How To Write 60 Books in 20 Years: The Book Doctors Interview Terry Whalin–Writer, Editor and Publisher Extraordinaire
1) You’ve written over 60–SIX ZERO!!!–books. How in the world did you accomplish such a feat? And what can other writers who have trouble writing learn from your ability to keep writing?
I often say writing a book is like eating an elephant. You do it one bite at a time. It’s the same with books. They are tackled one page at a time, one chapter at a time, one section at a time, one book at a time. One of the best ways to write a full length adult book (something with 40,000 words or more) is to set a daily word count then consistently day after day write 500 or 1,000 words or whatever makes sense for the type of writing that you do. In nonfiction (and all of my books have been nonfiction), I look at each chapter as a lengthy magazine article. In magazine writing, you need to have a beginning, middle and end plus you need to lead the reader to a particular point (call to action or takeaway it is often called). If you can write a successful magazine article and get that into print, then you can string 15 or 20 of those articles together into a single book.
While many writers want to produce a book, I always encourage writers to learn the craft of writing in the magazine world. I have written for more than 50 magazines and I’ve been a magazine editor. It is much better to learn this skill on a short magazine article than a long book. Also you can reach many more people with a magazine article than most books. I wrote many magazine articles before I ever tackled my first book, which was published in 1992. The same principles apply to writing books from my perspective.
I also love many different types of writing and books. Too many writers make a decision that they are only going to write nonfiction or fiction or children’s books or young adult books. It is almost like they are hitched to a plow trying to get through a muddy field and are constantly plodding forward. I’ve discovered great joy in the variety of the writing world. One day I was writing children’s material and another focused on a magazine article then a third day writing a chapter in a nonfiction book. The decision to write a certain type of material is to be made consciously—just like you can decide to write many different types of material.
2) Your books have been published by publishers big and small, general and niche. How did these experiences differ? What were the biggest pluses and minuses of each?
Each book and each publisher has a unique way of working. I’ve learned to ask a lot of questions before I turn in my manuscript to make sure I’ve met their expectations and I encourage them to voice as many of those expectations as possible so I deliver what they want. Some publishers expect you to be a mind-reader and I’ve learned that often I’m off base if I make assumptions and don’t ask expectations questions. This reality is true whether you are working with a large or small publisher.
The key from my perspective is building a relationship with the editor and also as many different people within the publisher as you can access such as marketing and sales and publicity. Position yourself as a proactive author who wants to come alongside and help each person in the house exceed expectations for the performance of your book. There is a fine line each time between proactive and high-maintenance (not where you want to be as an author).
Finally I advise authors to be open to many different ways of working with a publisher. Writers often have a pre-conceived way of working with a publisher. For example, many writers only want a royalty contract with a publisher and are turned off with the offer of a work-made-for-hire, all-rights contract. With that attitude, they walk away from a WMFH offer rather than take it. My literary attorney (notice I have one) says that I’ve signed more WMFH agreements than anyone she knows. I like to have book contracts and work as a writer. Many nonfiction writers don’t understand that about 90% of nonfiction books never earn back their advance. This figure isn’t my statistic but I learned it in a writing book (unfortunately I can’t remember the source). The statistic bears out in my own writing. I would rather be paid well WMFH for a short term book than not have my book earn out a royalty advance. For example, I wrote two devotion books on a very short-term deadline and each book sold 60,000 copies. My name is in the tiny print on the copyright page of those books since devotional books are topical and not author driven. It’s OK with me because I was paid a flat fee and gained a great writing credit that I can use to get other books. Many writers lose sight of such possibilities because they are focused on one way to publish when in fact there are many ways of working. Do not limit yourself.
3) We’ve entered a new age of publishing where the barriers have been ripped down and anyone can publish. Do you see this as a positive or negative for all of those out there that not only want to get published, but get published successfully? Please elaborate as much as possible!
The fact that everyone can get published online with a blog is great (a positive) but writers need to learn to tell good stories and not just write from a stream of consciousness (a negative). Every single book I know has a good target audience and delivers well-crafted stories and how-to information for that reader.
Whether publishing an ebook or manuscript, the successful authors know how to tell a good story and work on their visibility in the marketplace (platform) through speaking, an online presence or other aspects. I encourage writers to attend conferences and build relationships with other writers as well as with magazine and book editors. You never know when one of those relationships is going to lead you into a new publishing opportunity. The old saying is true, “Often it is not what you know but who you know.” What editor is thinking about you and going to pick up the phone or email you when they have a need that they believe you can fill for their publishing house? Much of writing is isolated and writers need to make the effort to get to conferences and continually build personal relationships.
Also writers need to join with other writers and take an active role in a writer’s organization like the American Society of Journalists and Authors (ASJA) and The Society for Children’s Book Writers and Illustrators (SCBWI). They will grow as writers and learn a great deal from the experience. Like going to conferences, an active role in an organization will help any writer grow in their craft and abilities.
My final point is to encourage writers to establish their own independent publishing business. While building and working within the publishing structure, there is something refreshing and freeing about having your own ability to generate income and reach people through your own initiative. This step teaches you that writing is a business and you need to run it like a business but also this action removes the gatekeepers so you can interact directly with your target market. Establish your own free newsletter like my Right-Writing News. Give away part of your work to build your audience. As you sell products, you can collect the money directly from your reader rather than waiting for a magazine to pay or your book publisher. It will help you have an independent income stream as a writer and is vital for your on-going work in this market.
4) You’ve been both a writer and an editor/publisher. What did you learn about becoming a successful author from being an editor/publisher?
I’ve learned there are many options to get published. There are several keys: the right book for the right audience which is created right and has the right distribution to the bookstores and the right marketing behind it. I understand there are many “rights” in that last sentence. No one cares whether Doubleday or Podunk Press published your book if your book is edited, designed properly and has distribution and marketing. At Intermedia Publishing Group where I’m a Vice President and Publisher, we offer these services at an affordable price. I’ve signed several authors who have sold millions of books (no exaggeration) in the traditional market.
5) You established a strong niche for yourself by writing many of your books for a Christian audience. Do you think this helped your career? Did you ever felt you were the equivalent of type-cast?
A common saying to writers is to “write what you know.” I didn’t necessarily select the Christian audience but I was writing what I knew. The relationships I built were primarily with Christian editors and they gave me the opportunity to write for their magazines and book publishers (in many cases over and over).
There are merits to specialization but my writing is also diverse in the types of writing that I’ve done such as children’s books, young adult, biographies, how-to books, co-authored books, etc. Even within a particular category such as religious inspirational books, there is room for wide diversity. In my years in publishing, I’ve worked in many aspects such as a magazine editor, a book author, a literary agent, an acquisitions editor and now a book publisher. Each aspect has taught me something new and helped me grow as a writer. I’ve built many of the lessons from my diverse experience into my latest how-to book, Jumpstart Your Publishing Dreams, Insider Secrets to Skyrocket Your Success.
Some great additional links from Terry:
1) The list of Terry’s published books online. Notice the diversity in his writing and the different categories he straddles.
4) Here’s a link to a free hour-long teleseminar that Terry did with editor, Diane Eble, talking about the changes in publishing and the differences between traditional publishing, independent publishing and self-publishing.
5) A free sample of Jumpstart Your Publishing Dreams
6) The book trailer to Jumpstart on YouTube.
Shaun Yu & David Henry Sterry talk about books on NPR
Bookbuzzr December 30th, 2010
We’ve been to almost 50 states talking to thousands of authors—amateurs and professionals—and we’re still shocked that one particular fantasy still exists and persists: “My publisher is going to put together and implement a publicity and marketing plan that will rocket my book to the top of bestseller lists.”
Clearly, most authors who still harbor this fantasy are unfamiliar with publishing in the 21st century (or publishing at any time, for that matter). To paraphrase best-selling author and marketing guru Seth Godin, the writer who starts developing her community as her book is coming out and just hopes that her publisher will get her on Oprah is in for a rude awakening. You simply cannot sit around waiting for your publisher to hand you a publicity and marketing plan, because there’s a good chance this publicity and marketing plan may never arrive. Except in rare circumstances, the authors that make it big (or just make it), are the ones who are busy planning their own publicity and marketing long before their books are published.
The relationship between author and publisher is much like a marriage. It usually starts with a great honeymoon phase, often cools when the partners see each other’s warts, only works with lots of give-and-take, and both sides take it for granted after a while. That’s why it’s important to go into your relationship with a sort of publicity-and-marketing “dowry.” The more you’ve done to beef up this dowry, the better things will go for your book. Yes, this publicity and marketing plan is a work in progress that will be revised and refined up until and even beyond your book’s publication. But it sets the bar for action on both sides.
So what do put in your marketing and publicity plan? Here’s a quick primer:
1) Your pitch. You know how to pitch your book better than anyone else—or you should. Hopefully, you’ve been developing your pitch from the moment you told someone you had an idea for a book and they asked, “So, what’s your book about?”
2) A summary of your strategy and goals for publication. What are your expectations? Just be sure these are realistic, not “Get me on Fresh Air and the cover of The New York Times Book Review while I am wooed by Hollywood.”
3) What you’ve done already to prime the pump. Do you have a social media following of any kind? Have you made contacts at local or national media? Do you have endorsers ready to blurb? Do you have a workshop schedule already in place? Display your platform proudly.
4) Identify media (traditional and social) opportunities—big and small. You know your subject and your audience better than your publisher does. Most trade publishers are generalists, and while they know how to get your book into trade publications and mainstream media (whether actually do so is another question!), they probably won’t know about the niche media, bloggers, tweeters, etc that are speaking to your audience every day.
5) Identify cross-promotional opportunities with other authors on your publisher’s list. It always helps to be in the company of more-established authors. Seek out other people who are doing similar work, especially on your publisher’s list. See if your publisher can put you on a panel with like-minded authors, ask if you can guest blog on another author’s site — anything that will help raise your profile, and get the word out.
Many authors to whom we deliver this primer look at us with bunny-in-headlights eyes and protest, “I’m no marketing expert!”. That may be true right now, but if you want your book to be the success you hoped for, you’re going to have to learn the particulars about your audience, and how to find, woo, and wow them. The good news is that if you do, and if you put this information into your publisher’s hands, they may even agree to do a big chunk of this work for you. As in marriage, if you pick the right partner you can give birth to a happy, healthy, thriving book that will give both of you pleasure and coin for decades to come.
ARIELLE ECKSTUT, cofounder of LittleMissMatched, an iconic brand with stores in Disneyland and Grand Central Station, is a writer, entrepreneur, and agent-at-large for the Levine Greenberg Literary Agency. She is the author of Pride and Promiscuity: The Lost Sex Scenes of Jane Austen
DAVID HENRY STERRY is the coeditor of Hos, Hookers, Call Girls, and Rent Boys (front page review, The New York Times Book Review) and author of Master of Ceremonies, Chicken, Satchel Sez, and most recently, The Glorious World Cup. He is also an actor, media coach, book doctor, Huffington Post regular and activist. The authors are married and live in Montclair, New Jersey,
By Wayne Hulbert on Business News Online
“Writers now have breathtaking new ways of connecting with and getting their work directly into the hands of readers. And they no longer have to rely on a small group of publishing experts in order to get published. Because there is no barrier to to publishing”, write publishing experts and Book Doctors, Arielle Eckstut and David Henry Sterry in their comprehensive and idea packed book The Essential Guide to Getting Your Book Published: How to Write It, Sell It, and Market It . . . Successfully. The authors set out a blueprint for creating an idea, developing a book on the topic, getting that book published, and delivering it to readers worldwide.
Arielle Eckstut and David Henry Sterry understand the challenges of writing a book and in getting the final manuscript published and marketed well. The authors point to the importance of passion as one of the most critical elements necessary for publishing success. Without the passion for the book’s idea, a would be author might not have the drive needed to carry the book through to completion and for the marketing effort. Along with the important aspect of being passionate about the book’s subject matter, Arielle Eckstut and David Henry Sterry share their four principles of successful publishing:
Arielle Eckstut and David Henry Sterry (both in photo left) recognize the dramatic and systemic changes that have altered the publishing landscape. As a result, their advice doesn’t cover just traditional book publishing. The authors also share techniques for self publishing a book, and for utilizing the alternate book formats including ebooks, audio books, and even for publishing online. Arielle Eckstut and David Henry Sterry offer step by step advice for every facet of the book publishing process, and also include the crucial but often overlooked areas of copyright, contacts, payment, and legal protection. Along with the valuable tips on taking care of business, the book also contains the always vital area of book marketing. While a book may be great, and convey the passion and knowledge of the author, without a marketing plan even the best book will fail to find an audience. Arielle Eckstut and David Henry Sterry provide marketing concepts that include both conventional and unconventional channels to promote and sell more copies of the finished product.
For me, the power of the book is how Arielle Eckstut and David Henry Sterry remove the mystery from book publishing, and present a complete handbook for achieving success as an author, from start to finish. The authors leave no stone unturned, and make it clear to the would be author that writing a bestselling book is possible, but requires much work on the part of the writer. Because of the effort involved in writing, contracting, and marketing a book, the authors emphasize that the author must be passionate about the subject or plot of the book. Anything less, and the book is likely to not do as well in any facet of the process.
Arielle Eckstut and David Henry Sterry present two very important and useful sections on the business of book publishing and on marketing the book through traditional and guerrilla methods. These two critical topics are not always included in books on publishing, making this book even more essential for the serious author. An added bonus feature provided by the authors are the many author resources in the appendix. Overall, the book is a treasure trove of information that will benefit any aspiring or experienced author.
I highly recommend the essential and very practical book The Essential Guide to Getting Your Book Published: How to Write It, Sell It, and Market It . . . Successfully by Arielle Eckstut and David Henry Sterry, to anyone seeking a one stop advice book for becoming a successful author. The wealth of information contained in this wonderful book makes it a must for any novice or long time author.
Read the valuable and information filled book The Essential Guide to Getting Your Book Published: How to Write It, Sell It, and Market It . . . Successfully by Arielle Eckstut and David Henry Sterry, and discover the insider secrets to becoming the successful published author of your dreams. From idea to sale, this is the book to unleash the bestselling author within you.
Changing the Game December 20, 2010 by elliottzetta
What I love most about self-publishing is the way it empowers creators everywhere—no more waiting for the “official” stamp of approval, and self-publishing no longer equals “substandard.” John Edgar Wideman has self-published, and earlier this month LA Banks announced that she is self-publishing her new series of YA books. Emerging and established authors are realizing that they don’t have to stand in line to be rejected and/or treated shabbily by big publishing houses. Small presses are looking better and better, and digital publishing offers even more options for authors.
This morning I found an article on Publishers Weekly that announced the triumphant emergence of Citizen Authors: “determined, motivated, fed up.” The article is written by Arielle Eckstut and David Henry Sterry, authors of the recently released Essential Guide to Getting Your Book Published; I was interviewed for that book and I’m included in the PW article:
What’s perhaps most exciting about Citizen Authors is that some of them have been able to say a big “I told you so!” to Manhattan publishing after having been rejected, mocked, and/or dismissed by that clique’s elitism, solipsism, and/or lack of creative vision. These include people like Zetta Elliott, J.A. Konrath, and Lisa Genova. Zetta wrote about race in a way that didn’t fit into the credo of the mostly white world of publishing, but fit perfectly into libraries all over the country that catered to children of every color…
The irony is, when Citizen Authors prove how valuable they are, all the big guns in the book business come running, throwing money. Even more ironic is that these Citizen Authors saw the marketplace in a clear-eyed, smart way that “big publishing” wouldn’t or couldn’t.
To my knowledge, only the Brooklyn Public Library and the NYPL acquired Wish when it was first self-published in 2008/2009, and we’re still working on getting libraries across the country to add Wish to their collections. One of the biggest challenges faced by self-published authors is marketing—not just getting the word out, but getting book buyers to look in nontraditional places for book reviews and recommendations. If you’re not reviewed in School Library Journal, Booklist, Kirkus, or PW, many important institutional book buyers won’t even know you exist. The blogosphere was my best friend as a self-published author, but I meet educators all the time who still express amazement when they learn I have a YA novel in addition to my traditionally published picture book, Bird.
But I have no regrets about self-publishing and plan to do it again; it’s reassuring to know that you don’t have to take whatever the big houses are offering (when they offer anything at all), and I’ve had a great experience working with AmazonEncore. I’d work with them again in a heartbeat, but I haven’t given up on traditional publishers and small presses, and encourage other aspiring authors to keep their options OPEN. Take risks and be willing to work for what you believe in…which brings me to Neesha Meminger, the latest YA author to start her own imprint and take charge of her publishing career. Have you seen the great new trailer for Neesha’s new novel? You can view it here, and the book is now available online—just in time for the holidays!! Get your copy of Jazz in Love at Amazon.com, (Amazon.ca if you’re in Canada), Barnes & Noble, and indie bookseller Boone Bridge Books. Neesha has agreed to do an interview for my blog, so stay tuned for details about her exciting adventure…
The self-publishing experiment only works if people take a chance and support books that are coming out of nontraditional sources. So please do support these authors and remember: if things were equal, they wouldn’t need to be separate.
Citizen Author: Determined, Motivated, Fed-Up Authors: Unite
Literary success is being democratized as it never has been before.
By Arielle Eckstut and David Henry Sterry
Dec 20, 2010
Yes, Virginia, we’ve entered a new digital age in publishing. But there’s another major change afoot.
America was founded by a scrappy bunch of determined, motivated, fed-up citizen soldiers who revolted against an unjust system that benefited the few at the expense of the many. Like them, a new 21st-century group of brave outsiders has decided to revolt against the often unfair elitism of modern publishing. We call them Citizen Authors.
Sure, some of these brave new Citizen Authors are Harvard graduates with megaspeaking careers and fancy titles. But most Citizen Authors aren’t college professors, graduates of M.F.A. programs, or even relatives of someone in the publishing industry. Instead, they are veterinarians, entrepreneurs, schoolteachers, bartenders, soccer moms, firefighters, goth teenagers, and foodies determined to write their way to success.
Citizen Authors have two things in common: (1) a dream of having a book published, and published well, and (2) the will to make it happen by whatever means necessary. Some Citizen Authors self-publish, some e-publish, some partner with small, medium, and megapublishers, and some do all of the above. There’s Seth Godin, who uses his creativity to package, market, and publicize his books in unique and savvy ways that embrace a grassroots methodology. There’s Robert St. John, who depends on his local following to successfully publish and produce gorgeous illustrated books that defy all publishing conventions about the coffee-table book market. There are Patricia Konjoian and Gina Gallagher, mothers with a passion to help other mothers despite no “expertise” in their topic.
What’s perhaps most exciting about Citizen Authors is that some of them have been able to say a big “I told you so!” to Manhattan publishing after having been rejected, mocked, and/or dismissed by that clique’s elitism, solipsism, and/or lack of creative vision. These include people like Zetta Elliott, J.A. Konrath, and Lisa Genova. Zetta wrote about race in a way that didn’t fit into the credo of the mostly white world of publishing, but fit perfectly into libraries all over the country that catered to children of every color; J.A. (aka Joe) took his rejected thrillers and turned them into e-books that his fans—and his pocketbook—couldn’t get enough of; Lisa wrote about Alzheimer’s, one of the many subjects “people don’t want to read about”—a favorite catchphrase of agents and publishers alike.
The irony is, when Citizen Authors prove how valuable they are, all the big guns in the book business come running, throwing money. Even more ironic is that these Citizen Authors saw the marketplace in a clear-eyed, smart way that “big publishing” wouldn’t or couldn’t.
With the plethora of new ways to connect with readers, and with the fantastic formats and platforms that are now available to writers, literary success is being democratized as it never has been before. And yet the same four principles apply to these Citizen Authors as to those who have been published successfully for decades. They do their research; they network their buns off; they write, write and write some more; and they persevere. They also take an entrepreneurial approach to their projects. They get professional help when necessary. They hire excellent editors, top-drawer publicists, and social media gurus. They even buy books about how to get successfully published!
Yes, it remains difficult for writers to achieve any kind of monetization. And successful Citizen Authors know that a good publisher—the right publisher for their book—can offer many services and opportunities that would be tough to manage while working solo. (For example, anyone who has published a book with Workman, as we have, would be an idiot to say that publishers no longer have value!) But most Citizen Authors haven’t been given the chance to work with a top-notch publisher.
So, valiant writer, when you hear the nabobs of negativity spouting doom and gloom, do not despair. In the age of the Citizen Author, any writer with a dream in her heart, grease in her elbows, fire in her belly, generosity in her soul, thickness in her hide, funny in her bones, brains in her head, and a little help from friends and experts, can now be published—and even published successfully.
Workman published Arielle Eckstut and David Henry Sterry’s The Essential Guide to Getting Your Book Published: How to Write It, Sell It, and Market It… Successfully last month.
Calling all NaNoWriMo Authors! Is your elevator pitch polished? Is it ready to tumble off your lips in an enthusiastic, one-minute explosive description of the next best seller?
If not, then get it ready! For on January 6, 2011, at 7 p.m. “Pitchapalooza!” is coming to Naperville!
Laura Goldberg contacted me from Workman Publishing, excited to discuss this book and the event.
“The Essential Guide to Getting Your Book Published: How to Write It, Sell It and Market It … Successfully!”
The authors, book agent Arielle Eckstut and author/book doctor David Henry Sterry are the hosts of Pitchapalooza! Which will be held at Anderson’s Bookshops, 123 W Jefferson Ave. in Naperville, IL.
Laura’s description of the event: “Pitchapalooza!” concept is like “American Idol” for books… Anyone with an idea for a book has the chance to pitch it to a panel of judges consisting of the authors plus guest industry insiders and/or local authors. Each “contestant” gets only one minute. The judges critique everything from idea to style to marketplace potential and more. Authors come away with concrete advice on how to improve their pitch…. At the end of each Pitchapalooza, the judges come together to pick a winner. The winner receives a personal introduction from Ecksut and Sterry to a literary agent who would be appropriate for their book idea.”
Laura, this sounds fantastic! Can anyone walk in and toss their pitch at you? Is there a fee? “It’s a free event and everyone can throw their hat in the ring for a potential pitch, but 20 will be selected from a random draw.”
“If you win at one of these events, it is a leg up on getting published — with, in this case, an introduction to a literary agent. (But) There isn’t a guarantee of a book deal.”
Laura Points out that “Eckstut and Sterry demystify every step of the publishing process, such as how to:
* Come up with a search-engine-friendly, blockbuster title
* Create a selling proposal
* Find the right agent
The book includes interviews with…
* Seth Godin, Neil Gaiman, Amy Bloom, Margaret Atwood, Larry Kirshbaum, and Leonard Lopate
* Plus agents, publicists, editors, booksellers, web wizards, and social networking gurus
* Sample proposals, query letters, and a feature-rich website and community for authors.”
You can follow The Book Doctors on Twitter.
Good luck at, “Pitchapalooza!” Hosted at Anderson’s Bookshops
“A must-have for every aspiring writer.” —Khaled Hosseini, New York Times bestselling author of The Kite Runner
“I started with nothing but an idea, and then I bought this book. Soon I had an A-list agent, a near-six-figure advance, and multiple TV deals in the works. . . . This little tome is the quiet secret of rock-star authors.” —Timothy Ferriss, author of The 4-Hour Workweek: Escape 9–5, Live Anywhere, and Join the New Rich
Anderson’s Bookshops on Facebook
Excerpt of Chapter 2
See you there!
Monday, December 13, 2010
Do You Need Permission?
I work with a number of first-time authors who ask me about whether they need to gather permissions for their work. While I am not a lawyer (the first thing that I remind them), in most cases they do not need to get permission. Now if it is a poem or a song, then it is likely they do need permission because of how those forms are treated in the marketplace. If they are quoting a few sentences from a full-length book and refer to the source, it is unlikely that they need to get permission from the publisher.
Recently I read Arielle Eckstut and David Henry Sterry’s new book, The Essential Guide to Getting Your Book Published, How to Write It, Sell It, and Market It…Successfully! This book is loaded with sound advice on many areas of the publishing process–including permissions. As they write on page 212, “Don’t start getting permissions too soon, because you don’t want to waste your time or money. However, since it often takes a while to track down a pesky permission–and all permissions should be handed in with your finished manuscript–we suggest the following process:
“1. Break your permissions into three piles. Definites, Maybes, Unlikelies. Track down all sourcing and contact information for the Definites as early as possible. Get prices and any necessary forms. This will help you guesstimate total costs and figure out how much you’ll have left over for the Maybes and Unlikelies.”
“2. Don’t pay for a thing until you’re sure what’s going in your book. This way, you won’t wind up spending money on a Definite that turns out to be an Unlikely.”
Then Eckstut and Sterry include a length section about what needs permission. This discussion is tied to the over 30 pages from The Chicago Manual of Style on the topic of fair use (a legal term related to the amount of material you can use from a source without asking permission. Here’s the critical sentences on page 213, “It’s okay for us to quote 122 words from The Chicago Manual because that’s a tiny percentage of its total word count (the book could double as a doorstop). However, if you took 122 words out of a 200-word poem, you must get permission to reprint it–unless, of course, it’s in the public domain. And don’t forget, composers’ and poets’ estates are notorious for going after people who abuse copyright law.”
Also Eckstut and Sterry include a fascinating story called The Pangs of Permissions: Acquiring permissions requires the patience of Job and the persistence of a pit bull. When she began writing A Thousand years over a Hot Stove, a book with more than 100 photographs and illustrations, Laura Schenone was ill-prepared for the amount of work permissions required. Not to mention the pounding her pocketbook took in the process.”
“Laura was presented with an unexpected challenge. Many of the people she was dealing with would sell her rights only for the first printing of her book. ‘My editor told me this would be 7,500 copies,’ she says. ‘When I bought the permissions, I wanted to up this number to 10,000 to 15,000 copies to be sure I was covered. But sometimes the fees as much as doubled.'”
“Laura’s story illustrates the importance of understanding permission costs before signing a deal or developing a project. That said, Laura couldn’t be happier that she wrote her book permissions and all. A Thousand Years over a Hot Stove went on to win a James Beard Award, the Pulitzer Prize of food writing.”
Eckstut and Sterry include a sample permission form in an appendices (page 448). I’ve only shown one little area this book covers many other topics with great depth and valuable insight. I recommend this book, The Essential Guide to Getting Your Book Published–and in the process of writing this entry, hopefully I’ve shown you a little bit about the permission process.
AddThis Social Bookmark Button