Posted in Business Side of Writing, The Nitty Gritty of Children's Writing, The Publication Process

Before You Sign: Contract Resources

Rattlesnake sign

Read, read, read that contract. Make sure you understand it. Make sure it is reasonable. Make sure you can live with the worst consequences. Be prepared to negotiate, if needed.

This is my favorite resource when I’m checking out a contract: The Writer’s Book of Checklists: The Quick-Reference Guide to Essential Information Every Writer Needs by Scott Edelstein. It has sections on:

  • 8 Key Points of a Magazine, Newspaper, Newsletter or Anthology Contract
  • 25 Key Points of a Book Contract

Scott has lots of good info on his site.

But there are other good resources online, too. Check out these three:
The Warrior Queen’s Guide to Contracts
What to expect when you’re expecting publication (part 1: contracts)

10 Tips on Negotiating a Traditional Publishing Agreement

If you’re more into physical books, here are some other book titles with links to info about the authors when I could find them.
Getting To Yes by William Ury
Kirsch’s Guide to the Book Contract: For Authors, Publishers, Editors and Agents by Jonathan Kirsch
Literary Law Guide for Authors: Copyrights, Trademarks and Contracts in Plain Language by Tonya Marie Evans, Susan Borden Evans, Dan Poynter
Negotiating a Book Contract: A Guide for Authors, Agents and Lawyers by Mark L. Levine
The Writer’s Legal Companion: The Complete Handbook for the Working Writer by Brad Bunnin, Peter Beren
The Writer’s Legal Guide: An Authors Guild Desk Reference by Tad Crawford, Kay Murray
You Can Negotiate Anything by Herb Cohen

Other Resources

The Authors Guild. Their website says, “The Authors Guild has been the published writer’s advocate for effective copyright, fair contracts, and free expression since 1912.”

Previously, I wrote about contracts on my blog in this entry.

Posted in Business Side of Writing, The Nitty Gritty of Children's Writing, The Publication Process

How’d You Get That Gig?

I’ve heard that question and others like it when people found out about my sale of a picture book to the Korean publisher, Unibooks (유니북스), for their ESL program for young children.
Is it who you know?
Yes, and no. Yes, a friend of mine posted the information about the publisher, but it wasn’t directed specifically to me. It was posted on a list-serve in August (I think). Here’s what she said:

I have a writing opportunity that may interest some of you or some of your members. A respected Korean English language publisher is looking for writers to do work-for-hire books for grade levels kindergarten – Jr. high.
Books are nonfiction and fiction, based on set content area themes or topics, for example, upcoming social studies topics are “feelings” and “values.”
Word length is 250 – 1500 words and fee ranges from $300 to $1200 per book depending on target age range for each series.
If you, or a writer you know, would be interested in doing this kind of work, please shoot me an email so I can find a few good candidates to suggest to this company. Someone with some magazine experience or published credits would be preferable. I’d like to get something to them in the next couple of weeks. Writing projects would start immediately in October.

So that was about networking really. Talking and listening to other writers. Paying attention. Being open.
eee7.jpgWhat happened next?
I told my friend I was interested and gave her a brief bio. I think she received interest from at least 30 other writers. She asked us to answer some questions and then she sent the whole batch of info to the publisher.
November 3rd, someone from the publisher contacted me via email. (Normally I delete emails coming with any foreign language in the “from,” but fortunately, not this one!) She mentioned my friend sending her the info, had visited my website, told me briefly about the project and asked if I was interested. Of course, I said “yes.”
Next step, I received more details and suggested topics. I chose one, “Belling the Cat,” refreshed my memory on the original story, followed the publisher’s specific guidelines and wrote it up and submitted. Here’s what I got back on November 17th: “We like your script. It’s like a piece of musical. And embedded parts are well settled. At the same time, we feel you abbreviated the story because of word count. You can use up to 250 words. So we’d like to suggest you several things.” And it went into very specific details. Payment was discussed, but no contract.
I rewrote; sent it back. This time, November 29th, I got a contract . . . along with other rewrite suggestions. And encouragement to write one or two more stories for them. I’ve rewritten “Belling the Cat” again and am waiting for their feedback. I think it is much stronger and clearer, but what makes sense to me as a native English speaker may not make sense to Koreans who learn English as a second language.
Meanwhile, another person from Unibooks contacted me. She’s working on the next level up and read one of the first two versions of “Belling the Cat” and would like me to write something for them. Of course, I said, “yes.” I imagine the future books for both projects will go along a similar process: write on spec, make changes, and if they like them, I’ll get a contract, then make more changes.
What can you do?
So my advice to you is network with other writers, read writing list-serves, pay attention to opportunities, be willing to try out for them, and work hard on your writing and rewriting.

Posted in Business Side of Writing, The Nitty Gritty of Children's Writing, The Publication Process

Follow the Yellow Brick Road, er, Writers’ Guidelines

wizard-oz-2.jpgMany writers DO NOT follow directions. As a conference director and an instructor for a children’s literature course, I see it time and time again. I also saw it when judging a contest for Children’s Writer. It frustrates me. And I know from editors’ and agents’ talks, blogs and twitter comments, that it frustrates them. So like Dorothy, who had to stay on the Yellow Brick Road to get to OZ, you have to stay within the guidelines to get your submission read.
Here are possibilities of what might be asked for in writers’ guidelines or in submission policies:
• Full Manuscript – very common for a picture book or for a magazine piece. Not so common for a novel.
• Cover Letter – whether it is stated or not, for a book length work, it is polite to send a one page cover letter. Some book editors or agents say they read it first; some last. Magazine editors may or may not care whether there is one. However, if the guidelines ask for one, do it! For a magazine submission you may need to tell what theme you’re aiming your article or story–a cover letter is an easy place to do so.
• Query Letter – unlikely for a picture book, and not so common for magazine short stories or articles, but it depends on the magazine. Definitely common for novels, whether submitting to an editor or an agent. But unless you read the specific guidelines for where you’re submitting, you won’t know. What accompanies the query letter is as varied as the days of the month, but here are six common requests:
1. A Partial – part of the manuscript – yes, they know there is more. The editor or agent will ask for more if she likes what she read.
a. First or First Three Chapters – yes, it’s always the beginning of the novel. If those aren’t your best chapters, rewrite until they are.
b. Number of Pages – 5, 10, 100 – again follow the directions. If on the last page of what you are requested to submit, you have an incomplete sentence, delete it so you end on a full sentence.
2. Plus Synopsis or Outline – in addition to a paragraph in your cover letter, an editor or agent may ask for a breakdown of your story. Some may want a chapter by chapter outline. Others a one page synopsis. Yet others a longer synopsis. The guidelines may be very specific about this so you’ll probably have a number of versions of your synopsizes.
3. Bibliography – of course you’ll have this information anyway when doing your research for an article for a magazine, but whether or not an editor will require it depends on their guidelines. You may also have this info for a picture book, especially a nonfiction one.
4. Résumé – some houses and magazines only want a query with no manuscript submission of any kind. They often want a résumé. You’ll also see guidelines for queries that request partials asking for a résumé. Before the Internet I never saw instructions on how to do this, so listed a summary of published books, articles and short stories with a selection of titles and magazines for the latter two. I also included membership in writing organizations. Since then, I’ve found two online resources specifically aimed at children’s writers, but now they are gone. 🙁  So here’s one for authors in general.
5. Clips – article or short story “clipped” out of a magazine – obviously photocopies are acceptable. What they want here is to see some samples of your published works. Some magazines only work with writers after they’ve seen a résumé and clips, and then they assign articles. Some work for hire or educational publishers want to know how you write before they consider you for a project and will also ask for clips. In some cases you can reference online articles as well, though this is not as common.
6. Samples – a sample of your writing. In this case it does not need to be published. Again, this is so they can determine whether they want to try you out with an assignment.
• Special requests. These could be quite varied. I recently read in one magazine’s guidelines that they want “the date of submission on the first page of the manuscript.” Of course, many magazines will want to know what rights you are selling. However, if they only buy all rights, that is what they will assume you’re selling. Some publishers may request you to give them a marketing plan.
Writers’ Guidelines will also let you know the acceptable method of sending your manuscript or query. The standard postal mail aka snail mail is still the norm for many publishing houses and magazines. Agents are more likely to go with email. But email has its caveats: what the subject line MUST say or include, query and/or manuscript portion pasted into the email itself or as an attachment. If an attachment, it must be in a certain format, i.e. Microsoft Word. Mess up on following the “how to” on an email submission and it will probably not be read.
Okay, I know it’s not a deep concept, but really READ THE DIRECTIONS and FOLLOW THEM! You’ll avoid an automatic rejection by doing so, and perhaps you’ll get in to meet the Wizard of Oz, er, Editor or Agent.