What To Do to Help Your Author Friend Sell Books

Eileen Flanagan, author of The Wisdom to Know the Difference (Tarcher, 2009), wrote a terrific piece in the Mpls. Star Tribune recently, called “Spread the love for your author friend” – about how to really help an author whose work you love. http://www.startribune.com/entertainment/books/53857827.html?elr=KArksUUUoDEy3LGDiO7aiU

Her advice:

1) Buy your friend’s book. In other words, don’t borrow or get one free! Help the author by spending money so he/she can get a royalty as well as sales recorded, and to let booksellers know people want this book. And, she reminds us, ask your local librarian to order a copy.
2) Don’t wait until Christmas or Hanukkah. The book won’t stay on the bookstore shelf is no one buys it now. Booksellers typically keep a book on the shelf no longer than 6-8 weeks. If it isn’t moving, it is returned and that’s the end of the story…..so BUY IT NOW.
3) Where should you buy it? Amazon versus brick-and-mortar store….Flanagan correctly points out that your author friend is helped more by a purchase from a chain bookstore than from Amazon, if it is bought right when the book comes out. If it’s well after the fact, then support your local independent bookstore by buying it there. Amazon is important as well, but it is not as helpful to the author as plan A or B above.
4) Write a review on Amazon for the book, or Goodreads.com. Mention it on Facebook and Twitter, and recommend it to your reading group. All excellent suggestions and reminder.
5) If you are a fan of a different sort of book than what your author friend wrote, in stead of writing a review write something like “I’m so proud of you for following your passion” etc.
6) If your friend is a good speaker, recommend him or her to your church, synagogue, school, etc.
7) Put a link to your friend’s website on your website or blog, using your friend’s key words to help her audience find her.
8) If your friend could legitimately be a reference on some Wikipedia page, add her as one, since a person can’t recommend him or herself without a conflict of interest.
9) Don’t ask your friend if she has thought of trying to get on Oprah.
10) If you pray, go ahead.

Thank you, Eileen Flanagan! This is so helpful.

An author friend of mine, Carrie Link, also hosts author launch parties and book readings in her home, complete with delicious food. This has been a help to the author and to Carrie, who has widened her community of writers and helped her make fabulous publishing contacts.

Be creative, but think about it. When you love an author or a book, speak up, any way you can--there is not an author alive who does not need this.

Laurie

www.authorbiz.com
Photo credit: (c)2009 Clipart

OPENING THE VEIN

"But words are things, and a small drop of ink, falling like dew upon a thought, produces that which makes thousands, perhaps millions, think." Lord Byron


OPEN A VEIN should be tacked up in front of every author writing a creative narrative book. It's a reminder to:

• get out of your head
• talk to us on the page as if we're in front of you
• get to the heart of your material and subject
• move us with your words, just as it moves you
• show us your true self, your real mind, your genuine heart
• be honest
• don't hold back
• bleed on the page if you have to

You have the opportunity for your book to make a difference in people's lives, to change the way we look at the world, to open up new doors for us, to inspire and enrich us. Don't take half-measures. Don't stop short. Invest yourself fully on the page, so this book can be everything its original inspiration held.

What usually stops a writer from doing this? First, there is the FEAR of what friends, family and colleagues will think. There is an INSECURITY about revealing one's true self for the world to see and judge. The writer may also have a privacy issue; once you put something into the book and "out there" there is no taking it back. You make yourself a "public person." And innocently enough, it is often a matter of the writer getting tangled up in the concepts and all the technical requirements--distancing the writer from the very passions that started him or her writing to begin with.

No matter the reasons a writer holds back, the result is that readers don't latch on; it becomes another "forgettable" book. The author did not speak to them. It was words on a page, all perfectly logical and let's hope intelligent, but lacking the passion, ideas, heartbeat, or fire that grabs us and won't let go. Smart books written with a "gloved hand" are hard to latch onto.

Open up and let go. Let the fire in your belly out. Let the ideas out. Tell us what you really have to say, and stand by it. Put yourself out there to be heard.

Laurie

www.authorbiz.com
Photo credit: Clipart

GOOGLE SETTLEMENT: Are You In or Out?

Things heated up today as the Authors Guild offered a rebuttal to the William Morris Agency's Friday (Aug 7th) recommendation that its clients opt out of the Google settlement. These are two pieces that are helpful in making your author decision: stay in or opt out. Please read them.

http://mediadecoder.blogs.nytimes.com/2009/08/07/william-morris-advises-clients-to-say-no-to-google-settlement/

And here is the rebuttal from the Authors Guild--which has spent years and a ton of dough negotiating this settlement on behalf of authors:

Memo to Agents (and Authors)

William Morris's recent memo to clients about the Google book settlement contains several errors that are likely to sow some confusion. [h]ere's the deal in one sentence: unless you want to sue Google, there's no good reason to opt out of the settlement. If you want to allow your book to be searchable in Google's database, and you want to be fairly compensated for Google's use of your work, and you want to retain complete control over whether, and how, your book is displayed or sold to users, you should remain in the settlement.

William Morris's principal mistake is that it appears to think that the uses that the settlement permits Google to make are interminable. This leads the agency to draw a series of erroneous conclusions: that authors can't negotiate higher rates for works covered by the settlement, that the agency won't be able to bundle all of an author's books (whether or not they're covered by the settlement) into a single negotiation with Google, and that its clients would be better off with a settlement of more limited duration. Most fundamentally, it leads the agency to conclude that authors are limited in their dealings with Google to the settlement's terms, unless the court changes those terms. It's wrong, on all counts.

Staying in the settlement does not diminish the agency's -- or anyone's -- negotiating power.* This is because all rights granted Google under the settlement are terminable at will by the rightsholder. Licenses that are terminable at will give the rightsholder far more power than a license of defined duration. In book publishing (as in life) all negotiating power comes from the power to say "no." The settlement fully preserves that power for rightsholders, from day one. By staying in the settlement:

• You aren't limited to the (quite favorable) royalty rate we've negotiated.

• You have the right to veto your publisher's decision to make your in-print book available in any way through the settlement.

• You have the right to block all displays of your out-of-print books, even if rights haven't reverted to you, even if your publisher wants to display the books.

• You have the right to have your work in Google's searchable database and display only snippets to users, blocking all other uses by Google.

• You have the right to change your mind (allow books you'd previously blocked to be displayed; block books you'd previously allowed to be displayed) at any time.

• This is just the start.

The settlement offers a 63/37 split** in your favor. Want to negotiate a different deal with Google? Turn off all display uses of your works and go for it. At any time.

But first things first. This settlement sets up a vast new marketplace for out-of-print works. Stay in the settlement to take advantage of that (to stay in the settlement, you need do nothing). There's plenty of time to exercise all of your rights and benefits under the settlement -- including the right to say "no" to any and all uses -- after the settlement's approved.

* One caveat: those who remain in the settlement do give up their right to sue Google. However, William Morris believes Google's scanning is a fair use (an unusual position for those concerned with authors' rights, and a decidedly outlier position for those in the copyright bar). What is more confusing is that William Morris encourages authors to opt out of the settlement while at the same time encouraging them to grant Google the right to use digital copies of their works for search purposes. If an author opts out, however, Google may well remove his or her books from the database in order to avoid an infringement suit, and the author's books would not benefit from Google search. In fact, the only way to ensure that your book will not be completely removed from the database, and thus benefit from Google search, is not to opt-out. Then will you be able to turn off all display uses except the free, search-based uses (snippets and previews) that will drive traffic to bookstores.

** It's a good deal. For comparison: Amazon buys e-books at a 50% discount from publishers. If you're a self-published author, the split is 35/65 -- in Amazon's favor. Newspapers face a 30/70 split -- again in Amazon's favor -- for electronic distribution of their content.

Feel free to forward and post this e-mail.For further information, contact the Authors Guild: staff@authorsguild.org; 212-563-5904.

[end of Author's Guild post]

Laurie
www.authorbiz.com
Photo credit: (c) clipart 2009

Author WARRANTIES: No Ducking

It's true. You write the book, get a publisher, and then have to indemnify the publisher (and anyone it does business with) from any and all possible claims or lawsuits that might occur as a result of publishing your book. If you think they are providing you protection, think again. It's your book, your content, and you are solely responsible for making sure you don't get sued. Who would sue me? you ask....

If your book is wildly successful and people suspect you're making tons of money, beware: they come out of the woodwork, including--

1. Your neighbor, who you carefully disguised by changing name, location, description, etc.
2. Your old boyfriend/girlfriend or ex, who feel they contributed to your material by being in your life or they are mad that you used "their" material.
3. Those people in your family who have never liked you or who are jealous of your getting a book published.

If your book is only modestly successful (but well reviewed of course), and it's not on the public radar (yet), then who will sue you? These are frivolous lawsuits most of the time, but lawsuits or threats of lawsuits, nonetheless.

1. Someone you quoted, without having secured permission -- known as "copyright infringement" (very messy, almost always dealt with by settlement from the publisher, which means from your royalty account).
2. Someone who says you stole their recipe, their ideas, their article or blog, etc.

The point is, without any legitimate grounds whatsoever someone can come at you, and you will be on the hook. How do you protect yourself?

# 1. Take all PREVENTATIVE MEASURES in the manuscript itself:
a. Get permissions for what you quote, within the Fair Use guidelines. When in doubt, err on the side of the written permission.
b. If there is even a known remote chance of being sued by someone you are mentioning in the book, take them out and write around it. If you can't write around them, try to show them what you're writing and get their written "okay"
c. If your topic or focus has inherent legal liabilities, have it "vetted" by an IP law firm. Most publishers will not do your legal vetting, though they have a provision for it in many contracts. And even if they do the vetting, you're still on the hook if someone sues you.

2. Get insurance, for at least the first couple years after publication. Many authors add at least $1 million in insurance to their homeowners' policy for book liability. You are gauging what risk you can afford to take...what you're prepared to lose if you play with fire.

You are on the hook for it, so do what's necessary to take care of yourself, your family, and your assets. And remember, the Warranties & Indemnification clause of your publishing contract is not one to breeze over. It should be carefully negotiated, with provisions to protect you in the event of settlements for claims against you.

Laurie

www.authorbiz.com
Photo credit: L Harper 2007

The Prism Effect

A book is like a prism: With a certain voice, tense, or angle it looks like one kind of book but turn it slightly, change the voice, change the tense, or point of view, and you see a rainbow of other colors. Your book is not just one thing, it is potentially many things. Whether you're writing a novel or a nonfiction book, you have elements you can change up, and each variation gives a different flavor and reading experience. Choose a piece of the book -- say a couple chapters. Write the same material from different angles; maybe start from a different place; different point of view; change the time frame, or voice. See how each change affects the reader's understanding or engagement. It's a wonderful, enlightening experience to discover the many choices you have. All of them can work, but one will work better.

It is your job to find the best one--preferably before you write the whole book. Explore!

Laurie

www.authorbiz.com

Photo: Prism magazine http://www.authorbiz.com/

Book Strategy

All excellent writing starts with a plan, but for book authors this plan is not just about the book itself; it is a larger strategy in which the book plays a part. As is often said, it's a lot easier to get somewhere if you know where you're going. For the author, it's more likely your book will perform correctly if you know what it's supposed to do for you.

For some authors, the book's role in the Big Plan is to increase their speaking fees. Sometimes the book is supposed to bring in new and bigger consulting clients. Often the book will help a freelance writer increase article fees or open doors for a regular, paid column. Until you know what your book is supposed to do--by itself and within the larger Plan--you won't know how to maximize the content of your book or strategically include aspects that will serve your larger plan.

No matter where you are in your book process, short of production, it is not too late to figure this out and make a course correction, even if it means a lot of rewriting, extra time and work. You don't get a do-over; if you miss your mark from lack of planning, then you've lost the opportunity.

Don't hesitate to stop, back up, re-think, and re-tool your book. If that little voice is saying you're rushing things, or you're not sure if you've got this book on track, now is the time to rethink. Your planning and your focus is the only way to get the book to do its job later--no one can do it for you if the book isn't lined up within your larger goals and strategy.

Have a think...

Laurie

www.authorbiz.com
Photo credit: imagesafter.com

Staying Out of Our Own Way

A simple cold can be a teacher. A reminder of how dumb one can be even though, overall, a smart person. Yes, okay, I'm talking about me. Even when I knew my mind had been hijacked by endless 12-hour cold capsules and dulled by too many gulps of cough syrup, I proceeded to tackle a proposal that had just had multiple revisions. Gee, how did that go? Not well.

The second lesson: own up to your failings and apologize. Make course correction.

The third lesson: get and stay out of the way of Flow and progress, if you aren't contributing to it.

The more glitches that occurred, the harder I worked, chasing my own tail. My medicated mind thought determination and stick-to-it-iveness would get the job done and I would Overcome. But no, it overcame me, and I couldn't think clearly enough to know I had just done a bunch of useless (and bad) work...for days.

Staying out of the way would have been much more helpful.

I have been reminded. I pass it on for what it's worth to each of you authors. If something isn't working, get out of its way. If you have hired other experts to help you, let them do what you hired them to do. And if you're sick, don't try any serious work--just get a coloring book and crayons for a few days.

Laurie
http://www.authorbiz.com/

Photo credit: Clipart 2009

WHEN LEADERS RETREAT

I am currently observing a particular fallout of the economic crisis and publishing tailspin: the dreaded "Keep Your Job" mentality. When this fear takes over, decision makers find it easiest to step back, say no to everything except a guaranteed success. I see it most clearly with editors, since they are the first line soldiers, but it's playing out in Sales, Marketing, and Publicity as well.
This has happened before, of course, whenever there are financial crunches that force layoffs and downsizing. It's a crazy musical chairs for months on end, creating havoc for authors at all stages of publishing.

So who will fight for the author and this book that the author has put heart and soul into, not to mention all the time and sheer effort? The agent will, but the agent can't make the editor take up the challenge to fight for the author if that editor is in "stay under the radar" mode.

In life and in business, it's always easiest to say No. Of course we would never have the breakout book, the underdog win, the brilliant creation or invention, without the visionaries who say Yes and who then put their talent and skill behind it.

If you believe in what you're doing, if you believe the world needs to read this particular book, then whether you are the author, the agent, or the editor, consider what you can accomplish if you say YES; if you take risks that you believe in. If all editors and publishers are going to do is stay with what they know, stay safe, not think, not step up to make something happen for a book that should be published, then traditional book publishers are already dead and authors may as well form their own new models. Authors won't stop writing, they'll just stop talking to publishers.

If we all want to be in this business, then we have to get off the bench to keep the business viable. It's up to every one of us, every day.

Laurie
www.authorbiz.com
Photo credit: (c)2009 L Harper

How Do Agents Differ?

From the time I became an agent, lo those many years ago, my single focus was on how to help the author achieve his or her goals. I saw my job simply as the "author's representative." Over the years, I met other agents who had a very different point of view. They saw the job as "making the deal."

The "author's representative" makes deals and negotiates contracts too, of course, or they wouldn't stay in business. The difference is that they define their role much more broadly. They help the author develop the book idea and the proposal package; they coach the author; they recommend appropriate freelancers if the author needs them; they are on call to answer questions along the publishing process; they brainstorm marketing ideas with their authors; they will continue to make proposal submissions to publishers even if twelve publishers have rejected the book so far; they help the author forge a relationship with the editor and publishing team once a deal is made; they mediate disagreements between the author and his or her editor; and they build a long-term relationship with the author over multiple books. And of course, they handle royalty statements and author payments.

The "deal-maker" agent defines his or her role more narrowly. This agent typically only takes a book that is ready for sale to a publisher (no development work); their sales effort is usually confined to a group of editors who always give the agent the kind of deal he or she wants; and if there are no offers or the offers are too low, the agent will give it back to the author and that's that. If a deal is made, this agent is then focused on rights sales and generating income, not building a relationship with the author, per se. The author is expected to work out whatever issues come up with the publisher, and the relationship with the author is "strictly business."

It's important to note that the deal-maker point of view is perfectly legitimate, and not without its merits. The "author representative" style often leads to a lot of unpaid work on behalf of the author, and cumulatively, this agent may eventually be forced to shift to a "deal maker" style for the sheer ecomonics of it all. Authors need to be sensitive to the time they take from their agents with "peripheral" aspects, and try to get information on their own before asking the agent. Having an agent doesn't excuse the author from research and homework.

So you can see that in order for you to get the right agent match, you need to consider the matter of the agent's style and job perspective in addition to him or her being a match for your book.

There are very few bad agents because bad agents don't stay in business. But there are bad agent-author matches, which leads to both people being unhappy and the author losing valuable time being confused or unsure of what to do next. I get calls from authors asking "Is it me or is it my agent? What should I do? How long do I give this?" If the match is wrong, you end up with situations like the book not selling, or the book that is sold not really being the book the author wanted to write, or the book sold and now the author is pressed into a time schedule and publisher expectations he or she was not prepared for. If you're expecting your agent to coach you or explain things to you and then find your calls not returned or emails unanswered, you will be frustrated. If you are asking your agent questions all the time and the agent doesn't really work that closely with his or her authors, both of you will be distressed.

When you are agent hunting and one says "I want to represent you," it is very hard to not say "Great! Let's go!" because the process of getting an agent can be so laborious. But you will not gain much if that agent is not the right match for (a) your book (b) your needs, and (c) your communication style. Publishing is a long process and you don't need to add layers of agent problems to it. Take the time to have phone conversations with the potential agent before signing up. Ask direct questions like, "Do you talk to your authors all throughout the process?" "Can I call you for help if I have a problem?" "How many publishers would you go to with my book? What if it doesn't sell right away?"

There's a reason the author-agent relationship is most often compared to a marriage.

Laurie
http://www.authorbiz.com/
Photo credit: 2009 Clipart

Speak Up or Shut Up? Part III: The Author-Publicist Dilemmas

It's a little odd to talk about "the squeaky wheel" when it comes to publicity, since that's what publicists are supposed to be! This particular arena, however, will be one of your most challenging in the publication process. And in significant ways your publicity and marketing team hold a lot of the keys to your book's initial reception and visibility in the marketplace. So all your dealings with PR require thoughtful finesse. NOTE: I am going to address your publisher's Publicity Dept. here, not the hiring of a freelance publicist, which is a separate topic for another time. I am also only addressing this whole topic at the broadest level because book marketing and publicity is an entire world of its own, requiring many blogs (over time).

Consider for a moment that Publicity is usually a thankless job, and most publicists are underpaid. They are given a list of Spring or Fall books to promote and publicize, with a limited window of time and a defined budget. Every author sees his or her book's publicity as the most important event of the year; every publicist looks at the list of books coming up next and knows there will not be enough hours in the day or dollars in the budget to make all the good ideas happen. In short, they will do what they can. Their days are spent in planning meetings, prep work, getting materials out, fielding media requests on ALL books (old or new), building relationships with the media, and managing all the author communication. It isn't hard to see how little can be done for any one author on any given day -- and that the tasks and results will in fact happen over much longer periods.


This begs the author to ask, What is my PR budget? Ask your agent, or your editor, and you will probably not get an answer. Why? Because no matter what the answer might be, the author is not likely to be happy about it. Everyone knows this except the author. Each book is evaluated on several factors: (a) the advance paid and the sales expectations in primary markets (meaning not all the peripheral audiences) (b) the author's media platform and general "connectedness" (c) the book's timeliness and "hook" for the media (d) which media platforms most target the book's target audience (TV, radio, internet advertising, blogs, magazines, etc.).

Then based on Publicity's experience in your category and with the intended media focus, they will decide where to focus their efforts to get the most bang for the buck in the short time they have to get some "traction" for your book's launch into the world.


NOTE: The publisher's PR efforts are distinctly separate from what you, the author, are doing to promote your book at launch and beyond, which is your own internet marketing and social networking, blogging, perhaps writing magazine articles or Op Ed pieces, speaking or workshops, local and regional efforts whether that is talks/signings in stores or schools or anywhere you can, and tapping all your local media for interviews or special feature articles, tapping into old alumnus newsletters, organizations and associations you belong to.....and such.


The basic job of Publicity is to create a Press Release for your book that will generate TV and radio interviews; to place strategic internet ads for your intended audience; to generate reviews for your book; and depending on the type of book, to create special promotions through the media.


The dilemmas that arise? (* see notes below)

1. "My publicist does not tell me anything...I have no idea what is going on."
2. "I'm getting requests for the book by journalists, bloggers, media, professional colleagues..."
3. "I've been invited to speak at a conference in New York but I can't afford to go to without the publisher's help..."
4. "I'll be travelling for work to a number of cities and the publisher should take advantage of that with book promotions in each city..."
5. "Other authors are being booked on TV and radio, on my subject, and my publicist has not gotten me anything."
6. "I have given my publicist all the lists and information she asked for, which took me weeks to compile, and she has done nothing with it as far as I can see."
7. "Why isn't my book being promoted at the Book Expo (BEA) and why aren't I there?"
8. "I'm told my budget is spent, but nothing has happened...we haven't even begun!"

Whatever your dilemma, when it comes to Publicity tread carefully and first talk with your agent and/or your editor. Is there anything special you should know about the publicist (is she new? has she been sick? is the company in reorganization? has there been some shake-up?)?


Then, prepare an email, after considering the situation from the publicist's (probable) point of view: (a) no author is ever satisfied (b) no campaign would be extensive enough (c) every author thinks he or she is the only one with a book coming out (d) Do they think I work 14 hour days? (e) If authors had to do my job for one day they'd sing a different tune.


Make sure you start the email with sympathy for the many challenges the publicist has and gratitude for her time, efforts and talent on behalf of your book (even if you haven't seen any). Then move into the factual and specific statement of the problem, with your specific request and supporting persuasive information--devoid of emotional/angry language or "attack" elements, though it is fine to use words like "distressed" or "confused" or "frustrated by." Acknowledge their budget, and show how/why what you are requesting in in their immediate interests of selling books. The email is not to vent, it is to induce the publicity department to solve your problem. Remember the KKK rule mentioned in the earlier blog.


As a precautionary measure, ask your agent to preview the email before you send it (note "before"), and keep your agent in the loop at all times. If things get ugly, your agent is going to have to clean it all up.


What does "ugly" mean? Anything from the publicist telling your editor (who tells your agent) that you are a pain in the ass, and ungrateful to boot -- to the publicist just starting to lie to you to shut you up and get you off her back. Since you want your publicist to actually you the truth about everything, you will need to prove that you can handle the truth...


It is a good idea to keep in mind that your publicist has the ability to make you "persona non grata" and end your lovely relationship with your publisher. Really. Not like anyone would admit it, but it happens. So while you DO need to address real problems in the publicity campaign, you DO need to speak up, you also need to do it with the utmost care, and you need to pick your battles and be very efficient in your communication.


Good luck--rise to the occasion!


Laurie
http://www.authorbiz.com/
Photo credit: Clipart

1. * Rather than asking WHY you don't hear anything, approach this from "I can imagine how difficult it is to have any time to communicate with me, so how would you like me to communicate with you? Are there certain times; do you prefer email or voicemail? How can I best update you and how is it realistic for you to update me?"
2. * If you say this straight out to a publicist they'll just tell you to email them the list and they'll take care of it. Then you won't know if it is done or not. If you are willing to pay postage, you can ask the publicist to send you books for the list you will email her, and you will send the press release and book to each of them. If they are not willing to do that, then after you email the list you will need to let those people on the list know that they should be expecting a book from Publicity at (your publisher), and if they do not receive it within a reasonable time, to please let you know.
3. * You will likely get further with a request like this if you tell your agent and editor first, and enlist their help in getting the budget approved for the conference expenses. You will need to provide the specifics of not only the costs, but why this is an important conference for you to be at and how, exactly, you will be able to promote the book there (will you have a booth? be speaking or presenting?).
4. * Not every city is a good book-selling place, so start by informing your publicist of your travel itinerary, with at least 2-3 months notice (any shorter and it is unlikely they can plan and execute anything). First ask for the publicist's input as to any of those cities being valuable for book promotion, whether that is bookstore talks/signings, newspaper or radio interviews, book club speaking, etc. Then work from there to determine what, if anything, can be done to take advantage of your being there. If you run into resistance, ask your agent for help (who will again enlist the support of your editor).
5. * This is upsetting, of course. It should be brought to the attention of your publicist by way of informing her that there is clearly a lot of interest in your subject because these other people are being booked, and then you can directly ask what response your publicist has received from her efforts with similar places. (You may or may not get the truth, but it has to be asked.) You can ask for a second or updated effort to be made in those key places where you are showing there is obvious interest, and can offer to prepare a new slant and pitch that won't conflict with what those media outlets have already covered.
6. * Your approach here needs to be along the lines of "once I know which of these on the lists you were able to get to, I can then fill in with a second effort on the rest so we are sure to cover them together." This is not accusatory. One of the problems in being too thorough with the information you give Publicity is that they don't have time to do all that, so you will have to be the one to do the rest.
7. * The BEA is designed for promoting the publishers' Fall books to booksellers. If you book is on the Spring list, you will not be included in the BEA promotions. If you are on the Fall list, you can ask your publisher about attending, doing book signings, or being at the booth to talk with book sellers, but more and more publishers are not bringing authors because it is not cost effective.
8. * It is fair to ask where, exactly, your budget was spent if, at the end of the day, there are no discernible results. This is best done, however, with the aid of your agent. God forbid it sound like a whine!

Speak Up or Shut Up: The Author-Editor Dilemmas

Once again, let's think about whether the squeaky wheel gets the grease or the boot...when it comes to talking with your publishing house editor about disagreements or frustrations. When a publisher buys your book, it is their job to first make your book the best it can be from an editorial standpoint, and yet the book remains your book.

1. The first frustrations for the author come in the editing. It is not uncommon to receive a manuscript back from your editor so full of post it notes you shout, "If they hate it so much, why did they buy it?" Take a deep breath. Read through the whole manuscript, every single post it. Jot some notes if you like, but don't spend time on any of it yet. You may ultimately disagree with some of the editorial suggestions, and that is your right, but first you have to step back and read through all the editing in order to see the overarching shape of those edits. How does this editing make the book more clear, more accessible to readers, more compelling? If in due course you believe that some of the editing in fact detracts, or is inaccurate, or pushes the book a direction you do not want to go, this is fair discussion that you should have with your editor. It is your approach to this conversation --on the phone, not email--that creates success or disaster.

The author-editor relationship needs to be respectful, rational, thoughtful, and positive--on both sides. You do not want to push issues to the point of being that "most difficult author to work with" or persona non grata. And it should not be necessary if you are considerate and patient in your approach and communications.

If you approach the editor with gratitude for the time, effort, and talent he or she has just put into your manuscript, you will be off on the right foot. If you leap into "I can't accept this" you are jumping off a cliff.

Remember the KKK rule: kiss, kick, kiss. Kiss for the overall wonderful editing; kick for those points you don't agree with and why; ending the conversation on a kiss and optimism. The editor will graciously accept your point of view as long as you show you understand the problem he or she pointed out, and you have an equally good way of addressing it so the problem is solved. Not ignored--solved, but solved your way.

2. The second most common frustration comes with the title debates. An author should always be cautioned not to fall in love with his or her title--because it is often the first thing to go! Publishers have final control over title, cover design, layout, and marketing of the book--since it is a product they have significantly invested in to bring to market. It is a commercial product--which is a far notion from how the author experiences his or her book. The publishing team has multiple title meetings, including input from sales, marketing, and publicity departments, who in turn have input from booksellers (more than we'd like). Booksellers are on the front lines of book selling, and they have the statistical tools to provide feedback to the publishing houses about what is or isn't working in the book stores. This includes titles, cover designs and colors (which seem to change like fashion), as well as positioning phrases --i.e. you wouldn't put a quote on the cover saying this is the next "X" if "X" didn't sell up to expectations.

It is perfectly fine for you to make an initial case for your original title, but then you must engage in the ongoing discussions with an open mind to the publisher's needs. It is fair to ask them for more than one title suggestion--at least then there is some choice. You have to gauge their "determination" -- if they are basically adamant about a certain title, and if all else fails, work in a subtitle that will make you feel comfortable with it. Or give them back a couple other titles you like that seem to provide what they wanted, but with a slant you like. You must speak up if they are forcing a title you can't live with or work with; that you cannot in good conscience promote. That is a "No." Usually, it doesn't come to this, but do not hesitate if it does. And note that title discussions are time sensitive -- you don't usually have weeks to figure this out. You will get one or two back-and-forths and then the decision will be made. If you're a really savvy author, you'll have some alternate titles you can live with hidden in you back pocket before you ever get a publishing deal.

Remember the old saying: Pick Your Battles. Publishing is often a 9-month process--editorial, production, post-production, pre-sales, and publication/launch. You can't be a screaming hyena on everything that comes up, or you will quickly be "one of those."

3. The third tricky author-editor situation, which is increasingly common, is that half way through the process, your editor accepts a position at another publishing house and jumps ship. You are not necessarily the first to know. With luck your agent is, but sometimes it is sudden. Here are a few indicators that your editor might have one foot out the door:

• He or she usually returns your email or call within one day, sometimes two. Now it has been a week and you know the editor is not on vacation.
• Whereas usually the editor is somewhat chatty with you, now the tone is all business and "efficient."
• The editor's assistant starts communicating with you more, whereas before this the editor always talked with you.

Something is up. First ask your agent to find out what's going on, and if you are still not satisfied, it is perfectly okay to ask your editor directly, saying you've noticed this change. You do not want to be surprised. A new editor will have to be assigned, and you will need to make contact with your new person to create a seamless flow in the ongoing process. You will also have to get your new person excited about your book. This person did not buy it--but you need him or her to be your voice in-house, to rally the troops for you. A little cheerleading and, let's face it, kissing up, will be in order. Handle it with grace-don't let it throw you off your game; you're the only one who pays the price.

There are authors out there--you know who you are--who think they can "demand" things from their publisher. Not true, unless you own a stake in the publishing house. It is your book, but they publish "at will" and it is product and sales oriented, and they are the ones ponying up $50,000 just to bring your book to market (without considering your advance). You do not have control, you have influence. Used correctly, influence is just as good.

If you have other issues with your editor that you'd like addressed, feel free to post a comment or question.

Here's to diplomacy!
Laurie

www.authorbiz.com
Photo credit: Clipart (c) 2009 Laurie Harper

Speak Up or Shut Up? Author-Agent Dilemmas

Does the squeaky wheel get the grease, or the boot? How do you know when to speak up or when to shut up? Over these next few blogs we're going to take a look at some typical dilemmas authors face, first with their agents, then editors, and finally, publicists and marketing departments. It should help you think through your particular situation and choose a course of action and dialogue that won't get you the boot or put you on blacklists. Your first professional relationship (aside from any freelance editor you may have worked with) is the agent. You were very excited to have an agent, but then.....

• You understood that your agent would be submitting your proposal/book to publishers within a certain time frame, and after much time has passed, the agent has not told you what's happening and does not answer your email or phone call asking for an update. What to do?
  
• You signed on with an agent who was very excited about your book, but after several rejections, you're now thinking about the other agents you passed on, wondering if you made the right choice. . .
  
• The agent has made a few submissions of the book and you are eagerly awaiting The Call saying there is an offer on your book, but after the first rejections come in, you notice a tone in your agent's communication with you that implies you are bothering him or her when you checking in or ask questions. You wonder what you did wrong, what you said that changed things....

Consider this:

(1) Agents are not generic beings. Each one has come to the agent career through their own unique routes, each with his or her own personality and an agency that reflects individual philosophy and perspective. When you look through a resource book like Jeff Herman's Guide to Book Publishers, Editors and Literary Agents, you will see the personality of any agent if you patiently read the whole listing. In my experience, it is about 95% accurate. If an agent comes off as aloof and to the point; he or she is. If the agent comes across as personable, broad-minded, open to new ideas, with a sense of humor, it's true.

When you first spoke to your agent, before signing on with the agency, was the conversation open and relaxed? Were you comfortable asking your questions? Did you feel satisfied that the agent had spent significant time with your proposal or book, with a definite plan for going to the publishers? Or was it a straightforward business conversation, fairly short, that basically just gave you the chance to say "Okay, I'll sign with you"? Did you feel that you were beginning a relationship or that you were just saying yes with crossed fingers?

Some authors want a business-like relationship where the agent just does what he or she is supposed to do, and the author puts the book out of mind until there is a publisher, trusting that the agent is doing the job and will call if he or she has something to report. This is a perfect match between client and agent if the agent is a "hands-off, strictly business" agent, who sees the job as Present the Author to Editors, Get a Publishing Offer, Negotiate the Contract, and Manage Royalty Payments. Otherwise, you can see it is not an ideal match if either party was looking for a closer working relationship, with a constant information exchange, getting to know each other, planning future books, etc.

The important word here is "match." A mis-matched author-agent team is inherently difficult for both sides. More than anything you want a good match of agent for who you are, how you work, what you write, and for helping you create lasting publishing relationships that will build your career. Only you can say which agent is that match for you.

If you signed with an agent and have unsuccessfully tried to discuss what is bothering you, and you now believe you chose the wrong one, then let the agent know that you would like to terminate representation, subject to the outstanding submissions he or she has, and don't get wishy-washy about it. You need to make the best business decision for your own future--it's not a popularity contest. Maybe the next agent can do what the previous agent could not: Maybe yes, maybe no. You leave an agent because it was not the right match for you or the book, or because after a realistic and targeted effort there is not publishing offer; not necessarily because the agent didn't get a deal for you in the first 3 months or call you back within 24 hours.

(2) The relationship is cultivated by both sides. Each party has responsibility to state his or her needs clearly and to communicate when needs are not being met, or when they change. The agent can contribute to the relationship by providing information, coaching, suggestions, being supportive of the author's challenges in the process, and also by helping the author understand which battles to pick and which to let go of. The author typically relies on the agent for advice on making the best choices to achieve his or her goals at each step of the publication process.

The author can contribute to the relationship by giving the agent everything he or she needs to make the best sale, by sincerely considering the advice or suggestions the agent is making, and giving the agent feedback based on the author's expertise. The relationship should be an exchange of ideas, the author and agent putting their heads together to combine their separate expertise for the right end result.

If the relationship is not going right, the agent and author should speak up. Both have a responsibility to each other to be honest and straightforward, as well as sympathetic to situations that happen which prevent one or the other from doing something perfectly. Play fair. If in the course of these discussions it is obvious that there is no meeting of the minds, that what you or the agent needs isn't going to happen, then you can both make a fair and professional decision to part company and not waste each other's time and energy. There does not need to be any wringing of the hands or lost sleep.

What I have often observed is an author firing the agent or an agent firing the author without even a single open conversation (NOTE: not email) where both parties have the chance to explain themselves, calmly and professionally. This is not fair to either author or agent. Just like with couples or marriages, expecting mind reading is a sure path to failure.

(3) The agent works for the author. Yes, it's true. The agent is the author's representative, though they will work as a team of equals. Yet it is most common for the author to feel like he or she works for the agent. This single mis-conception perpetuates a lopsided, unsatisfying relationship. Authors need to tell agents what they are unhappy about, frustrated with, or confused about; Agents need to tell their client authors what they need to be successful in their endeavors, how best to communicate with them during the various processes of selling the book, and to be candid about problems they may be having at the moment. The author should be comfortable saying "I know you are busy with submissions to the editors, but I need to know--every now and then--who has seen it, who has it, what has anyone said...so while I understand you are not giving weekly reports, what would be a realistic schedule for this?" You have a right to updates but the agent legitimately needs enough uninterrupted time and space to actually do the work--so you can see that it needs to be discussed and worked out.

It is not uncommon for an agent to lose all sense of time--busy in the doing--not realizing that you have gotten no information. Agents also have lives, sometimes complicated lives, and in spite of their best intentions, Life Happens and they get thrown off track, temporarily. Of course if you don't know what's happening with the agent, you can't very well decide if you want to be supportive and cut him or her some slack. You may even be sympathetic but not have time to wait, in which case you need to say "Sorry, but I have to go."

So when in doubt, confused, or irritated: speak up, but speak up earlier , not later. Just ask. If you don't get any response, then you will know what to do.

There is an odd dynamic during the Get-An-Agent process. Initially you are querying to ask if you and your book might be of interest to the agent, and the agent is in the driver's seat. The agent has sole choice of which authors to represent, or not. But once an agent says "Yes, I would like to be your agent," the agent now works for you. It is not good if this transition doesn't happen and the author stays in the "Gee, I'm so grateful" position. You are two professionals working as a team, on the author's behalf.

Many authors say, "I'm not good at confrontation." I assure you, it doesn't have to be a confrontation to solve problems. Think of it as a conversation. You want to hear what prevents the agent from giving you X, and you want the agent to hear why you are unsatisfied, what you expect and need. During this conversation, either or both of you will come up with the right next step, whether that is new understanding and agreement between you two, or parting company (without acrimony).

When your gut says something is wrong, act on it. Speak up for yourself. Next time, we'll look at author-editor dilemmas.

Laurie

http://www.authorbiz.com/
Photo credit: Clipart (c) 2009 Laurie Harper

A Sense of Humor is Handy in Publishing....

Okay, I have to share this--posted today....

• USAir Captain Chesley "Sully" Sullenberger's memoir, to William Morrow, reportedly for between $2.5 million and $3.2 million by various reports, at auction, in a two-book deal (the second said by the Daily Beast to be a collection of inspirational poetry), by Jan Miller at Dupree Miller & Associates.

Laurie

www.authorbiz.com

What The Editors Bought Today

It is always enlightening (in some way) to know, from all the submissions the editors have received lately, which they chose to make offers on. Here are some "done deals" of today, with kudos to the authors, agents, and editors:

• Mauro DiPreta at Harper Collins' IT BOOKS bought Peter Hanson and Paul Robert Herman's TALES FROM THE SCRIPT: HOW SCREENWRITERS WIN THE HOLLYWOOD GAME, a collection of exclusive interviews in which Hollywood screenwriters reveal the secrets behind their successes and failures, and offer up uplifting stories about how faith in their talent empowers their careers, to accompany a companion documentary produced by the authors.


• He also bought Kelly Roman's graphic novel, THE ART OF WAR, which "reframes the classic text within a futuristic, post-collapse world of hedge-funds."


• FILM RIGHTS to John Armstrong's GUILTY OF EVERYTHING, Armstrong (aka Buck Cherry), lead singer-guitarist of the Modernettes, tours us pell-mell through his misspent youth as part of Vancouver's punk scene circa 1978-82, were optioned to Patrick Carroll and Optic Nerve Films.


• Jordan Fenn of Fenn Publishing bought Terry McConnell, Jennifer Nye and Peter Pocklington's I'D TRADE HIM AGAIN, the memoir of one of hockey's most colorful team owners, with a foreward by Wayne Gretssky.


• Stephen Morrow at Dutton bought Kevin Nelson, M.D.'s A NEUROLOGIST'S SEARCH FOR THE SPIRITUAL SELF, which uncovers the origin of spirituality in the most ancient areas of the brain and includes case histories drawn from three decades' of clinical work.


• Sam Douglas at Picador bought poet and professor Wayne Koestenbaum's HUMILIATION, exploring the connection between our private experiences of humiliation and our current fascination with the public humiliation of others. Picador has a Big Ideas series.


• Jennifer Urban-Brown at Trumpeter Books bought Kathleen Dean Moore's WILD COMFORT, an elegant narrative on nature's ability to comfort us during times of great sadness.


• Karen Kosztolnyik at Grand Central (formerly known as Warner Books) bought Sue-Ellen Welfonder's SWORDS OF THE GLEN, in a 3-book deal.


• David Moldawer at Sentinel bought THE PERSECUTION OF SARAH PALIN, by THE K STREET GANG author and associate editor of The Weekly Standard Matthew Continett...the title says it all, though I will say it is in defense of her, not a how-to manual.


• Heather Proulx at Brown bought Michelle Moran's MASKS OF THE REVOLUTION, about the life of Madame Tussaud, in which young Marie Tussaud joins the gilded but troubled court of Marie Antoinette, and survived the French Revolution by creating "Death Masks" of the beheaded aristocracy.


• Peter Gethers at Broadway Books bought "740 Park" author Michael Gross's PLATINUM TRIANGLE, a social history that will uncover the lives and lifestyles of the owners of the most extravagant trophy homes in Beverly Hills, Bel Air and Holmby Hills -- the Los Angeles estate district.

Have a ponder....

Laurie

www.authorbiz.com
Photo credit: (c) Clipart

Blogger Beware: Copyright Issues

Leslie Kossoff over in Paris (www.kossoff.com) kindly pointed me to a March 2 article by Brian Stelter in the NYT Technology section that talked about media companies taking an increasingly tougher line on granting permission for the excerpting of their material. It talks about web sites "scraping" other sites' material and ad revenue (such as it is). It reminded me of bloggers "hijacking" material or commentary from other bloggers to form their own post for the day. Early on in cyberspace evolution, the media and authors saw the excerpting as beneficial since with hyperlinks the new article or blog could send readers back to the original web site for the full article. Everyone was loose about the formal permission, and most writers still figure that with proper credit, and only quoting a small piece, there should be no problem. Let's stop and reflect on Copyright for a moment-- writers' rights and responsibilities.

I'll recap the basics on this issue, but you should not take anything in this Post as legal advice: It is for your general understanding and perspective--how to think about it.

The Fair Use law is not a black-and-white standard, giving even the higher courts pause. It typically includes quoting for "criticism, comment, news, reporting, teaching, scholarship, or research" but as literary attorney Sallie Randolph (www.authorlaw.com) states in her book, AuthorLaw A-Z **, "The general rule is that it must result in a public benefit or an increase in knowledge beyond the contribution of the original work." She notes that a use of other's material is not fair "simply because it is a single or small infringement, or a private non-commercial use" [which I quote by permission :-)].

There are a number of factors considered, case by case, but from a practical operating standpoint, here is a checklist:

• Is your excerpt for commercial use or educational? If it's for commercial use, there is more scrutiny. (Along the lines of If you're making money on it, you should be paying for it.)
  
• Typically, excerpting from another author's book is Fair Use below 250 words. However, if you take the "heart" of that author's proprietary material, you are likely to still be in hot water. And the ploy of excerpting smaller pieces but taking many pieces that you then use throughout your book will cumulatively put it into question -- suggesting your book is derivative of the other author's book. You see how this goes... There is a common sense element to copyright and Fair Use when you think about it.
  
• If you excerpt from an article, you will want to get permission for 50 words or more (giving credit and referencing link, if online)--but again, you can't lift the heart of the article and expect it to go unnoticed.
  
• Reproduction of any figure, table, illustration, photograph, diagram...These require permission unless it is expressly stated to be free and without copyright. And even if it is free, you need to provide credit.
  
• Quoting songs or poems -- you will always need permission -- even for a few words.
  
• Lengthy paraphrasing of someone else's material will also not get you off the hook. You can paraphrase a paragraph, or the gist of an entire article in a few sentences, but you can't literally rephrase the bulk of it...which I think is common sense, again.

Do unto other writers as you would have them do unto you. If it were my material being excepted, what would I think it fair use? When would I think it is egregious or flat out stealing? As a writer, you should be highly sensitive to copyright issues, since you want to protect your own work.

And why not get permission? Can't be bothered? Don't you want other writers to be bothered enough to contact you? Plan with enough time, in advance of your deadlines, to secure the appropriate permissions. It can only be recommended that you err on the side of caution. You will find a number of books available to help you with forms and procedures.

Over recent years we've seen a number of high-profile plagiarism lawsuits and situations. Authors Guild has steadily pursued (and won) class action suits against the media for abuse of freelance writers' material, and now Google for their online scanning of books to offer in their book search program. Amazon has just backed down from its Kindle 2 speech mechanism to state that each author will have the Yea or Nea option to authorize the audio portion of Kindle (which they were earlier just going to use without permissions or fees).

I regularly see writers being too cavalier with their online material, be it a blog or a website. I see everyone helping themselves to everyone else's stuff, and piggybacking on it. It is up to each of us, each writer, to protect our material, and to show that same respect for other writers' work. You should also have this book on your shelf: The Copyright Permission and Libel Handbook: A Step-by-Step Guide for Writers, Editors, and Publishers by Lloyd Jassin and Steve Schecter. Taking the preventative approach to copyright infringement is the cheapest insurance you can have. Be careful out there. . .

Laurie

www.authorbiz.com Photo: Clipart (c) 2009 Laurie Harper

** Disclosure: I am the agent on this excellent book, though I would recommend it even if I were not.

Books They Bought Today

I thought it might interest you to know what editors bought today, from the tens of thousands of manuscripts circulating through editors' offices. It's a mighty small list, I know, but it only counts what was announced--from deals that were complete enough to announce.

• Editor Emily Griffin at Grand Central (the former Warner Books) bought Marine biologist and science journalist Sheril Kirshenbaum's THE SCIENCE OF KISSING, an interdisciplinary look at why and how we kiss, drawing on neuroscience, classical history, evolutionary biology, anthropology, and popular culture.
  
• Christel Winkler at John Wiley & Sons bought Dr. Ava Shamban's SKIN SURVIVAL SKILLS. Shaman is founder and director of the Laser Institute for Dermatology and the Recovery Skin Care Clinic.
  
• Henry Ferris at William Morrow (owned by Harper Collins) bought Dr. Gail Levin's THE LIFE AND TIMES OF LEE KRASNER: An Artist's Biography. Dr. Levin is Professor of art history, American studies, and women studies at Baruch College and the Graduate Center of CUNY. This book examines Krasner's evolution as an artist during the pre-feminist era and after from a woman's perspective, outside the context of Jackson Pollock.
  
• Tony Award-winning playwright and author David Rabe's untitled novel about a soldier and a Vietnamese whore, set during the Vietnam War, was sold to Sarah Hochman at Simon & Schuster.
  
• In the Children's/ Young Adult category, James Moore's THE HYDES, the story of five unrelated youths who come to realize that they are all the product of genetic experimentation and must seek each other out if they're to survive the forces of evil looking to find them, sold to Ben Schrank at Razorbill.
  
• In the Religion/Spirituality arena editor Amy Caldwell at Beacon Press bought Forrest Church's THE FORREST CHURCH READER, a collection of essays by the minister of public theology of All Souls in New York, and author of LOVE & DEATH: My Journey Through the Valley of the Shadow.
  

Now you know.
Laurie

www.authorbiz.com

Yes, there is good news....

Although it is the season to hunker down, in more ways than winter, there is good news. Agents are still signing new clients, and publishing house editors are eagerly reading and buying new books. There may be doom and gloom galore over current economic realities and the changing world of books, but writers still write, readers still read, and publishers will still publish and evolve to stay viable.

The curse of experience in any business is that you know too much. It inhibits your creative thinking and curbs your bliss of ignorance. If you have been reading a lot of publishing industry news lately, I recommend that you take a break. Just read a good book or two, peruse your earlier writing, and remember your earliest inspired dreams for your writing. Pretend for a moment that you don't know a thing about this business...you just know how to write and you have ideas burning to get out of your head.

Spring comes again.

Laurie

www.authorbiz.com

Photo: (c) 2007 L. Harper

The Proposal Part IV: COMPETITION & MARKETING

And now we come to distinguishing your book in the marketplace. You have gone to bookstores and found "your shelf." You have been on Amazon to see the other books that show up by your key words. But in the Competitive Books part of the proposal, you have to write about how the most popular and recent of those titles compare to your book.

Authors frequently cut and paste from Amazon, which is fine, to put in descriptions of the books. List the competitive book like this: Book Title (Publisher, Year of Publication), followed by its description. Then you would say something like "While this book gives a good summary of the problems of education today, it does not show a parent how to help their child in school. My book....." You will only cover the most recent or most popular books. The point here is to demonstrate to the publishers that you know your area, you know the literature that is out there.

Many authors say they don't want to read other authors' books while they are writing their own because they don't want to confuse their own thinking, or find their material already written. But as an author you have to read your colleagues' work. You have to know where you fit in. In this section of the proposal, you must intelligently and persuasively write about your competition--separating which books are complementary to your work, which books sound like yours but are not (and why), and which directly compete with what you are doing but how yours has an edge. You can see again how that hook you worked on in the Overview is playing a role here too.

You should know that while the agent is pitching your book to an editor, the editor is simultaneously punching in key words into Amazon, saying "well there sure is a lot published in that area...it shows 1250 titles..." and you have to have prepared your agent with the ammo to position your book and defend it accurately, as well as excite the editor.

When you are done with the Competitive Books piece, start a new section called Author Marketing. This part shows a combination of your expertise and your marketing muscle...what you can do to consistently market your book to your target readers, even as other authors try to get on to "your shelf." Don't skimp on the details of everything you will be doing to call attention to your book when it is published: web site, internet marketing, blogging, social networking, speaking (where and how often and to how many people a year), article writing, select bookstore talks and events in your local area or places where you will be traveling for work, organizations or associations you belong to that have chapters throughout the country that you will tap to promote the book....you get the idea.

Your proposal now has: The Overview, The Audience, About the Author, Positioning, Competitive Books, Author Marketing, Table of Contents, Annotated Outline, and Sample Chapters.

Now that you have done all this work, go read Jeff Herman's WRITE THE PERFECT BOOK PROPOSAL: Ten That Sold And Why. Once you have read his different types of book proposals, put the final polish on yours, spread your wings, pass Go and collect your $200--go forth into the publishing world.

Whew. And this is why authors say it is easier to write the book than to write the proposal!

Laurie

www.authorbiz.com Photo: (c) 2006 L Harper

The Proposal: Part III, The OVERVIEW

You're probably sitting there at your computer flexing your fingers, cracking your knuckles, taking a drink of coffee, thinking "Okay, let's get this show on the road." Pretend you are sitting in the editor's office of your favorite publisher. He or she has welcomed you, brought you that triple espresso drink, and has just said, "So, tell me about this book you're writing."

Start typing now, and start The Overview with (a) the "hook" of your whole idea (the grabber), and (b) its origin--where did this book idea come from? How have you developed it? What kind of work have you done on it so far--research, interviews, travel, reading? Was this a book where you knew the "answer" or "conclusion" going in - or was this a book that started with a question, a mystery, a "wondering"--but you had no idea where it would lead? Convey the true essence of your idea, and what is really happening with it. Convey what it is that compels you. "What I find irresistible is...." "What I was not expecting was ..." "What I discovered changed....." or "What drew me in deeper and deeper was..." Draw the editor in the same way it drew you in. And state right up front here what the most amazing thing is about your book that the reader will discover. How will the reader come away changed for having read your book?

When you have typed that part--keep reading.

Many proposal writing books show the About the Author section somewhere towards the end of the proposal, but think logically; who you are, what you do for a living, what you've already written-- all of this may be woven into how you are writing this particular book or how the book idea found you...The who you are and why this book are often entwined. In this case, you should weave "about the author" stuff into the Overview, conversationally and naturally.

This will not be the case if you're writing a reference book that an editor basically called and asked you to write -- or if you are writing a book that just fills a market gap, "it was there" and you write books, so "why not." Then the Overview is what-this-book-is-about and your bio information can go later to support the "why you should be the one to write it."

In the Overview, you also need to talk about who this book is for, and I mean targeted for --not "the whole world" or "anyone who reads books." Puleeese. There are people who need the book, really need to read it, because of its groundbreaking information, or because it's part of their jobs, or because anyone who reads this topic would inherently be fascinated with what you're putting together...You must specifically identify your target readers.

You're now moving out of the Overview section and into the Marketing parts of the proposal. Start a new section, called The Audience and keep typing. Follow your logic and continue. What else do your readers read (magazines & books), which authors? What do they know about your topic so far, generally? Are they NPR listeners or what kind of radio stations most likely have your readers tuned in? What organizations or associations attract your readers? When they are in the bookstores, which shelves are they browsing?

When you've written all you know so far, continue reading.

Now speaking of shelves (which we were), which shelf in the bookstore are you planning to land on with your book? Find it, identify it, see who else you'll be cozying up to on that shelf. Start another new section in your Proposal called Positioning (Your Title). Talk about the category your book belongs to, which shelf it should be on, next to which authors, etc.--all that you just discovered when you spent hours in the bookstores, and more hours online at Amazon plugging in key words from your book topic and content.

So far, your Overview has conveyed the central book idea, how you came to be attached to it, why you are the one to write it, targeted for which readers, who are where in the bookstores....not bad.

Next time, we'll be getting to the "Competitive Books" part of the proposal--another section that often trips up the author. More fun ahead!

Laurie

www.authorbiz.com

Photo: (c) 2007 L Harper

The Nonfiction Proposal: Part II

I'll have lighter Posts to this blog than these Proposal ones, I promise -- but I wanted to talk about proposal issues right off the bat because they are so common. IF YOU HAVEN'T READ PROPOSALS: PART I -- please back up and start there.

So now that you are ready to write the Overview, let's ask the obvious questions: Who is this for? What is the Proposal for, anyway? Who reads it? Who uses it? ("It's so much easier to just write the book!" authors cry out in unison.)

The proposal is the selling tool for your book, used by agents to sell to publishing house editors; by editors to sell to their bosses and the Sales & Marketing team. It is the tool everyone uses to get the green light to make you a publishing offer. Without the proposal, you are asking everyone to fly blind (a very dangerous proposition for your book). So if you want your potential agent and your potential editor to really "get" your book and why you are the one to write it; if you want them to position your book correctly and summarize it accurately, and understand why it will sell well to your target audience in spite of 60,000 other books coming out at the same time...you'll hand them an excellent proposal. It's worth the time you have to spend to craft it for them.

And because of the way a Proposal is used, you should write it in a natural, conversational tone and voice. It should sound like you when you read it aloud. I say this because what often happens when writers follow the how-to-write-a-book-proposal book is that they get an unnatural voice going, all very stilted (must be the old test pressure that kicks in). When anyone reads your proposal, they should feel as if they have just had a conversation with you about your book; that they know you.

I can almost tell which book someone has used by the tone that creeps into the proposal. Your proposal should sound only like you, with your own brain and smarts that have figured out why your book is still necessary on that bookstore shelf and to your audience in spite of everything else written and published; in spite of whomever is Oprah's latest pet celebrity; and in spite of which authors are currently on the bestseller lists.
Let's hear it for your own voice.

And now LENGTH. If I had a quarter for every time I was asked "How long does it have to be?" . . .There is no length parameter. It takes whatever it takes to compellingly write about, explain, and champion your own book. Some proposals, including the sample chapters, are 90 pages. Some are 45. It doesn't matter. What matters is that it is complete and convincing, and that it excites people to read your manuscript.

Next time, I'll talk about the Overview, I promise.

Laurie

www.authorbiz.com Photo: (c) 2007 L Harper

The True Shortcut to Nonfiction Proposals: Part I

There aren't many shortcuts in the world of publishing, but you might be relieved to know there is one for writing the famously pesky Proposal: Back into it. Yep -- that is the trick.

If you start with the generic how-to-write-a-book-proposal book, it will start you off with writing the Overview (a broad-based summary and pitch of the book), and proceed in a linear fashion through the pieces of The Proposal, like completing a checklist. If you have already written several chapters of your book, this might work fine for you. If you have only a sketchy outline or worse, have it "all in my head," you do not want to start here. Only start with the Overview if you have a complete detailed outline written and at least two chapters of the book. Otherwise, keep reading.

No matter what your nonfiction book idea is, begin by writing a narrative outline of what is in your head. Write conversationally; talk to yourself on the page and create a chapter by chapter road map, describing the chapter's content, tone, focus (and highlights), as if you were telling it to an editor. Fill in as much as you know. This will also tell you how much you don't yet know about your book. What you don't know, go figure out. Do not pass Go and collect $200--stop and work out everything for this outline. You can't go anywhere good without it.

The beauty of the outline work is that you will discover whatever problems there may be in the idea, the planned structure, the research, etc., and now is the time to solve any problems without the whole book unraveling.

Once the outline completely works, write two chapters from it -- test drive it. And I mean really write them -- write them as if they are going to be immediately published. It's not a "draft." Make sure you are writing the book you have in your head. Is it as interesting now as it was in your head? (Note: If it isn't fully engaging you, it will never engage the rest of us.) Are you getting more and more ideas as you write, or are you hitting some walls already? (Pay attention to this.) Is your material breaking into the chapters as you thought it would, or is it creating wildly fluctuating page counts within the chapters? If so, you need to resection your material to produce more evenly divided chapters. Do you have everything you'll need to flesh out all the chapters, or are you going to need to do more interviews, more research?

During this phase of the outline and chapters, don't talk to all your buddies and cohorts about what you're doing. Keep the ideas locked in your head until they are released on the page. Enjoy this process of monkeying with the ideas in your head, creatively and productively. Restraining the impulse to share will produce more dynamic writing, and very likely even more exciting ideas. Writing a book is an organic process. Let it flow.

It should now be clear that if you had started writing the Overview before having done all this -- you'd be flying blind and might easily start filling in the blanks by making up stuff that ultimately describe some other book --not at all like the one you originally envisioned. It happens to many writers. They prepare the Proposal and proceed to write the book they proposed, only to later realize it isn't the one they wanted to write.

Start at the end to first know your book. Then the rest of the Proposal gets easier and easier, while staying true to book you set out to write. Stay tuned for Part II.

Happy outlining --

Laurie
www.authorbiz.com

What are realistic expectations?

Agents and Editors all want authors to have "realistic expectations." What does this mean?

FOR THE FIRST-TIME AUTHOR, it usually means that your expectations for the publisher's advance stay relatively modest, since publishers have only their own best guess to go on when projecting sales for your book. And keep in mind that separate from the advance money, most books cost in the neighborhood of $50,000 just to get them onto the bookstore shelves with basic launch promotion--nothing fancy. Your advance money is added to that $50,000.

"Realistic expecations" also means the author understands that as much as the agent and editor love your book, you are one among many in their "stable" -- much like being in a family of 14 children. You have to wait your turn and do many things for yourself. It doesn't mean you are not loved.

And when it comes to how much the publisher will spend on your multiple cover designs, or interior layouts of the book, or size of the first printing, or when it comes to the publicity budget and then marketing dollars allocated to your book...well, it is your first book and unless Sales and Marketing folks come in with significant pre-orders, your budget will be modest. And as all editors tell agents, whatever they allocate to any author will never be enough for the author-- even for Danielle Steele -- she'll still be unhappy about this or that, wanting MORE. Understandably they love an author who does not throw a fit demanding MORE.

Lastly, it means they want an author who understands that publishing is a business, and as such the agent has to make enough on commission to afford to be your agent, and the publisher has to make enough profit so the editor keeps his/her job and the publisher can grow to buy other authors.

Okay, you can understand all of this, but it doesn't make it less painful or frustrating. You've put a lot into the book, and have done your part all along. So, "realistic expectations" really means having the good sense to not vocalize anything beyond an expression of your "disappointment." Manage your communication.

FOR THE PREVIOUSLY PUBLISHED AUTHOR, "realistic expectations" first means owning up to the sales figures your previous books have put up on the Board -- that Board being the sales tallies that publishers and booksellers have accumulated through Bookscan, which you saw reflected in the royalty statements you shouldn't have thrown out. If your previous book sold 7500 copies in its lifetime, it would be unrealistic to expect a next advance of $75,000 unless this new book idea is so timely and commercial that it wouldn't matter who wrote it, it will sell a ton of copies. Most of the time, however, this is just not the case.

It also means that if your first book did well (everyone was happy and made a profit) and it was a thriller (for fiction) or a biography (for nonfiction) -- and now your next book is a children's book....well, you see the problem. The readers of # 1 will not be coming along to # 2, so the publisher's initial investment will cease to pay off. You are basically de-railing. A smart author always plans the second book to build on the audience/reader of the first book, for everyone's sake (including his or her own). As soon as you start jumping around, you risk losing your publisher, your agent, bookseller support, or all three. Changing category and direction is to be approached very carefully--because, as you know, this is business.

My recommendation for managing expectations is to have a solid support group of friends and family and other published authors who will let you vent now and then, since that is not really what your agent or editor are for. Note: emphasis on "now and then"

Here's to having expectations--for without them, we would never lift the pen.

Laurie

www.authorbiz.com

Photo: (c) 2006 L Harper

Life in the Real World of Publishing

Welcome to Author Biz Sense, where you will be reassured that you are not crazy.

I'd love a clever blog handle like "Ms. Snark," ranting in glorious anonymity, but I've spent my entire career helping authors in a very straightforward, unglamorous way--sort of like calling your CPA, attorney, banker, or neighborhood cop, but more fun. Whether as an agent, publisher, or consultant, I've been engaged in the author business for over 30 years; this is no time to go into hiding, as fun as pseudonyms might be.

On any given day book authors everywhere are grappling with writing issues; agent conundrums; money issues; publisher problems of an amazing variety; money issues; marketing and publicity dilemmas; money issues; and rest-of-their-lives questions. . .and all throughout there is a labyrinth of questions and jams about which they have no one to ask except people who are not in publishing or who are "too close to it." This is how I ended up, years ago, becoming a "911" for authors, and Author Biz Consulting became official a few years ago. I've been on-call ever since.

This blog will explore book author business at all phases and various levels--in no particular order. I hope it will help you think and make decisions about your publishing career with a much clearer head.

Here's to having issues to grapple with--it means you're alive.

Laurie

www.authorbiz.com