. “They don’t even get a dustjacket and they have no pictures at all!” On the other hand, says I, Scribner is also including an additional uncollected Stephen King short story, making their $14.95 asking price that much sweeter.

So exactly which edition is yours, Cemetery Dance? You can't be both. Yes, we have a world's first edition - but by only a month, neither is the book a trade, nor is it limited. All that remains (forgive my crass conclusion here, but the vulgar analogy is appropriate) is the adopted, maladjusted, middle-child of editions. Sure we all bought into it, but in the end, do we really want to keep the bastard?




“What we have here is… failure to communicate. So you get what we had here last week, which is the way he wants it… well, he gets it. I don’t like it any more than you men”. – The Captain. (Cool Hand Luke – 1967).

Good Stuff: Week of 4/18

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First off this week is a title that actually came out a couple of days ago, but that I missed mentioning because, you know, this blog didn't really exist. Arriving in the UK last Friday, New Model Army (U.S.) (U.K.) is the latest from Adam Roberts.


Roberts is a professor of 19th Century literature in London, so his SF isn't always what you'd normally think of as SF. It tends to have bit more literary and philosophical bend to the pieces than one might expect. But that is usually a good thing. His last book, Yellow Blue Tibia was recently shortlisted for this year's Arthur. C. Clarke Award.


New Model Army, presumably taking its name from the standing full-time army that was formed during the British civil war in 1645 by the Parlimentarians, takes place in the near future during a second English civil war. Roberts uses this setting as a philosophical basis for examining the morality of war in a democratic society. Should be good stuff, though as it only has a UK publisher at this time, my US readers (myself included) may have to import this one.

Next up, available tomorrow (or am I typing this in today?) is something rather unique. Stephen King has decided to release a new novella to the streets, without going through his usual  mass-market publisher's. Cemetery Dance Publications,  a small dark fantasy and horror house is releasing Blockade Billy on April 20th. CD has put together a fine little edition of only 10, 000 copies, which are only available directly from the publisher, and which are already (or close to it) sold out after the announcement three weeks ago. (*update* there are still a couple copies of the first edition left. Go get one!)


Highly illustrated, cloth bound, dust-jacketed and including a reproduction card, Stephen King's historical baseball suspense story features the greatest player of the game, Billy Blakely. What King's fans don't know is what happened that was so horrible, that Billy's name was erased from every record book - why his very existence virtually eliminated.


I'm really looking forward to this little book. Those of King's legions that are not able to snag this small edition should not despair however. Coming May 25th his usual publisher Scribner, will be releasing an edition for the rest of the world. Unjacketed and non-illustrated, this edition will nonetheless feature the bonus short Morality that was published in Esquire last summer. You can pre-order that edition here: (U.S.). European fans should expect to see a Hodder & Stoughton edition sometime soon as well (U.K.).