Pelican Final Submission and more

We returned from our Alaskan cruise tired from late dinners and late night Dixieland Jazz music by three bands. Although we loved the cruise, we now need to recuperate and get back in gear.

The mailbox contained the Amon Carter CD I’d been expecting. That means I’ve worked all day on producing all the documents Pelican Publishing requires for final submission of HOW THE WEST WAS DRAWN: COWBOY CHARLIE’S ART.

Besides the special CD format of the single-spaced manuscript I downloaded, I included the introduction telling how to use the book, dedication, book description, bibliography, timeline, credits page and the pictures. I printed two double-spaced copies of the manuscript and copies of permissions.

I was surprised to learn Pelican listed my “new contract” on their Facebook page. I guess the marketing trail has already begun.

Actually, it will begin on July 22 when I sit with three other writers on a panel of “first book” authors for the Northern Colorado Writers group. I’m hoping for a good turnout even though I haven’t books to sell at this point. I’ll be included in Pelican’s 2011 Spring catalog.

I’d like to also write a flyer of how to incorporate the book into school curriculums that I can hand teachers after a presentation. I have a head start with all my museum docent experience and the introduction I wrote for the book.

I’ve ordered books from Amazon on Frederic Remington. In other words, I’ll be working on a similar book with his art as the subject. As soon as Russell gets underway, I'll querry Pelican on Remington.

I’m keeping my fingers crossed that someone will now show interest in my other children’s books - a picture book on moving toddlers, a fictional autobiography of one year my father kept me against my will in Chicago when I wanted to live with Mom and brother and an adventure fiction book where three kids go "through the picture frame" of Georges Seurat's pointilist painting and encounter many Paris attractions/obstacles while trying to capture the painting's monkey.

Plan now for your future books. Write an introduction, description or jacket flap, dedication and timeline if writing non-fiction.

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!