Tag Archives: advances

It’s a Business – A blast from the past

(Brad is still busy with life, family and writing. So I thought I’d do a blast from the past. In this case, from last year.)

There are times when I feel like I’m the crotchety parent sitting the kids down to tell them the facts of life. No, not those facts of life but the facts of life about business. It seems like almost every week there is a blog post or newspaper article about a bad contract or troubles in publishing or writers thinking about hanging up their keyboards. Why? Because all too many forget that publishing is a business and it needs to be treated as such.

I’m not going to discuss, at least not much, the publisher side of writing as a business today. Oh, there is plenty out there. Bad publishing decisions coming back to haunt the publishing company abound. But that’s not the point of today’s post. No, today I’m back on my soapbox reminding everyone who wants to be a writer that you have to remember that this is your business and you have to treat it as such.

Over the last couple of weeks, I’ve talked with writers, some traditionally published and others indie published, who went into this business with stars in their eyes and rose colored glasses firmly in place. The ones traditionally published just knew that once they signed the contract, the publisher would be spending all sorts of money to promote their book and make it into a best seller. The indie writers who are now wanting to go with a traditional publisher because — duh — they will get this huge advance and will be sent on tours to sign their books and will soon be playing poker with other best selling authors ala Castle.

That sound you hear, that slow thud-thud-thud is my head pounding against the wall.

It would be wonderful to live the life of Castle — less the murderers and other crooks trying to take pot shots at you every week. But that isn’t reality. The reality is that the vast majority of writers who have signed with traditional publishers see little if any real push from their publisher. In fact, the publisher — and the author’s agent — expect the author to do their own promotion. Oh, you might get reimbursed for your expenses if you go to a con or do a book tour but don’t bet on it. Don’t believe me that publishers aren’t spending as much on promotion of those authors they haven’t pegged as best sellers or the newest “best thing ever”? Think back to the last time you saw a book signing at your local bookstore. Now ask yourself how many times a year your local bookstore has such signings. How many of those are authors who aren’t best sellers or local authors?

Now, look at your local newspaper and tell me how large the arts section is and how many book reviews appear per week. Oh, wait. Sorry. Part of the reason there aren’t as many reviews is that there aren’t as many people reading the newspaper. Reviews, especially book reviews, were some of the first things cut when newspapers started cutting costs to make up for the lower advertising revenue and lower subscriptions rates. Few newspapers have their own book reviewers any longer and the books being reviewed are either best sellers or the newest best thing. Hmm.

But, Amanda, you get those huge advances and you don’t have to work any longer.

Wrong.

And this is where you have to remember that this is a business. Most advances, especially for “new” authors fall in the four-digit range. Yes, some new authors get more but they are the except and not the rule. You don’t get the advance all at one time and you aren’t going to see any more money from the publisher until you have earned out the advance and, believe me, that doesn’t happen very often. How can it when publishers use Bookscan to determine how many books are sold instead of a simple inventory tracker program?

That means you have to make sure you have a way to pay your bills between advances. This is why the vast majority of writers aren’t full-time writers. They have families to feed and are like me. They like having a roof over their heads and food in the fridge. Even if your first book is a success, you don’t know that the second book will be. More importantly, if you are publishing traditionally, you have no guarantee that the readers will remember you two years or more after your first book by the time the second book comes out. Remember, when you publish traditionally, you have no control over when your book is released and you are just one of many the publisher is having to slot into a finite number of slots per month.

I can’t repeat this often enough. Writing is a business and the writer is the business owner. Yes, you might sign a contract with someone to distribute your work (a publisher) and promote it (publisher or someone else) but it is still your responsibility to make sure the job is being done. You can’t just sign the contract and sit back and wait for the money to roll in, trusting the person you contracted with to do the job. You need to understand the supply chain for bookstores and the reality of how long a book is left on the shelves before it is pulled. You need to understand the financial aspects of the business and you need to study the numbers when it comes to sell through, resigning authors, etc.

What started me thinking about this again today was this article. The author in question signed a contract with a major publisher for her first book. It was critically acclaimed and not long before it was released into the wild, she quit her job. Yep, you read that right. The author quit her job — the job that helped support her family — so she could promote her book and write full-time. She did so after signing with the publisher for only this one book. There was no second book that would bring in additional advance payments. Nope. Just the starry eyed vision of living the life of a writer.

Now, I don’t want to kick this woman when she’s down but her story is illustrative of the problems so many writers — and folks who start their own businesses — face. They get a great review for a product before it hits the shelves and based on those reviews, quits their regular job to do this full-time. The problem is that reviews don’t always turn into sales and sales, especially for books, will slow down if the author doesn’t bring a new title out in fairly short order. For those authors going the traditional route, that very likely means no payments after the book is released because the advance isn’t earned out. So what are you going to do for money?

This particular author did finally go out and get a job — for awhile. But what struck me is that she doesn’t really seem to want to work. She would rather be writing but the worry and stress of not having enough money has shut down the writing. But a job makes her too tired to write. You see the circle. I feel for her but, to be honest, she needs to man up — or woman up — and realize that the situation she is in is the same one so many of us face on a daily basis. We face it and learn to live with it as we continue to write and put our work out there.

The lesson to be learned is that if you don’t have at least six months — preferably a year or more — of living expenses in the bank, do NOT quit your day job. If you are worried about putting food on the table for your kids or if you are worried about how you will pay the bills, do not quit your day job. It makes it more difficult to write, yes. But this is a business and you learn to adapt. You find the way to carve out time to write. But having all the time in the world to write isn’t worth anything if you are worrying about losing your home or having your utilities cut off.

It’s a business, damn it, and you need to look at it that way. Have your business plan. Have your promotion plan. Know that you aren’t going to get a regular salary that is the same from paycheck to paycheck.

And since I am a working writer, check out Sword of Arelion (Sword of the Gods Book 1).

War is coming. The peace and security of the Ardean Imperium is threatened from within and without. The members of the Order of Arelion are sworn to protect the Imperium and enforce the Codes. But the enemy operates in the shadows, corrupting where it can and killing when that fails.

Fallon Mevarel, knight of the Order of Arelion, carried information vital to prevent civil war from breaking out. Cait was nothing, or so she had been told. She was property, to be used and abused until her owner tired of her. What neither Cait nor Fallon knew was that the gods had plans for her, plans that required Fallon to delay his mission.

Plans within plans, plots put in motion long ago, all converge on Cait. She may be destined for greatness, but only if she can stay alive long enough.

Dagger of Elanna, the second book in the series will be released soon. You can check out snippets from the book starting here. (Edited to add, Dagger is out and you can find it here.)

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Filed under AMANDA, MARKETING, PROMOTION, WRITING: PUBLISHING

It’s a business

There are times when I feel like I’m the crotchety parent sitting the kids down to tell them the facts of life. No, not those facts of life but the facts of life about business. It seems like almost every week there is a blog post or newspaper article about a bad contract or troubles in publishing or writers thinking about hanging up their keyboards. Why? Because all too many forget that publishing is a business and it needs to be treated as such.

I’m not going to discuss, at least not much, the publisher side of writing as a business today. Oh, there is plenty out there. Bad publishing decisions coming back to haunt the publishing company abound. But that’s not the point of today’s post. No, today I’m back on my soapbox reminding everyone who wants to be a writer that you have to remember that this is your business and you have to treat it as such.

Over the last couple of weeks, I’ve talked with writers, some traditionally published and others indie published, who went into this business with stars in their eyes and rose colored glasses firmly in place. The ones traditionally published just knew that once they signed the contract, the publisher would be spending all sorts of money to promote their book and make it into a best seller. The indie writers who are now wanting to go with a traditional publisher because — duh — they will get this huge advance and will be sent on tours to sign their books and will soon be playing poker with other best selling authors ala Castle.

That sound you hear, that slow thud-thud-thud is my head pounding against the wall.

It would be wonderful to live the life of Castle — less the murderers and other crooks trying to take pot shots at you every week. But that isn’t reality. The reality is that the vast majority of writers who have signed with traditional publishers see little if any real push from their publisher. In fact, the publisher — and the author’s agent — expect the author to do their own promotion. Oh, you might get reimbursed for your expenses if you go to a con or do a book tour but don’t bet on it. Don’t believe me that publishers aren’t spending as much on promotion of those authors they haven’t pegged as best sellers or the newest “best thing ever”? Think back to the last time you saw a book signing at your local bookstore. Now ask yourself how many times a year your local bookstore has such signings. How many of those are authors who aren’t best sellers or local authors?

Now, look at your local newspaper and tell me how large the arts section is and how many book reviews appear per week. Oh, wait. Sorry. Part of the reason there aren’t as many reviews is that there aren’t as many people reading the newspaper. Reviews, especially book reviews, were some of the first things cut when newspapers started cutting costs to make up for the lower advertising revenue and lower subscriptions rates. Few newspapers have their own book reviewers any longer and the books being reviewed are either best sellers or the newest best thing. Hmm.

But, Amanda, you get those huge advances and you don’t have to work any longer.

Wrong.

And this is where you have to remember that this is a business. Most advances, especially for “new” authors fall in the four-digit range. Yes, some new authors get more but they are the except and not the rule. You don’t get the advance all at one time and you aren’t going to see any more money from the publisher until you have earned out the advance and, believe me, that doesn’t happen very often. How can it when publishers use Bookscan to determine how many books are sold instead of a simple inventory tracker program?

That means you have to make sure you have a way to pay your bills between advances. This is why the vast majority of writers aren’t full-time writers. They have families to feed and are like me. They like having a roof over their heads and food in the fridge. Even if your first book is a success, you don’t know that the second book will be. More importantly, if you are publishing traditionally, you have no guarantee that the readers will remember you two years or more after your first book by the time the second book comes out. Remember, when you publish traditionally, you have no control over when your book is released and you are just one of many the publisher is having to slot into a finite number of slots per month.

I can’t repeat this often enough. Writing is a business and the writer is the business owner. Yes, you might sign a contract with someone to distribute your work (a publisher) and promote it (publisher or someone else) but it is still your responsibility to make sure the job is being done. You can’t just sign the contract and sit back and wait for the money to roll in, trusting the person you contracted with to do the job. You need to understand the supply chain for bookstores and the reality of how long a book is left on the shelves before it is pulled. You need to understand the financial aspects of the business and you need to study the numbers when it comes to sell through, resigning authors, etc.

What started me thinking about this again today was this article. The author in question signed a contract with a major publisher for her first book. It was critically acclaimed and not long before it was released into the wild, she quit her job. Yep, you read that right. The author quit her job — the job that helped support her family — so she could promote her book and write full-time. She did so after signing with the publisher for only this one book. There was no second book that would bring in additional advance payments. Nope. Just the starry eyed vision of living the life of a writer.

Now, I don’t want to kick this woman when she’s down but her story is illustrative of the problems so many writers — and folks who start their own businesses — face. They get a great review for a product before it hits the shelves and based on those reviews, quits their regular job to do this full-time. The problem is that reviews don’t always turn into sales and sales, especially for books, will slow down if the author doesn’t bring a new title out in fairly short order. For those authors going the traditional route, that very likely means no payments after the book is released because the advance isn’t earned out. So what are you going to do for money?

This particular author did finally go out and get a job — for awhile. But what struck me is that she doesn’t really seem to want to work. She would rather be writing but the worry and stress of not having enough money has shut down the writing. But a job makes her too tired to write. You see the circle. I feel for her but, to be honest, she needs to man up — or woman up — and realize that the situation she is in is the same one so many of us face on a daily basis. We face it and learn to live with it as we continue to write and put our work out there.

The lesson to be learned is that if you don’t have at least six months — preferably a year or more — of living expenses in the bank, do NOT quit your day job. If you are worried about putting food on the table for your kids or if you are worried about how you will pay the bills, do not quit your day job. It makes it more difficult to write, yes. But this is a business and you learn to adapt. You find the way to carve out time to write. But having all the time in the world to write isn’t worth anything if you are worrying about losing your home or having your utilities cut off.

It’s a business, damn it, and you need to look at it that way. Have your business plan. Have your promotion plan. Know that you aren’t going to get a regular salary that is the same from paycheck to paycheck.

And since I am a working writer, check out Sword of Arelion (Sword of the Gods Book 1).

War is coming. The peace and security of the Ardean Imperium is threatened from within and without. The members of the Order of Arelion are sworn to protect the Imperium and enforce the Codes. But the enemy operates in the shadows, corrupting where it can and killing when that fails.

Fallon Mevarel, knight of the Order of Arelion, carried information vital to prevent civil war from breaking out. Cait was nothing, or so she had been told. She was property, to be used and abused until her owner tired of her. What neither Cait nor Fallon knew was that the gods had plans for her, plans that required Fallon to delay his mission.

Plans within plans, plots put in motion long ago, all converge on Cait. She may be destined for greatness, but only if she can stay alive long enough.

Dagger of Elanna, the second book in the series will be released soon. You can check out snippets from the book starting here.

 

55 Comments

Filed under AMANDA, MARKETING, PROMOTION, Uncategorized, WRITING: PUBLISHING

Give me my advance back!

The other day, someone asked me if publishers ever ask for their advances back. After all, there have to have been times when a publisher has signed a contract with an author and that author failed to deliver. I told the person asking that yes, publishers do sometimes ask for their money back. But the instances that came to mind weren’t where an author failed to deliver a book. No, the examples I remembered were where the publishers determined, usually after a public outcry, that the book delivered wasn’t what they thought it was. There have been situations where plagiarism has torpedoed a deal or where a newly signed author wound up having her contract canceled because she dared self-publishing something totally unrelated to the contracted book. Despite all that, I simply could not remember a situation where a publisher had demanded an advance back from an author for not delivering a book and certainly not from a best selling author.

Now, that’s not to say it hasn’t happened before. I simply couldn’t remember an example.

So imagine my surprise when I went over to The Passive Voice this morning and found reference to a law suit filed by Hachette against Seth Grahame-Smith (SGS for future reference). SGS, in case you aren’t familiar with the name, is the author of Pride and Prejudice and Zombies: The Classic Regency Romance – Now with Ultraviolent Zombie Mayhem! and Abraham Lincoln: Vampire Hunter. We have him to thank for other re-imaginings of classics like Sense and Sensibility and Sea Monsters. I think you get my drift. PP&Z was a fun romp but the originality quickly wore thin as SGS and others took public domain books and reframed them with one sort of monster or another.

So let’s fast-forward to Hachette’s lawsuit. I urge you to click on the link and read it for yourself. It isn’t all that long and it does illustrate some of the issues both publishers and authors have to work with when entering into a contract. From here on out, remember that what I say is just me talking as a reader and a writer, not as a lawyer.

Since I haven’t yet seen a response fro SGS, for the purposes of this post, I will assume that the basic facts — dates, etc — alleged in Hachette’s filing are correct.

  • December 2010 the contract was executed.
  • The contract was for two books.
  • $500,ooo advance per book paid upfront with the remainder of $2,000,000 per book to be paid.
  • Book 1 was to be a sequel to Abraham Lincoln: Vampire Hunter.
  • Book 2 was to be “a novel on a subject to be determined by” SGS and agreed upon in writing by Hachette. It was to be “comparable in style, quality and broad appeal to Abraham Lincoln: Vampire Hunter.”
  • Both books were to be “original with Author [Smith] in all respects”
  • 60 day grace period after the expiration of contracted deadline or agreed upon extensions during which SGS could deliver the books. After which, the contract could be canceled.
  • Book 2 received several extensions, the last date for delivery being April 1, 2016
  • June 6, 2016, SGS delivered Book 2 but Hachette claims it was not the agreed upon Book 2 and that it was not “original” work but derivative ala PP&Z.
  • Hachette wants its $500,000 back as well as all other reasonable fees as laid out by the contract.

O0kay, with me so far?

According to the filing, SGS has basically told Hachette, “Nope. That’s not going to happen.”

Now, from a business standpoint, you want folks to deliver what they have said they will and you want it in a timely manner. After all, you have customers who want the product and you can’t deliver it to them if you don’t have it. That seems simple enough.

But this is where I have to look at publishers and scratch my head. Can you imagine your local grocer or Wally World contracting with a supplier to deliver something but they don’t know what? Oh, sure, the contract says you have the right to say no when they finally come to you and you decide it isn’t want you want. But de-amn. Think about the inventory headaches that would cause. Here’s a publisher happily writing a check for half a mil without knowing what the book is going to be about. Nope and nope and nope again.

From a writer’s point of view, this sort of contract gives me the willies. Sure, being able to put that much money at one time into my bank account is intoxicating. But then the practical side of the brain takes control. That money isn’t really mine, even if it is resting in my bank account, until the publisher has agreed first to the idea of the book and then accepted the book. Anywhere along the line, said publisher can change its mind and say “nope, it doesn’t meet the terms of our contract.”

But how, you say?

One line in the pleadings stood out and this is where my writer’s back went up. Book 2 was to be “comparable in style, quality and broad appeal to Abraham Lincoln: Vampire Hunter.” How do you define that? It is such an objective requirement that it would be easy for a publisher to use it as reason for rejecting a book.

But then, as one of the comments at TPV pointed out, this is SGS we’re talking about. He made his reputation by taking public domain works and re-inventing them. I’ve read both PP&Z as well as Abraham Lincoln: Vampire Hunter. PP&Z is very much taking Austen’s original work and simply adding zombies to it. You can lay the two books side by side and see how he did it. While entertaining, ALVH is, in its own way, derivative, more as an idea than by taking another book and simply re-purposing it. So why Hachette would expect anything else from him is beyond me.

But, going back to the original question, yes, there are times when publishers ask for their advance back. With traditional publishing facing the challenges it does right now, I have a feeling we are going to see more and more suits like this. Traditional publishing simply isn’t in the financial position to allow authors to sit on money and not deliver manuscripts, at least not when the advances are six-figure or higher.

On a closing note, I once more recommend you read not only the filing but the attached contract. I haven’t had a chance to study it as closely as I want but I will before next week. From what TPV noted, it is a good example of some of the things he, as well as Kris Rusch, have been warning writers about for some time.

So, what do you think, based on the filings, etc., is Hachette right to ask for its money back?

 

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Filed under AMANDA, WRITING: PUBLISHING