Category Archives: opinion

1

Royalty rate questions from the interns

I’ve looked over so many royalty statements that sometimes it’s easy to forget that not everyone understands them. And believe me, there are times when royalty statements are very, very hard to understand. But I realized the necessity of this post when going over royalty statements with a few interns, and they had the same basic questions I first had.

How do publishers determine royalty rates?

Fair question. The answer is that they don’t. Not alone, at least. Royalty rates are outlined in the author’s contract, and if the author has an agent, it’s his or her job to negotiate the terms of this contract on behalf of their client, including the royalty rates. This also partially answered their second question.

Are hardcover royalties handled differently than e-book royalties? And what about audio royalties?

Well, yes, they are, and kudos to the interns for inadvertently asking a contentious question concerning a longtime issue in the publishing industry ever since the ascent of e-books. Although all royalty rates are outlined in each individual author’s contract, the industry standard generally dictates a royalty rate around 10-15% of the list price (retail price) for hardcover editions of a book–7.5% for trade paperback and 8%-10% for mass market. E-book rates hover around 25% of the net, meaning 25% of the publisher’s profits. Although the latter might seem more beneficial for authors, e-books are priced lower than print editions and have significantly lower production costs, which if we were to do the math, results in less earnings per unit.

And if considering a wide range of royalty rates for multiple editions of a book isn’t enough, many contracts have royalty escalators and different rates for exports, foreign sales, and subsidiary rights.

Confused yet? Want to know more? Well then let me hear your thoughts: post your question in comments section!

8

Eventful

For some reason behind the book table is always my preferred spot at Greenlight readings.

Wayne Gladstone reads at Greenlight Books in Brooklyn

 

I’ve been thinking a lot lately about author events, having been to four very different ones in the last several weeks: first Wayne Gladstone’s two readings for his hilarious and heartfelt debut novel Notes from the Internet Apocalypse at Corner Bookstore and Greenlight Books, then two book launch parties, one for Aaron Starmer’s new middle grade series The Riverman, which took place on a river cruise around Manhattan; the other for Christopher J. Yates’s debut, a psychological thriller called Black Chalk, at University Settlement not far from where the book is partially set.  Each event had a different spirit and in some ways different purposes, and in each case the setting of the event and the personality of the author really contributed to making it feel like it perfectly suited the book being celebrated and enjoyed.

 
I must admit, I don’t go to many author events purely as a spectator (all of the above are DGLM clients), but it’s nice to have a moment to sit back and celebrate the results of all the hard work that goes into bringing a book to fruition.  Even handier when the author, his/her agent, and his/her editor are all in the same vicinity and can do so together.

I should know which skyline that is (NJ? BK? Manhattan?), but I don't.

Aaron Starmer (in red near the right of the photo) reading from The Riverman

 
I think the logistics of book events are challenging: beyond the well-attended reading series (of which there are a number in NYC), the ones at industry conventions, and the signings for major bestsellers, they’re not terribly likely to sell many books to people who weren’t going to buy them anyway and often are populated by people close enough to the author to already have a copy.  And an event that’s more of a party than a sales opportunity is likely to get pretty costly for the author, without much (or any) chance of return on that. The conventional wisdom is that book events don’t sell books and tours aren’t worth it, and as a former bookstore cashier I know firsthand how few copies of books are sold at most signings. 

That cover photo projection is a very nice touch.

Christopher J. Yates reading from Black Chalk

But I do wonder if there are things more authors can and should do that would make book events more beneficial to them and to readers.  Certainly stores that have multi-writer reading series (like the one Wayne participated in at Greenlight) are helping to introduce people to the fans of others, and this is something the self-published author community has strongly embraced as well with very large multi-author signings.  And I’ve personally found that an author event that happens well after publication—though this is logistically tougher to justify or achieve—is likely to be more appealing to me, because I have little interest in attending author events for books I haven’t read by authors I don’t have a professional relationship with.  For example, I’ve seen Colum McCann twice, once for Let the Great World Spin well after publication, which was magical, and once for Transatlantic right when the book came out that really didn’t do anything for me.

 
Do you ever go to author events? If so, what draws you in?  If not, what’s keeping you away?  What would you like to see more of?  Have you ever been to one that really blew you away?  Have you seen any creative strategies that you’ve taken note of for yourself?

 

1

An Immodest Proposal

My life changed forever when I came across this little piece.

Of course! It all clicked into place with this helpful little checklist.

Do I have a tendency to overanalyze things? You betcha!

Do new places and experiences give me anxiety? Uhuh.

Are my expectations too high? I’ll answer that question with one of my own. What’s wrong with holding out for that someone special who has the body of a supermodel and personality of a saint halfway through canonization, but, you know, who is still living?

Has it been said that I like neat resolutions? Well, sure. I mean, who doesn’t? The “How I Met Your Mother” series finale sent me into an absolute tailspin last night. How could they do that with

***SPOILER ALERT***

The next thing I knew it was 2 am and I was outside and cold and had apparently wandered into traffic. And I don’t even watch “How I Met Your Mother.”

How could it be, you ask, that someone as amazing as me has had a few dating problems? Simple: I’m a book lover.

Does any of this sound familiar? Has reading ruined your life or storytelling given you unrealistic expectations and the inability to cope with loose ends?

Then, for our own well being, I prescribe that we stop reading, starting now.

THE END

(Afterword for those still reading despite my proposal: if this doesn’t work we may have to eat our children. Let’s call that Plan B.)

6

Book orphans

About two months ago, one of my clients turned in the manuscript for her new novel after having worked on it for several years.   She was a bit nervous but also very excited as this was the first novel she was publishing with her new publisher.  About a week after she submitted the material, I had a note from her editor that she was leaving the publishing house and, in fact, leaving publishing altogether.  She said that she would be editing the book on a freelance basis, but that the shepherding of it through the publishing process would not be her responsibility.

Needless to say, this was pretty devastating news to my client.  As I mentioned, this was a new publisher for her.  She had published five novels with her previous publisher and during those years had been edited by at least five different editors—each leaving the house or the business.  Now she was experiencing being “orphaned” again.

I made a couple of phone calls and as it happens the publisher of this particular house has promised me that he will be looking after my client himself.  Though he will not be doing the actual editing, he will be guiding the novel’s publication and so we’ll keep our fingers crossed that, with his help, this book will be a huge success.

It’s true, though, that the saga of the orphaned book is a real one and, in this age of downsizing and publishing mergers, it could well become a more frequent phenomenon.  This makes the agent’s job all the more important as we have to ensure more than ever that our clients and their work are well looked after and that their books are published well.

Last summer, another one of my clients had his book published after it had been transferred during the writing process to five different editors.  That story did have a happy ending.  The book’s final editor was totally devoted to the work and, in my opinion, his editorial suggestions made it even better.  The reviews have been phenomenal and the sales have been solid.  Equally as important, I have an author who was well satisfied with his publishing experience in the end.

But this is a tricky road to follow and it is important for the agent to be vigilant and take special care.  I found this piece in GalleyCat, which covers the topic and which, interestingly, quoted yours truly

So, I wonder, if your book were orphaned, what would you do?

2

One-on-ones

Readers, I would love to get your feedback on this one: What do you think is the most productive format for one-on-one meetings at a writer’s conference? I ask, of course, because I attended a conference this past weekend, where I spent most of my time in one-on-one meetings with authors.

Over the years, I’ve done all sorts of configurations: one-on-ones and roundtables; 5-minute slots, 10, 15, and so on; MSS in advance, no prep, 10 pages, and so on again. This time out, the meetings were half an hour, and we were sent 40 pages in advance. And as much as I hate to say it, on the whole I don’t think they were particularly productive.

40 pages is a funny length–much longer than what an author would probably send on submission, yet not really enough to give a full snapshot of a MS–while half an hour is a ton of time to talk. And with that, it seemed like the chattier authors got bogged down in a lot of details and small points, with not enough time to discuss the big picture, while at the same time, the sessions for those who sat back and listened tended to run way short, even with some question time at the end.

So, unfortunately, it was a bit of a frustrating day, and I worry that I didn’t give the authors the help they were looking for. However, the organizers are asking for feedback for next year, so I’d love to hear what works best for you and try to change things up–any thoughts?

1

Write where you know

“Write what you know” is probably the most contested piece of writerly advice out there. Yes, writing what you know gives you authority and a personal approach; no, writing should be about discovery and taking readers to a new place.

So I was intrigued by a profile of the novelist Chris Pavone from yesterday’s Times , which highlights how his new thriller is set in the publishing world, a world that, according to the article, is a rare setting for a novel, especially a thriller, because it’s “too cerebral, too dominated by meetings, too absorbed by reading manuscripts and filling out profit-and-loss reports to make riveting fiction.”

Now, Pavone’s justification for such an ostensibly boring setting is that, “Any setting can be a good setting for a novel.” But in reality, it’s a classic case of write what you know, since Pavone served as a longtime nonfiction editor at Clarkson Potter. And not that there’s anything inherently wrong with that–clearly Pavone’s book focuses on the classic thriller tropes of action and suspense, rather than the drudgery of acquisition paperwork!

But it did get me wondering about setting in general, and whether it’s more constructive to place a story in a world with which you’re deeply familiar, or whether an exotic locale or industry is more helpful, especially for thrillers, as the article suggests. Personally, I’m not really sure–I’m usually drawn to thrillers that avoid NYC or DC as a home base, but then again, so many thrillers set abroad follow the same old trajectory of a former agent in exile forced back into action.

Where do you fall on the divide? Set the book in a world you know, or a world you don’t? And how does familiarity with the setting (or lack thereof) inform your plot?

3

Amazon bucket list

Okay, it’s not exactly Amazon’s bucket list– that would probably involve gathering every shred of your personal info while putting every indie bookstore out to pasture… But seriously, folks, Amazon just put out a list of 100 books to read in a lifetime, or as they put it, “a bucket list of books to create a well-read life.” I know we see lists like this all the time, but given that this one comes from a retailer, and the dominant one at that, I thought it was worth taking a closer look.

Right off the bat, it’s really striking how contemporary the majority of the titles are–like, now contemporary, not just the last 50 years. Usually, lists like this are super-heavy on the classics and completely ignore current non-fiction, of which there are commendably a healthy number of entries here. On the other hand, a “well-read life” used to mean a whole lot of philosophy, particularly the Greeks. I know Plato isn’t as fun as Me Talk Pretty One Day, but I’d like to think the Republic is a bit more instructive…

Similarly,  as much as I enjoyed them, are Henrietta Lacks and Unbroken essential for a well-read life? Or, to be cynical, is the Amazon algorithm at work, in that contemporary titles sell more than classics? In that vein, I’d love to give them kudos for presenting a good number of picture books, MG and YA on equal footing with the grown-up books… but again, is that a statement of purpose or a sales ploy?

 Anyway, I’d love to hear what you think of Amazon’s list–is it a legitimate syllabus or a clever gimmick? Maybe both? Which omissions particularly get your goat? Discuss, discuss…

19

Tweet, tweet

I joined Twitter a few years back, because I realized that despite my aversion to it, it’s a really useful tool for keeping up on publishing.  From being more in tune with what the industry is talking about and where it’s headed to the stronger relationships with colleagues and clients, it’s proven to be the right choice, however much time I might waste trying to condense my overly verbose thoughts into 140 characters.  I don’t think it’s for everyone, but it’s for far more people than I realized, including me.

Still, I find myself wondering what’s really effective in using the platform for networking and promotion.  How do you maintain a balance between participating in the conversation and drowning others out?  How many tweets is too many tweets?  How few is like not being on it at all?  How much honesty do you allow yourself?  Does diplomacy rule your choices, or is Twitter a place for your unvarnished opinions?

And how do you promote yourself without turning people off?  I’d say Twitter markedly skews my perception of success toward people who are wildly good at self-promotion, even though certain strategies drive me up a wall.  Even the strategies I hate sometimes work on me.

So the question is: what works for you?  Let’s assume that as a person who is reading a literary agency blog you’re not averse to the notion of marketing in general.  Have you ever bought a book because of Twitter or learned about an author that way?  Do you follow the authors you are fans of?  Do you use Twitter primarily as a tool in your platform or primarily as a vehicle for socializing?  Do you primarily hope to reach readers or to network with authors?  And what really turns you off?  What Twitter “sins” make you unfollow?

Update:  Whoops!  I somehow managed not to tag this at all, so here I was wondering why no one had an opinion on Twitter, but actually I just wasn’t getting notifications because WordPress didn’t know I wrote it.  Thanks everyone for your feedback!

1

When it’s okay to use bad grammar

When shuffling through query letters, bad grammar is often a loud warning bell. Literary agents tend to be wary when reading material from the prospective, unpublished author. Nothing will make an agent drop a query into the reject pile faster than poor grammar.

However, incorrect grammar can often be utilized as a literary style. Nearly every accomplished author does so—to one degree or another. Sentence fragments. Abbreviated words. Missing punctuation. Misspelled words and incomplete sentences. Literature is abundant with poor grammar.

So, how then can you determine when to ignore all those rules drilled into you by your elementary school teachers?

What is your writing for? Writing is purposeful. You don’t pick up a pen and commit words to paper accidentally. Is this a blog? An academic piece? A query letter? A creative piece? Resume? Knowing your audience is a time-tested lesson in writing, so for formal prose, always go the safe route and edit your piece to perfection to ensure perfect, “proper” grammar.

On the other hand, for creative pieces, bad grammar can help the author illustrate his or her point. The form your writing takes should match its tone.

Cormac McCarthy is known for his stark, bare prose and his distaste for commas and other forms of punctuation, such as the quotation mark. His writing not only complements the often-bleak tone of his work, but also adheres to a simplistic style for the sake of clarity and rhythm. He believes that punctuation can often disrupt the flow of a sentence and is usually superfluous.

Hope this was enlightening. I encourage those interested to read more on the topic. Here are some semi-related links to check out on the topic of grammar:

http://opinionator.blogs.nytimes.com/2012/07/09/a-matter-of-fashion/?_php=true&_type=blogs&_r=0

http://grammar.about.com/od/rhetoricstyle/a/effectivefrag.htm

http://andthatswhyyouresingle.com/2013/03/12/does-bad-grammar-punctuation-turn-you-off/

0

Remembering Pete (the author)

As I’m sure you’ve seen by now, the great folksinger Pete Seeger passed away Monday night at the ripe old age of 94. Like a lot of kids with liberal-minded parents, I grew up with Pete’s music,  and I still vaguely remember him dancing across the stage at Symphony Space at one of his children’s concerts. Later on in college, I got to know more about his achievements, especially his work with the Clearwater Sloop and their annual festival in the Hudson Valley.

But then, I also had the privilege and pleasure of working with Pete as his editor on several of his picture books. And while the appreciations and obituaries today have rightly focused on his music and his activism, I just wanted to point out that Pete had quite a prolific career as a writer, too–his bibliography lists over 30 titles, from picture books to autobiographies to instruction manuals. And several of them, like Abiyoyo and How to Play the Five-String Banjo are classics in their own right.

And what was so fascinating about working with Pete was that Pete the Author was often at odds with Pete the Folksinger. In other words, while Pete clearly loved books and the written word, he struggled to reconcile the idea of a book as a finite project with the ever-evolving folk process. In other words, he couldn’t stop tinkering!

Thinking about it now, it’s a shame that the e-book revolution came just a little too late for Pete–I think he would have loved the idea that he could publish a piece of writing but continue to update it. Or better yet, to get other writers involved in a story through Wattpad or other crowd-sourcing websites. Ironic that the folk process could be furthered by this strain of technology…

Anyway, musings aside, I hope that if you’re thinking about Pete that in addition to listening to his music, you’ll look up some of his books as well–and if you don’t, Abiyoyo might come down from the hills and getcha!