Writers and money
I’ve been having so many different conversations lately with various writer friends about different kinds of money issues, and I thought maybe some of you might have some of the same thoughts/issues/questions. So here’s a rundown:
A few years ago I attended a writers conference that completely, utterly rocked my world. It was a few weeks after 9/11, and in case that event hadn’t solidified in my mind that it was time to quit my day job and turn to my one true love of writing, then the two teachers of this workshop, Dean Wesley Smith and Kristine Kathryn Rusch, finished the job for me.
One of their lines that always stuck with me was this: “Money flows TO the writer, not away.” It’s their mantra in all things, from avoiding scam agents who try to charge you a fee for reading your work, to spending more to enter various writing contests than you ever hope to win back, to making decisions about where to spend your marketing dollars once you have a book on the shelf. It’s also a useful phrase to remember when an operation wants to charge you to publish your work. Some anthologies work that way, requiring you to buy a certain number of books to ensure publication. Sorry, scam.
But sometimes the cost-benefit analysis isn’t so simple. Here are some of the situations I’ve talked about recently with writer friends:
1. Two publishers are vying for your new manuscript. Sweet! If their offers are fairly similar, how do you decide which one to go with?
Consensus: Gut rules. This is one of those times when number-crunching isn’t everything there is to the story. It’s typical now for the author to have a chance to talk to the editors who are bidding on the book. Have the conversations, and pay attention to how you feel. I know that sounds scary to some people–”But what if I choose wrong? What if they’re both nice? What if I make a huge mistake and ruin the rest of my life?”
The considerations I and other author friends have taken into account are:
–Do I agree with this editor’s ideas about revisions to the story? Am I going to hate my book if I change it, even though it means I got myself a deal? Remember, your book will be out there a lot longer than the money is in your account. Take a long view toward your career and make a habit of writing only those books you can truly love.
–Do I think I could have coffee with this editor and spend the whole time laughing? Trust me, this really is a crucial aspect of the author-editor relationship. You want to feel that your editor “gets” you. Even though it’s a business relationship, it’s also very personal. This is your work someone is going to be picking at, and if you have to keep explaining why something is funny or why it’s sad and belongs in the book, you’re doing both yourself and your publishing house a disservice. Try to get a match for your personality from the very start. There will be plenty of awkward times to get through no matter what, so you might as well make it easier on yourself by finding a good match for your personality.
–Do I think this editor is interested in me as a writer–as in, interested in my career for the long haul–or is he/she just interested in this book? That may not sound like a big deal, but I’ve heard from author friends that they’ve gotten a bad feeling with an editor or two when it seems the only issue is this one big book, rather than this book and the rest of the career. It’s the difference between getting asked to the prom because you’d be a hot date to bring, and getting asked over for Friday night dinner with the family because maybe you’re the kind of girl/boy we’d like to see stick around for a while.
–Is the advance they’re offering so huge I’m going to feel my intestines churning every day unless this book sells 100,000 copies right away? Big advances may seem like Candy Land, but remember that if you don’t earn out your advance, you’re not looking so attractive the next time someone offers you a book deal. It might be better to take the more reasonable advance that you know you can earn at least that much in royalties, and maybe more–much more, if all goes well. Then everyone sees your book as a winner.
But also keep in mind that the amount of the advance also determines the amount of publicity and attention the publishing house is going to give to your book. Sorry I can’t give you a more precise formula, but this really is a go-with-gut issue.
2. You have a book deal. Sweet! The book comes out next year, and right now you’re in the editing stage with your editor, and just starting to talk with the publicity department about what they might plan for your book. Issue: would it be smart to fly to New York on your own dime and spend a few days there having actual face-time with your editor and publicist?
Consensus: abso-friggin’-lutely. I did that last year, other writer friends of mine have done it, and we’ve all had the same experience of feeling SO much better–and so much more at ease–dealing with the people from the publisher’s once we’ve shared a meal. Let me add I think it’s also important to do that with your agent. So much of our communication in publishing is by e-mail and phone call, but there’s nothing like spending a few hours with someone and getting to know them–and just as important, letting them get to know you. Publishing is a business of relationships. As those of you who came to the Kidlitosphere Conference know, there’s something way above and beyond about getting to talk to someone face-to-face, even when you think you already know him or her pretty well from all your correspondence. So yes, if you can afford it, send yourself to New York once a year and to wherever your agent is, if that’s someplace different. The cost of airfare and hotel is more than worth the benefit of building the most important relationships you’ll have as a professional writer.
3. You have a book out in bookstores. Sweet! The publisher is doing some promotion, but you’re itching to do more. You know no one will ever care about your book as much as you do, and now you want to go out there and push it all you can. You think you’d be great teaching workshops, giving talks in schools, doing appearances at bookstores. Do you pay for your own tour?
Opinions vary. The costs of travel–airfare, gas, hotels, meals–can really add up fast. Plus there’s the issue of time: is your time better spent selling this book, or writing the next one?
So far what I’ve seen with my own situation and that of other new writers is that going the bookstore route–trying to get signings set up in towns other than your own–isn’t the best use of time, money, or personal energy. It’s a really sad thing to sit in a bookstore for a few hours and have NO ONE buy your book. On the other hand, approaching your hometown bookstore to set up a signing, then inviting everyone you’ve ever known, can be a great situation. You might have 50 to 100 people show up, and sell 50 or more books, and then the bookstore is happy and you are, too. But expecting strangers to come out for a signing with a debut author they’ve never heard of–not really happening. Look at your own experience: do you make the effort to go hear Joe Schmo at Borders just because the signing is advertised in the paper? Save your ego and your money, and skip the bookstore signings until you have a few books out and have developed more of a name.
What about school visits? The great thing about those is you have a captive audience. There are 20-100 kids ready for you to entertain them. And if you set up school visits through a bookstore (many of them do this–just ask), then the bookstore can take orders either before or after the event. Again, more sales than you’d be likely to get at a bookstore signing if you’re an unknown. So if you have a kids’ or a YA book, then work on putting together an entertaining 40-50-minute talk that will get kids excited about you and your book. One of the best ones I’ve ever seen is the one PJ Haarsma did at an elementary school last month. He absolutely enthralled those kids with a combination of cool science, a video game, an alien story, and an alien artifact to go with it. My pal Barry Lyga does a hilarious Power Point presentation about geeks throughout history. Figure out what entertainment you can offer as an offshoot from your book, beyond just the “here I am, now ask me some questions” kind of author presentation.
That’s enough of a start for now. Tell me if you guys are interested in these kinds of discussions, because they go on all the time among writer friends, and I’d be happy to pass along some of our accumulated thoughts from time to time if you find them helpful.
And if you have questions about the business side of writing, I’m happy to bring them to the Hive Mind and answer them in future posts.
Onward, Writers!!!
Technorati Tags: Writing, Publishing, Writers and Money
Very well said; very comprehensive.
The only thing I would chime in on is this: for that school talk, I’d actually plan on going a little shorter. My geek talk is about 15-20 minutes, depending on how fast I’m talking that particular day. Why? Well, most classes are 45-50 minutes long, and if you want time to sign books or answer questions, you need to keep the talk short. Also, kids are already bored every day by teachers droning on for 45 minutes. I figure I can keep their interest if I’m funny for a little while and then turn (part of) the program over to them.
It also helps to have some sort of incentive for kids to ask questions. Kids don’t always want to be the first ones to ask questions, so if you have some sort of inducement to get them started, that’s a good thing.
I love this discussion, Robin. Or, in your lingo, SWEET! I am just ever-so-relieved whenever anyone tells me it’s a good idea to go with my gut. You’re singing my song, sister…
Great discussion, Robin!
I want to make sure my book is edgy, but I would love if it were school-visit-friendly.
Did you and Barry speak at high-schools or middle schools?
I find that I’m always learning good things for storytelling gigs in terms of marketing, audience and the whole hurrah by eavesdropping on these kinds of posts. So thanks!
*Definitely* interested in these kinds of discussions. Keep them coming!
Hey, celerysoda, I love it when people delurk! Thanks for speaking up.
Liz, Heather, and Alkelda, I’m glad this is useful for you. Thanks for letting me know.
Barry, you’re right. My talk is about 20 minutes, with time left over for Q & A. But PJ filled about 40 minutes, if I recall. I think you have to try it a few times and see what works best–whether kids would rather be entertained the whole time, or have a chance to ask questions.
As far as incentives, I’ve started tossing chocolate into the crowd to the people who ask me questions. That seems to work VERY well.
Whoops, Heather, I just realized I forgot to answer your question. Barry and I have both given talks to junior highs and high schools.
And I thought mintsoda was a weird flavor combination….though very popular in India I hear.
Given the topics of your book and Barry’s latest, do the schools ask you to avoid certain things in talking to the students? is the faculty standing by ready for a quick hook?
Good question, Patrick. Barry’s school presentation is still about The Astonishing Adventures of Fanboy and Goth Girl, which is out in paperback now, rather than on his new book Boy Toy, which deals with a topic most schools wouldn’t exactly be comfortable having discussed in an author assembly.
I’ve heard that a few school principals were nervous about my talk, but so far I haven’t had any problems. I’m not there to cram any radical ideas down anyone’s throat, and I mostly talk about writing and my own weird background, rather than about whether people should believe in evolution.
What? Certainly I didn’t ask two ‘normal’ and ‘intelligent’ questions in, what, one week? Are you editing me again?
This was SO helpful, Robin! Thank you!
Very interesting stuff, Robin. Keep it coming.
Yes, yes, I’d love to see more of these “conversations!” Everyone seems to have different experiences, and it’s incredibly helpful to hear about them. I’ve been considering the same issues, my book is due out next summer, it’s like you read my mind!
How much did your publisher do to promote your book, and how much did you do yourself? I’d love to know what worked and what didn’t.
Thanks!
I’m putting this post in my I’ll-be-a-writer-someday file. I’d love to hear more.
Oh, did you see John Green’s videoblog yesterday? It’s started a whole evolution vs. creationism thing in the comments. You’ve got to check it out.
Robin, this is all very interesting, and I LOVE that you throw chocolate at people who ask questions!
Robin,
You are the absolute coolest to share info like this to all of us. I love this post. Thank you.
Ruth, in answer to your question, my publisher did A LOT to promote my book. They decided to make it their lead book on the summer children’s list, and so it got lots and lots of extra special treatment–more advertising, more promotion, etc.
But there are still things that writers can and should do to promote their own books. The trick is to do what enhances the publisher’s efforts, without stepping on anyone’s toes (a problem I had at least once). And again, there’s this issue of how much time and money to spend promoting your own book, vs. getting on with writing the next one.
I’m still trying to work out that balance. I’ll keep you posted.
Robin,
Great discussion, and I’m HUNGRY for this type of information and advice. You and I have the same publisher, and I’m curious: what did you do that enhanced their efforts, and what step-on-the-toes mistakes should I avoid?
Maria, I’ll simplify it for now: it falls into the category of “one too many helpful suggestions to the publicity department.” It’s been hard to grasp how much they’re already doing for the book. I keep thinking they want me to keep feeding them all my fabulous ideas, which maybe (it turns out) aren’t so fabulous.
Publishers do want their authors to be enthusiastic promoters of their own books, but there’s a limit to how many “hey, what about this?” e-mails they like to get from us.
Lesson learned.
Two things about school visits:
1. If you can write a book for elementary-age students, you’ll NEVER have to worry about class participation. I have never had to cajole kids into asking questions—and they’ve never run out of questions, either. They’re a much better audience than their teachers, frankly! (Grown-ups are so self-conscious.)
2. One thing you haven’t pointed out about school visits, Robin: You can get PAID to do them, unlike bookstore visits. Personally, I don’t have enough free time to be doing school visits for free.