I’m down with a bug this morning. So I went looking for a blast from the past and came across this post which is a year old. In light of what’s been going on with RWA, it seemed timely to remind the writers out there that our profession is full of minefields. We have those who would police us because of our sex or sexual orientation, or race or ethnic background, or because of our politics. What we’re seeing in the RWA right now is one example. Another is shown in the following post. We should be on the lookout for both. — ASG
Writers, morality and the #MeToo fallout
I’ve been pondering whether to write this post for the better part of a week. I’d been hearing rumbling from traditionally published authors about a contract clause that is as evil–their words and I agree–as the rights grabbing clauses that have become common in publishing contracts. But then, several days ago, an op-ed piece appeared in the NYT and I knew what I needed to write. The clause? A morality clause. Yes, you read that right. More and more traditional publishers are now including a morality clause in their contracts. Read more
In this case, I use “publishing” in what could be viewed as a broad sense but also narrow as well. It deals with traditional publishing and the way agenda seems to be more important in all too many ways that the story. Both of the examples cited below have one thing in common: the need to push the diversity agenda. Mind you, I have long advocated for equal pay for equal jobs (assuming equal experience, education, etc). Where I draw the line is when sex–or sexual preference–or skin color or something else that has nothing to do with the ability to do the job takes precedence over ability. Read more
Last week, I asked if there were any questions you had about “getting a book ready to head out the door.” You folks were awesome with the number of suggestions and questions you raised. I’m not going to try to answer all of them today. There were enough to make several posts. But I will deal with at least a few of them. Here goes. . . . Read more
As I was looking for something to blog about this morning, I came across this post over at The Passive Voice. It seemed especially important in the wake of the events of this past weekend. The topic? Morality clauses in publishing contracts. More specifically, those clauses that allow publishers to cancel contracts based on past, present or future conduct that might damage their sales.These clauses have become common boilerplate in publishing contracts and they should bother anyone considering going with a traditional publisher. Read more
Amanda is all tied up this morning. Er, not literally. At least, I hope not! This post from 2015 still rings true, so I’m bringing it forward in time to share again until she escapes her current predicament.
Yesterday, on one of my few forays onto Facebook, I saw several authors debating the so-called wisdom of an article posted in the Huffington Post. The article is basically a warning for self-published authors not to write four books a year.
Yep, you read that correctly. The headline for the article implores indie authors not to write — not publish — but write four books a year. Read more
Welcome to the business of monetizing intellectual property.* No, you’re not in a different dimension or that nightmare of a class where you showed up for the test without studying (or clothes). I say again, welcome to writing and publishing.
What is a story? What is a nonfiction book, or a work of art? The writerly answer may be that it’s a form of communicating facts and emotions to an audience. The business answer is that it’s intellectual property, and intellectual property is something you can resell again and again to many audiences, in may formats. For art, the original may be an oil painting, but it can be resold as a poster, a fine art print, a t-shirt, a mousepad, a desktop background, or a book cover. For a story, it might have been written on paper (or not), but you can license or sell it as a paperback, as a hardcover, in English, in Polish, in ebook, in Indian translation, in audio, as the basis for a movie, a play, or tv show, or all of the above. As long as you hold the copyright, you can license the IP to anyone you want, or not, for any terms you can come to mutual agreement on how long, and for how much.
Today’s topic is brought to you by the continuing idiocy of some traditional publishers.
Seriously, I couldn’t figure out what to write about this morning. Stuck, I decided to check The Passive Voice to see if anything inspired me. I should have started there instead of trying to wrack my coffee-deprived brain. There, on the homepage, a story jumped out at me and reminded me of a conversation I had with my son this past weekend.
And it drove home the false logic so many publishers operate under, one that simply drives readers away from them in ever-increasing numbers. Read more