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 Guest Post, The Nitty Gritty of Children's Writing, The Publication Process

Diane Bailey, Work-for-hire Champion

Diane Bailey, who has more work-for-hire experience than I do, agreed to share some about her experience:
I like soccer as much as the next American.
Meaning, if someone had asked me what I wanted to write a book about, it wouldn’t have been the history of the World Cup. Same goes for Miley Cyrus. And the future of warfare. And yes, even vampires.
Actually, sometimes it’s nice not to have a choice. People generally tend to choose things that are familiar; we take the easy way out. But work-for-hire projects don’t always mesh with our interests or expertise. Instead, they require us to step outside our comfort zones. I’m usually happy to leave, because it’s also my boredom zone.
Work-for-hire writers specialize in being general. That’s not to say we don’t have a certain set of skills. To get hired in the first place, we’re selling our particular expertise: how to research and write a book, within the peculiar requirements and constraints of the library and educational market. But implicit in this set of skills is adaptability, a game-face approach to whatever an editor throws our way. We’ve got to be good at mustering up curiosity and manufacturing enthusiasm about practically anything. Of course, there are some wfh writers who might stick to sports or history or pop culture. But for writers who are trying to make a living at it, they’re likely to take what they can get. For me, this “grab bag” mentality is part of the attraction.
When I started writing, I worked as a journalist in the entertainment industry. I watched a lot of TV, I went to a lot of movies, and I interviewed a lot of celebrities. I won’t deny this had an element of glamor to it–and I did get free food–but after you’ve written a couple hundred actor profiles and inadvertently become addicted to Days of Our Lives, it starts to get a little old.
Brain surgeons cover pictureA couple of years ago, an editor contacted me with a list of books she was assigning, and asked which one I would like. One of the titles was about Bono, the lead singer of U2. Another one was a career book about brain surgeons. A lot of people might have jumped on the Bono book. But I wasn’t particularly enamored with that idea. I’d done the celebrity thing. I wanted something else. So I took the brain surgeon book, and loved it. It’s still one of my favorite books that I’ve done.
Other times you just plain luck out. Recently I got a list of titles to choose from. One of them was in a series about economics, and was called “How Business Decisions are Made.” I didn’t pick this one, even though it paid a little better than the one I did choose–a book about zombies. Because, seriously, how could I NOT write about zombies if given the opportunity? I mean, I COULD make a good business decision and earn a little more money by writing about business decisions. OR I could write about zombies. In this particular case, I turned to a higher authority and asked myself, What would Shaun of the Dead do?
With wfh projects, sometimes you get great topics; other times they’re not your first choice. But you rarely work on a project long enough to get bored with it. I often think of writing a work-for-hire book is somewhat like taking an eight-week course (or, depending on how organized your editor is, a three-week course). You learn the subject matter and then you write your final paper, which will happen to end up in a library binding. But you don’t have to get up early and walk to class in the rain. And you get to deposit your diploma.
And it’s only about writing. You don’t have to worry about any of that pesky marketing-and-promotion stuff. In a sense, work-for-hire is craft at its most pure: you are not saddled with the worry of deciding what will sell, or to whom, or how well. There’s something comforting in knowing that your job is to just write the book. It’s one thing to deal with an idiotic or irrational editor (I say this only hypothetically, of course: my editors are all normal!). I mean, we’re writers. We understand neurosis. But spreadsheet-literate people from sales? Yikes.
I got my first work-for-hire job through a tip from a colleague. I emailed my resume, and even though the editor I contacted didn’t have any work for me right then, she passed my name to another editor who’d had a writer drop out on a project. She needed someone, pronto, to write the book. I agonized over this 6,000-word book. I probably–okay, maybe–made minimum wage by the time you averaged out my hours. But that first book led to regular work from this company. Meanwhile, I researched other educational publishers and packagers and went through the drill: sent my resume and samples, and waited for my inbox to fill up.
This happened rather slowly.
Some companies didn’t respond. Some responded with the always-cheering, “We’ll keep your material on file.” I always thought they were lying when they said this, and maybe some of them are. But I know at least some of them aren’t, because I’ve gotten contacted for work months later.
One company I work for doesn’t pay as well as the others, but, you know, it’s a job. And it’s a packager. I mention this because my editor there may work for more than one publisher. Even if his budget on one project is low, the next one may be higher–and he’s already familiar with my name and my work. Either way, I’m still earning more than I would working at Wal-Mart.
And I get to write the word “zombies” on my resume. You can’t put a price tag on that.

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

An Editor’s Day

OLYMPUS DIGITAL CAMERA
Why isn’t the editor getting back to me? If your manuscript was unsolicited, it ends up in the slush pile. The slush pile gets read last. But even if your manuscript was requested, it will take time for the editor to respond. Here’s why:


Editor 1: 5 Ms that occupy one editor’s day:

  • Meetings – they are “not what’s get in the way of my work, they ARE my work”
  • Marketing – “performances” – includes flap copy, which is so important
  • Mail
  • Mechanics – looking at the different stages of the book in the manufacturing process
  • Manuscripts

His “M” for manuscripts includes the ones he’s editing now. That doesn’t leave much time to look at new projects.


Editor 2: A glimpse into what one senior editor does:

  • Budget for next year – chart of all books – project costs, copies selling, etc.
  • Budget for conference, conventions, staff, salaries
  • Manage staff – pour oil over troubled water – part the Red Sea
  • Balance list
  • Manage up – be aware of what managers want
  • Proposals for books that she’s bidding on
  • Look at profit and loss statements for individual books and the department
  • Schmooze with authors, agents
  • Make print and buying decisions
  • Read books the house may acquire
  • Communicate with colleagues about books
  • Edit
  • Marketing, presale, sale meetings
  • E-mail, phone calls

This senior editor probably does not read many manuscripts that have not been vetted by other editors in the house, or by an agent.


Editor 3: An yet another view:

  • Meetings
  • Interruptions
  • Trying to read manuscript
  • Lunch at desk
  • E-mails
  • Phone calls
  • Brainstorming
  • Take the above and remix

I’ve heard many editors say they do the reading of submissions away from the office. That might include on the train ride home, evenings, and over the weekend. So, they often read manuscripts in their “free” time.
Further Editor Info from a Q&A
How do you balance lists?
– We pick books we will love in 3-6 years
How do editors determine marketing budget for an individual book?
– Make a wish list for each book, balance with colleagues
– Every season there’s a book that is a sleeper – it rises to the top unsuspected
How do bidding auctions work?
– The editor gets a call – this is going to be big and why (credentials)
– Reads it (may not even be that great a book but upper management wants them to look at it)
– Come up with marketing plan, proposal
– Date is set for auction
– Call on date and give bid
– Oh, but we already have that bid, relook and rebid perhaps
– Phone tag
– Next day – are you in or not?
What do editors discuss at an editorial meeting?
– Great voice
– Ability for writer to keep interest – some foreshadowing
– Is this story something new – a fresh perspective – honest look
– Fully realized characters – subtle quirks and nuances so readers can develop a relationship with character
– What’s the best way to get this book out there – whether hardback or paperback
– Platform – quotes from other writers, etc. – not the writer’s worry

The above info collected from a variety of editors.

What can we control? Our writing. And hope someday to be a part of an editor’s day.


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.