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Category : Career
I was once let go from a job in publishing for “creative differences,” the same week another guy was let go, at another company, for some very different reasons. We worked in the same industry, are the same race and age, and he lived in a city where I had once lived. Several people got our stories mixed up. I had a writing conference cancel my participation at their event, saying they had heard rumors that cast me in a bad light, and that they didn’t want me coming. You can imagine my surprise when I was told they were un-inviting me, since none of what they’d heard was actually true. I invited them to call my former boss, to talk with the people around me, and to check my references. But I also got angry — I mean, they made their decisions based on a RUMOR? They’d never even called me to ask about it? They never checked facts with anyone at my former employer? Nope. They just heard a story and took it as gospel … and, to make matters worse, the other guy (the one who had actually been fired from that other house) was scheduled to speak at their conference. (I didn’t mention that to the conference director. I figured she could figure out the truth on her own damn time.)
I’ve never gone back to that conference, and I’ve never forgotten how much that error hurt. It’s why I want to make sure I get my facts straight on the stories I write, so that I don’t share something hurtful about somebody unfairly. I don’t mind offering bad news, and I realize some people will read my blog to get some information that publishers are too frequently reluctant to share, but I want to make sure I get my facts correct.
Here’s why I mention all of this: I got a couple of phone calls
There has been a ton of discussion over a report on author earnings by ebook authors (which you can find here: http://authorearnings.com/the-report/), the response to it (http://tinyurl.com/pcebsd5), and the responses to the responses (two of the best are http://tinyurl.com/kbjts5s and http://tinyurl.com/omkjz6v ). If you follow this discussions in our industry, you already know what’s going on: successful self-published author of Wool, Hugh Howey, did a bunch of research and came to the conclusion that self-published authors are selling more books and making more money than those publishing with traditional publishers. It was quickly pointed out that there were some problems with Howey’s work — he sells his books on Amazon, did all his research on Amazon, and (surprise!) came to the conclusion that Amazon is a great place to do your ebooks. Nevertheless, there were really some interesting things that showed up in his research:
—Indie-published ebooks have generally higher ratings on Amazon than Legacy-published ebooks.
—Indie-published ebooks generally cost less than Legacy-published ebooks, possibly leading consumers to the sense of getting better value from indies.
—Indie-published ebooks may be outselling Legacy-published ebooks (this is more inferred than proven).
—Indie-published ebooks constitute a larger percentage of books sales than we’ve been led to believe in the past (Howey estimates it’s more than 50% of all book sales, though his methodology lacks stringent validity testing).
—Indie-published authors of ebooks are earning more per book than Legacy-published ebook authors. (Though his argument that Indie-published authors are making more overall is based on very shaky evidence.)
It’s all fascinating stuff, and I believe his conclusion that publishing’s brightest days are ahead is spot-on. As an agent, I’ve never felt I was one of the people who needed to protect the status quo — the fact is, I believe in authors self-publishing.. Unfortunately, the debate that arose after Howey released his findings was considerably less than insightful. It’s become a fairly
A couple of people read my Tuesday blog and asked me, “What does a writing budget look like?”
Here’s the basic idea…
1. The author sets a financial goal for the year. It’s got to be something that is livable (if the writer is attempting to make this a full-time job) and reachable (so there’s no setting a goal of “a bazillion dollars”). Let’s say, for someone just moving into full-time writing, the goal is $24,000 per year. Skinny, but a real wage for most writers. So figure out how much you need to earn in a year from your writing.
2. I encourage an author to break that annual figure into monthly chunks — so in our example, the author’s goal is $2000 per month.
3. The next step is to add up what the author expects to earn on the writing they are doing. How much in contracts does she already have? What other writing does she know she’ll be doing and getting paid for? That will help her figure out how much money is coming in, and how much she needs to add. Let’s say an author has a royalty check coming in May, expects to have completion money on a book contract in July, has a couple of self-published books releasing in April and August, and is expecting to sell a project in October. All you have to do is to figure out the amounts and write them onto your writing calendar. Nothing will give an author more clarity than hard numbers written down on a calendar — it’s a way of saying, “I’m making this… so now I need to work to make that.”
4. The obvious thing to do next is to match up dates and amounts. If you know you’re going to be working on a book in March/April/May, you can write down how much you’re making on that project. By
If you are unaware, there is a ton of discussion going on right now over a report on author earnings done by a self-published author, what he discovered when he did some research, and how authors, agents, and publishers have responded to his findings. I’m in the midst of studying the whole schlamozzle before I respond, but all the discussion basically comes down to this question: How can an author have a career in today’s publishing climate?
I have a background in organizational development — that is, the study of how an organization grows and changes over time. My graduate training was in organizational theory, and during my PhD studies at the University of Oregon, I had a Graduate Teaching Fellowship to work at the Career Planning office, helping create tools to assist those graduating, particularly those getting graduate degrees in the arts. During my studies at the U of O (Go Ducks!), the focus eventually was on helping people in the arts map out a career plan, and that experience allowed me the opportunity to apply the principles of organizational theory to the real-world setting of trying to make a living via one’s art. In my job as a literary agent, I’ve found that experience has proven helpful when talking to writers about their careers. You see, my contention is that some people pay lip service to “helping with career planning,” but many don’t really have a method for doing that. (Actually, from the look of it, some don’t even know what it means. I think “having a career plan” to some authors is equivalent to “having a book contract.”) So here are a few things I like to consider when talking with a writer…
First, I want to get to know the author. Who is he (or she)? What’s the platform she brings to the process? Does she speak? If so, where? How often? To whom? To how
AGENT and VICE-PRESIDENT at MACGREGOR LITERARY
Glad to be back. I’m excited to start the year with a monthly blog series, HERE’S THE DEAL.
I often find the story behind the deal – the journey to publication – as exciting as making the deal itself. Given that, on the first Friday of each month, I’ll be offering glimpses into the backstory of how a particular book came to be published. And not from hearsay, but directly from the perspective of the acquiring editor.
Of course it is a big day when an author hears those long-awaited words from their agent “we have a deal!” But as anyone who works in traditional publishing knows, getting to that point is rarely quick and never, never easy. And it’s not just the author and agent who labor to sell a book, but also the acquiring editor who works diligently to champion and support a project all the way through, from initial discovery all the way through acquisition, editing, marketing, release, and beyond.
To kick things off, I interviewed Marc Resnick, Senior Editor at St. Martin’s Press, an imprint of Macmillan. In addition to having an office in the Flatiron – one of the coolest buildings in New York City – Marc is a pretty cool guy himself, and we’ve kept in touch since first meeting at a conference a few years ago.
Though he and I have yet to do a deal together, we share an affinity for military topics. So, when we spoke for this interview I wasn’t surprised he chose to tell me the story behind the acquisition and success of the 2011 title SEAL TEAM SIX by Howard E. Wasdin and Stephen Templin.
The Team Behind SEAL TEAM SIX
Marc told me that when he received the proposal, originally titled Confessions of a Navy Seal Sniper, he read it immediately. A big part of his motivation
BY CHIP MACGREGOR
Someone recently wrote in with this question: “When someone is hired and allowed to acquire, are they trained or do they just ‘go and do’? Is this something they do individually or as part of a team (observer, etc.)?”
An acquisitions editor has usually spent time with the company and has a feel for what he or she should be acquiring. And yes, personal tastes will shape the books they bring in. Therefore, a publishing house gets reshaped by the editors who work there. Few editors (just a handful of senior editors) have the authority to simply go acquire.
The system looks like this:
Step one is that the editor must like the presented idea. He or she works with the agent and author to sharpen the proposal and make it as strong as possilble.
Step two is the idea is taken to the editorial board or team. In this meeting the merits of the book are discussed, several people read it, the team evaluates it, petty politics come into play, etc. They may ask for further changes, they may reject it, or they may decide to continue the discussion. If the team likes it, the project then moves on to the next step.
Step three is yet another committee, known as the publishing board (or publishing committee). This is the decision-making body at most every publishing house. It includes the top sales people to talk about market response, a representative from marketing to suggest ways the company could help get the word out, somebody from finance to count the beans, the publisher of the line to give strategic direction, some senior management types, maybe a sub-rights person, and various others. The editor presents the proposal.
The participants read it, discuss it, explore sales and marketing potential, check their horoscopes, and do everything else possible in order to try and figure out if they should do the
BY CHIP MACGREGOR
A new writing conference is fast approaching — and you’re invited.
On Saturday, February 15, I will be speaking at the Dallas Writers’ University. It’s a one-day event, with a rather intensive agenda:
- I’ll speak on “developing a book proposal that sells,” and the focus will be on giving practical, hands-on help to writers who want to create a proposal that will get noticed.
- I’ll also be speaking on “creating your long-term publishing strategy,” with an emphasis on traditional publishing, niche publishing, self-publishing, and alternative strategies for writers to make a living.
- Michelle Borquez, bestselling author and entrepreneur, will explore “building a platform around your concept.”
- There will be a Q&A time, and everybody there will have a face to face meeting with me sometime during the day.
- Finally, Michelle and I will be talking about the secret to success in contemporary publishing.
I’m really looking forward to this opportunity. I’ve largely taken time away from conferences the past couple years, but I love talking to authors about proposals and strategy. And you’re invited. Again, every participant gets face time with me, where we’ll be reviewing proposals and talking about next steps in a one-on-one setting. That means our space is limited to just 30 people.
Here’s the thing . . . there are a hundred conferences you can go to in order to get some basic information on writing. But if you really want to join a small group and find out how to create a book that will sell, make some money, and gain entry into the world of publishing by talking to some experienced people in the industry, I hope you’ll consider joining us. I don’t do many conferences anymore (and rarely do a writing conference), so I’m excited to be asked to be part of this one.
The event is going to be in the Dallas area, at a church in White
It’s all changing, right before our eyes. Not just publishing, but the writing life itself, our ability to make a living from authorship. Even in the best of times, which these are not, most writers have to supplement their writing incomes by teaching, or throwing up sheet-rock, or cage fighting. It wasn’t always so, but for the last two decades I’ve lived the life most writers dream of: I write novels and stories, as well as the occasional screenplay, and every now and then I hit the road for a week or two and give talks. In short, I’m one of the blessed, and not just in terms of my occupation. My health is good, my children grown, their educations paid for. I’m sixty-four, which sucks, but it also means that nothing that happens in publishing—for good or ill—is going to affect me nearly as much as it affects younger writers, especially those who haven’t made their names yet. Even if the e-price of my next novel is $1.99, I won’t have to go back to cage fighting.Still, if it turns out that I’ve enjoyed the best the writing life has to offer, that those who follow, even the most brilliant, will have to settle for less, that won’t make me happy and I suspect it won’t cheer other writers who’ve been as fortunate as I. It’s these writers, in particular, that I’m addressing here. Not everyone believes, as I do, that the writing life is endangered by the downward pressure of e-book pricing, by the relentless, ongoing erosion of copyright protection, by the scorched-earth capitalism of companies like Google and Amazon, by spineless publishers who won’t stand up to them, by the “information wants to be free” crowd who believe that art should be cheap or free and treated as a commodity, by internet search engines who are all too happy to direct people to on-line sites that
by MacGregor Literary award-winning author Jill Williamson
When I started writing I was pretty much on my own. I searched long and hard for local writing groups, but couldn’t find one. I tried a few online groups and eventually started one with another YA author I’d met online. We sort of mentored each other as we went along, the blind leading the blind. It wasn’t the worst way to learn. And we did learn. We’re both traditionally published authors now.
I also attended writers conferences, read books on the craft of writing, and read writing blogs. But I never sought out a mentor. I didn’t know how. I was too shy. And I figured they’d all say no, anyway. But once I was published, I liked helping other writers. So I started blogging for teen writers. I figured that there were plenty of blogs out there for adults, so why not create one for teens?
Blogging for teens was a way to share what I’d learned. And I wasn’t the only one with this idea. At a marketing retreat, I got to know Stephanie Morrill who started www.GoTeenWriters.com. She and I talked and decided to combine forces. She had created an amazing blog for teen writers and graciously took me on as a co-blogger. Blogging for teens allows me to speak to hundreds of teen writers every week.
Later on we also put our various blog posts into a book we co-wrote called Go Teen Writers: How to Turn Your First Draft into a Published Book. This book has enabled us to mentor in yet another form and had been read by teen writers all over the world. How cool is that?
I officially mentor two writers. I don’t think I could handle mentoring more than two as it can be very time consuming. But mentoring is also very rewarding. It allows me to give another writer the
Over the past few weeks we’ve been talking about “making a living at writing.” In addition to the advice I’ve doled out, I’ve heard from several people with wisdom to add to the discussion, and I have a few other tips to share, so I thought for the Thanksgiving weekend, we could share the best advice we all have for those looking to make a living at writing. Some of my thoughts:
—Keep your mornings protected for writing.Â Move the other work to the afternoon, but write every morning.
—Group similar activities.Â If you do all your phone calls back to back, you’ll get through them faster. Ditto emails, snail mail, project planning, looking over proposals, etc.
—Organize your day first thing every morning. If you have a plan, you’re much more apt to stay focused. Having a “to do” list helps most writers immensely.
—Take a day off one each week.Â Getting away from writing one day each week allows you to recharge your batteries and get your mind refreshed. Hey – even God rested.
—Kill the muse.Â That is, forget the concept that you have to be in a certain mood to write, or find exactly the right space to create words. Just sit and write. I’ve long appreciated Ernest Hemingway’s writing idea that you end each day in the middle of a sentence. That way, when you sit down the next morning, you don’t have to figure where you are, or get yourself into a certain moody, or work up to it. All you have to do is to finish the incomplete sentence you’d left yourself, and you’re off and writing.
—See the value of shitty first drafts.Â Too many writers tie themselves in knots because they think they need to make their manuscript perfect. But for most novelists, what they really need is to