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The first attachment with the confirmation of a contract I received, welcomed me as an author for the publisher. Not only did it welcome but it listed more things I need to do.
TRAVEL. Am I taking any personal trips which could coordinate with book signings? They request my personal travel itineraries. The publisher won’t pay the expenses for my trip but will schedule events that coincide with my schedule. When the book first comes out, they arrange local events and possibly out-of-town visits. In that case, they pay expenses.
ESTABLISH AN ONLINE PRESENCE. Luckily I started my website shortly before receiving a contract. It isn’t up and running yet but will be soon. I initiated this blog a week before receiving my contract. Good timing for an online presence. They suggest joining social networks to which I already belong, although I’m not actively involved with them yet.
VIDEO OR AUDIO TAPES. Since no TV or radio shows are knocking on my door, I have no tapes to send. A local writer’s organization, Northern Colorado Writers, requested I serve on a panel of first time book authors. Perhaps I’ll commission someone to tape it.
WRITING ARTICLES. I write for several print publications, however, not necessarily about Russell. Guess I have a new goal – publishing articles on Russell and art appreciation. Now that I think about it, I've sold several of the same article on games to play in a museum setting.
REVIEWS. I’m asked to cut or copy any reviews of my book or other Pelican authors and send them to the publisher. And send the URL for any online reviews of which I become aware.
CONTACT. I’m to keep in contact by sending any of my promotion ideas. They request materials be received on time. Once the book launches, they want all materials on hand so promotion follows quickly.
Most of these requests require little work on my part. On Thursday I’ll cover “Welcome from the Sales Department.”
Monday, June 7, 2010
Friday, June 4, 2010
More publisher requests
I received email confirmation this week that my contract with Pelican Publishing has been executed and sent to accounts payable who will issue the first advance check. Now I wait for a certified letter with check. Yea!!
Of course, that means more work for me. I found five attachments on the email - Welcome Pelican Author, Promo Questionnaire Part II, Sales Material, Author Advance Book Order and Pelican Fact Sheet. Also they suggested I go on the website to find instructions for the procedure to send in a newly formatted copy of the manuscript on CD as well as two hard copies.
Although each attachment had something for me to do, I'll start with the Promo Questionnaire Part II. I received the first promo materials along with the unsigned contract. Some of what I've discussed in this blog pertains to those. I consider each question carefully to see how I might contribute to sales and promotion.
The General Questions were easy - my name, title of book, occupation, how often I check my email/voicemail and the best method of short-notice contact. The next question brought me up short: What would I like to be known as - the foremost authority on ____? Unfortunately, I'm not the "foremost authority" on anything including Charles Russell, the subject of my book approached from the art appreciation aspect. Granted, I probably know more than the average person about the artist and his works, but I can't claim that title.
Giving interactive art tours is my forte, but, I'm not the foremost authority there either. Since I've taught others to teach in a museum atmosphere, I finally listed "Art Appreciation Tour Trainer." If you have a better suggestion, please let me know.
Other General Questions included: What memorable nickname would I give myself? What qualifies you to talk about the subject?
Next came General Media Questions - Among all the people knowledgeable about the topic, how are you different? What are you willing or qualified to discuss that others are not? Why should people care what you have to say? The rest of the questions in this section really didn't apply to me or my topic. If you want to know what they are, make a comment.
Now we come to Broadcast Media Questions. Of the twelve, one posed the most problem. This could be important since I've already been asked by a large local writer's organization to appear on a panel of first book authors. "What do you think are the five most important or best questions the media could ask you during an interview?" I queried my writer's group with this one. Many of their suggestions apply to me. I divided the list into three focuses - writing, Charles Russell and art appreciation.
On writing - When did you begin writing? How did you learn to write? What other kinds of writing have you done? Why did you start later in life? What does it take to get something published - book or magazine?
On Russell – Why did you write about Charles Russell? Why is Charles Russell’s art important? Where can one find Russell’s works? What did he paint? What did he do besides paint?
On art appreciation – What experiences have you had in teaching art appreciation? Why is art appreciation important? How do you involve students in looking? What do you expect to accomplish with a book on art appreciation? For what ages is the book written? Is the book for children only?
I may reconsider some of the questions before I send in the questionnaire. Start thinking now about how you might help in the sales and promotion of your book.
Now that I have these questions, I better work on the answers!
Of course, that means more work for me. I found five attachments on the email - Welcome Pelican Author, Promo Questionnaire Part II, Sales Material, Author Advance Book Order and Pelican Fact Sheet. Also they suggested I go on the website to find instructions for the procedure to send in a newly formatted copy of the manuscript on CD as well as two hard copies.
Although each attachment had something for me to do, I'll start with the Promo Questionnaire Part II. I received the first promo materials along with the unsigned contract. Some of what I've discussed in this blog pertains to those. I consider each question carefully to see how I might contribute to sales and promotion.
The General Questions were easy - my name, title of book, occupation, how often I check my email/voicemail and the best method of short-notice contact. The next question brought me up short: What would I like to be known as - the foremost authority on ____? Unfortunately, I'm not the "foremost authority" on anything including Charles Russell, the subject of my book approached from the art appreciation aspect. Granted, I probably know more than the average person about the artist and his works, but I can't claim that title.
Giving interactive art tours is my forte, but, I'm not the foremost authority there either. Since I've taught others to teach in a museum atmosphere, I finally listed "Art Appreciation Tour Trainer." If you have a better suggestion, please let me know.
Other General Questions included: What memorable nickname would I give myself? What qualifies you to talk about the subject?
Next came General Media Questions - Among all the people knowledgeable about the topic, how are you different? What are you willing or qualified to discuss that others are not? Why should people care what you have to say? The rest of the questions in this section really didn't apply to me or my topic. If you want to know what they are, make a comment.
Now we come to Broadcast Media Questions. Of the twelve, one posed the most problem. This could be important since I've already been asked by a large local writer's organization to appear on a panel of first book authors. "What do you think are the five most important or best questions the media could ask you during an interview?" I queried my writer's group with this one. Many of their suggestions apply to me. I divided the list into three focuses - writing, Charles Russell and art appreciation.
On writing - When did you begin writing? How did you learn to write? What other kinds of writing have you done? Why did you start later in life? What does it take to get something published - book or magazine?
On Russell – Why did you write about Charles Russell? Why is Charles Russell’s art important? Where can one find Russell’s works? What did he paint? What did he do besides paint?
On art appreciation – What experiences have you had in teaching art appreciation? Why is art appreciation important? How do you involve students in looking? What do you expect to accomplish with a book on art appreciation? For what ages is the book written? Is the book for children only?
I may reconsider some of the questions before I send in the questionnaire. Start thinking now about how you might help in the sales and promotion of your book.
Now that I have these questions, I better work on the answers!
Wednesday, June 2, 2010
Non-fiction Requirements
OOPS! Where did the week go? The holiday messed up my schedule and I'm a couple of days late and dollars short. But, here goes on another requirement by publishers.
Little did I know when I wrote a non-fiction book that I might be required to pay for the museum permission to use art photographs. I discovered (for this publication) authors not only acquire and pay for permissions to use same, but, they also pay for the print run of said photos. It isn't horribly expensive but still a surprise.
I contacted the Amon Carter Museum about permission. However, being rather organized as I am, I found I jumped the gun. Amon Carter required the print run number and possible publication date. I emailed the editor. That's when she informed me to delay any museum contact until I received the returned, signed contract, even though the contract had a deadline and a request for permissions by that deadline. At least that is how I read it. I’d already received the museum contract but I tabled it until a later date. Signature and pre-payment were required.
In the meantime, Amon Carter explained that three of my painting requests were no longer their possessions. I knew about one after attending a retrospective of Russell's work at the Denver Art Museum (DAM). There was "The Hold Up" a major piece I used in my book. Credits claimed ownership by a local collector. I contacted a DAM docent friend from years past when I served as a DAM docent. She gave me the phone number of the collector because she knew his wife as an active member of the museum.
Imagine my excitement when he agreed to let me use the painting at no charge. He even sent me a print ready photo. In our discussion I named the other two paintings Amon Carter no longer owned. "I know the collector. I'll contact him." Now, a month later, I have print ready photos of all three paintings and permission to use at no charge from the generous collectors. Also permission to use one on the cover. Amon Carter charges an additional fee for cover usage.
I learned a lesson. I doubt there was any way to know my responsibilities in this situation beforehand. Perhaps, if I'd researched a little more, I might have discovered the expense. However, market guides don't include that information, a contract does. Next time I'll know what to expect and so will you!
Little did I know when I wrote a non-fiction book that I might be required to pay for the museum permission to use art photographs. I discovered (for this publication) authors not only acquire and pay for permissions to use same, but, they also pay for the print run of said photos. It isn't horribly expensive but still a surprise.
I contacted the Amon Carter Museum about permission. However, being rather organized as I am, I found I jumped the gun. Amon Carter required the print run number and possible publication date. I emailed the editor. That's when she informed me to delay any museum contact until I received the returned, signed contract, even though the contract had a deadline and a request for permissions by that deadline. At least that is how I read it. I’d already received the museum contract but I tabled it until a later date. Signature and pre-payment were required.
In the meantime, Amon Carter explained that three of my painting requests were no longer their possessions. I knew about one after attending a retrospective of Russell's work at the Denver Art Museum (DAM). There was "The Hold Up" a major piece I used in my book. Credits claimed ownership by a local collector. I contacted a DAM docent friend from years past when I served as a DAM docent. She gave me the phone number of the collector because she knew his wife as an active member of the museum.
Imagine my excitement when he agreed to let me use the painting at no charge. He even sent me a print ready photo. In our discussion I named the other two paintings Amon Carter no longer owned. "I know the collector. I'll contact him." Now, a month later, I have print ready photos of all three paintings and permission to use at no charge from the generous collectors. Also permission to use one on the cover. Amon Carter charges an additional fee for cover usage.
I learned a lesson. I doubt there was any way to know my responsibilities in this situation beforehand. Perhaps, if I'd researched a little more, I might have discovered the expense. However, market guides don't include that information, a contract does. Next time I'll know what to expect and so will you!
Thursday, May 27, 2010
What else does a publisher want?
Let's get back to what a publisher wants from an author. Be sure you keep good records of your periodical publications - name of publication, article and date. The list might turn out to be rather long. You should also keep what rights you sold. Writing requires good record keeping. Unfortunately, I've not been as consistant as I could have been. Some people have programs that help their record keeping. Tell us what you use.
I use a spreadsheet but occasionally forget to record something. I tried a special progam years ago that seemed to take more time than I wanted to spend. Perhaps I'll check some of the programs you suggest.
Some publications purchase articles but don't print them for years. The book publisher wanted to know any articles purchased but yet to be published. One such example is Highlights for Children. I sold them two articles in 2004 but have yet to see them in print. While attending their Foundation Workshop in 2004, Kent Brown admitted that the longest they'd held an article at that time was 17 years! I know of another author who requested the rights back and offered to return the payment. She got the rights without returning the payment. That could be an exception rather than a common practice.
If you've appeared on any TV or radio program, they wanted a copy of the interview. In my case, I've not done that. Next, they wanted to know what media might be interested in my book. I write for several regional publications which might be interested. I listed an art magazine for whom I'd written. I have a good rapport with my editors and will contact each with a press release. The marketing department requested all this information.
An author who sells to this publisher says they do a good job of keeping your book in print. I'm still awaiting the return of the signed contract. Once the book comes out, let's hope they market it well and that I, too, can generate sales.
I use a spreadsheet but occasionally forget to record something. I tried a special progam years ago that seemed to take more time than I wanted to spend. Perhaps I'll check some of the programs you suggest.
Some publications purchase articles but don't print them for years. The book publisher wanted to know any articles purchased but yet to be published. One such example is Highlights for Children. I sold them two articles in 2004 but have yet to see them in print. While attending their Foundation Workshop in 2004, Kent Brown admitted that the longest they'd held an article at that time was 17 years! I know of another author who requested the rights back and offered to return the payment. She got the rights without returning the payment. That could be an exception rather than a common practice.
If you've appeared on any TV or radio program, they wanted a copy of the interview. In my case, I've not done that. Next, they wanted to know what media might be interested in my book. I write for several regional publications which might be interested. I listed an art magazine for whom I'd written. I have a good rapport with my editors and will contact each with a press release. The marketing department requested all this information.
An author who sells to this publisher says they do a good job of keeping your book in print. I'm still awaiting the return of the signed contract. Once the book comes out, let's hope they market it well and that I, too, can generate sales.
Monday, May 24, 2010
Writing clips and credits
Today I will deviate a bit from my usual writing on the things to do before you receive a book contract. Actually, acquiring writing credits and clips are necessary to break into a paying magazine or book market.
How do you get writing credits if you are a beginning writer trying to gain access to the magazine writing world? Try small publications. Although I've published in larger places such as Chicken Soup and Family Circle, I still write for a small parenting/senior publication in my hometown. The pay isn't a lot but I get plenty of exposure. I've written for a small specialized newspaper and low paying religious markets. Search for markets which pay little or nothing. Plenty are listed in Writer's Market or online. You'll also find those types of publications on shelves in the library, grocery stores or doctor's offices. They are the free local magazines or papers. They may cater to one readership or another such as the parenting I mentioned. However, once you pass a certain point in your publishing history, don't write for non-paying markets unless they are near and dear to your heart.
Case in point. Today I worked on two of the five articles I must finish by the first week in June and June 14th. One pays well while the others pay little or nothing. I enrolled in the Catholic Biblical School of the Denver Archdiocese. The class is divided into small groups for discussion. A young man in my group bought a floundering newspaper in a tiny mountain town not far from Fort Collins, CO where I live. He recognized my name on Facebook and discovered from my profile my desire to break into the travel writing market.
“How about writing travel pieces for us,” he asked one day at class. “I can’t pay you now, but you'll build up credits.” This small town newspaper is near and dear to my heart. I want to see him, along with his wife (the editor), succeed. I’ve written articles for them every other week for a couple of months. When I mentioned I needed to create a website, he volunteered to set it up since that is his business. So even though I’m not paid for the articles, I’m receiving much more in his giving of his design of a website for me in his spare time. I tell him how much I appreciate his work every time he assigns me a new task for the website.
My point is this – you never know how your non-paying markets may pay off. Sometimes it is in the form of an assignment from someone who read your work there. In any case, persevere, study, join a critique group and most of all start submitting your work. Writing is a hard market to crack, but it can be done.
How do you get writing credits if you are a beginning writer trying to gain access to the magazine writing world? Try small publications. Although I've published in larger places such as Chicken Soup and Family Circle, I still write for a small parenting/senior publication in my hometown. The pay isn't a lot but I get plenty of exposure. I've written for a small specialized newspaper and low paying religious markets. Search for markets which pay little or nothing. Plenty are listed in Writer's Market or online. You'll also find those types of publications on shelves in the library, grocery stores or doctor's offices. They are the free local magazines or papers. They may cater to one readership or another such as the parenting I mentioned. However, once you pass a certain point in your publishing history, don't write for non-paying markets unless they are near and dear to your heart.
Case in point. Today I worked on two of the five articles I must finish by the first week in June and June 14th. One pays well while the others pay little or nothing. I enrolled in the Catholic Biblical School of the Denver Archdiocese. The class is divided into small groups for discussion. A young man in my group bought a floundering newspaper in a tiny mountain town not far from Fort Collins, CO where I live. He recognized my name on Facebook and discovered from my profile my desire to break into the travel writing market.
“How about writing travel pieces for us,” he asked one day at class. “I can’t pay you now, but you'll build up credits.” This small town newspaper is near and dear to my heart. I want to see him, along with his wife (the editor), succeed. I’ve written articles for them every other week for a couple of months. When I mentioned I needed to create a website, he volunteered to set it up since that is his business. So even though I’m not paid for the articles, I’m receiving much more in his giving of his design of a website for me in his spare time. I tell him how much I appreciate his work every time he assigns me a new task for the website.
My point is this – you never know how your non-paying markets may pay off. Sometimes it is in the form of an assignment from someone who read your work there. In any case, persevere, study, join a critique group and most of all start submitting your work. Writing is a hard market to crack, but it can be done.
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