In dealing with movie and TV producers, and foreign rights publishers, and pretty much anyone who wants subsidiary rights to my book, I hold all of the power in the negotiation.
I know, I know. A bunch of you just did double-takes. How can I have more power than a Hollywood studio?
Yeah, yeah, we’re in the middle of a series on branding. But I just sat down at my computer for the first time today, at the time I usually quit writing. It’s the only day this week when I can write my blog, and while I have two in the can (and you can get them if you support me on Patreon), I don’t want […]
Just when I thought it was safe to get back into the water… I’m editing a lot these days. I only edit short fiction projects. Anthologies, anthology series (Fiction River), the occasional nonfiction book, and some magazines. I’m also consulting with the fine folks at WMG Publishing, because they’ll be handling the contracts for the revival of Pulphouse next year. Dean’s vision for Pulphouse includes […]
Here’s the heartbreaking part of this new world. Many long-time writers, who want to go full indie, are abandoning their series rather than put money into their traditional publishers’ pocket. The first time I heard a writer say he was going to do that, I was shocked.
The title of this blog is things I learned from my readers. The pieces below link to comments or websites.
The main thing I learned from you folks over the course of writing the contract series is this: Not only do you pay attention, but you use this information. Almost daily now, I get letters from a writer who used some piece of the contracts blog to negotiate a better deal or to get their rights reverted or to handle a foreign rights contract.
I have lots of fun stuff to share. I hope you saw that the latest Diving novel is out (and the Recommended Reading List has returned). I also have a story in The Best American Mystery Stories 2016, edited by Elizabeth George. I love her work, so I’m particularly flattered that she chose a story of mine. If you haven’t read “Christmas Eve at the […]
For the past several months, I’ve focused on contracts, contract negotiations, rights, and dealbreakers. I know I lost some of my indie (self-published) readers, who are waiting until I finish this series before they return to reading my blog. Those readers believe they will never sign the kind of contract I’m dealing with. They also believe that they’re protected because they’re in business for themselves. […]
We’re almost to the end of the contracts/dealbreakers series. I can’t tell you how pleased I am about this, because I feel dirty just looking at some of these contracts and agreements.
Most of you indie writers tuned this series out long ago, because you believed it didn’t apply to you. And yet, I read all the time about indie writers who sign with an agent to sell the print versions of an ebook and to sell foreign rights and auxiliary rights.
Bad move. Really, really, really bad move.
This week, let’s deal with the clause that agents insert into your book contract with your publisher. (This is the book contract that your agent negotiated for you. Yes, I’m telling you the agent inserted something into that contract that benefits the agent, but doesn’t benefit you.) Agents have been abusing this clause for years now. Agents, not publishers, even though this clause is in a publishing contract between the writer and her publisher.