Simba Information reports U.S. book sales (net revenue from retail sources) at $6.31 billion for 2006...
- Romance: $1.37 billion
- Religion/inspirational: $1.68 billion
- Science fiction/fantasy: $495 million
- Classic literary fiction: $448 million
- Mystery: $422 million
- Graphic novels: $128 million
An "interminable agency clause" (sometimes called an "interminable rights clause" or a "perpetual agency clause") is language inserted into an author-agency agreement whereby the agency claims the right to remain the agency of record not just for the duration of any contracts it negotiates, but for the life of copyright. In other words, once the agency sells your book, it has the right to represent that book for as long as the book is in copyright (currently your life plus 70 years).
Many professional writers' groups warn against interminable agency clauses....
Trouble is, the language can be subtle enough that it's easy to overlook or misunderstand. Several of the authors who sent me contracts were aware of the warnings against interminable agency language, but still failed to spot it.
These were some of the top reasons I found for entering:
1. To get your work in front of a particular agent or editor, especially if that person would be hard to reach otherwise - for example, an editor from a house that does not accept unagented work.
2. To get impartial feedback on a story. Useful both for those without critique groups & those who do have a group, but are afraid they might be too nice (or otherwise) to tell the truth.
3. for the prize. Some contests offer free registration to their conference....
4. For the prestige. There are some contests, such as the Golden Heart, the Maggie, and the Emily (I know only romance), which carry a lot more oomph than others. Those ones can be VERY helpful to mention in a query letter.
5. And sometimes, contests can be the only bit of positive reinforcement you receive. If you're receiving nothing but "I like this, but ..." rejections...well, at times like that, it can be very encouraging to know that a bunch of strangers think your work is totally wonderful.
As a published author, I view contests differently--I enter the RITA, for instance, to get my books in front of judges who might otherwise not be willing to read my edgy, erotic romance. There are a couple of other contests judged by booksellers and librarians--again, I am hoping to expose my writing to new readers in a position to help me further my career. I currently have two of my titles entered in the Lambda Literary Awards contest--in this case, it's to reach a new community of readers. It's not about the win, so much as the exposure.
Another thing that was valuable (at least to me), I picked contests where I could attend the awards. For example, the Daphnes are at the RWA nationals every year, so since I was going to be there, I entered. ....there is a high chance the agent/editor judges will also be at the awards. And that’s what happened. As a Daphne finalist, I was not only able to sit next to the agent who judged my category, but when the award packet contained a request for a full, she was right there for me to mention an editor had also requested a full (from a contest the week before). And, in a stroke of blind luck, that editor who made the request also happened to be at the awards.
I sold my first book in '94 via a contest. I got my agent...in an indirect way via a contest, and my last sells were also indirectly set off due to some contests.
I'll just back up what everyone else has said by saying... Entering contests is a game. You have to know the rules to make sure you get the most out of it.
....one thing I never realized until I became an agent and began reading so many books is that it takes a great deal of mental work just to start a novel, because it takes a lot of brain energy to get your bearings. Every detail you read in the beginning establishes where you are, who the characters are, what they're like, etc. and your mind has to piece things together, which isn't always easy.
....As much as I like the premise of this query, I'm afraid I didn't feel that there was solid grounding here. Starting off with a conversation is tricky, and rather than learning as I went along I found myself more and more confused about what was happening and where and when it was happening.
I also had some concerns about the writing. There were times when the dialogue was stilted ("That, I still retain,") but perhaps more importantly, I honestly felt that although the author really tried to create some unique imagery, I felt like the description tried too hard. As a very rudimentary rule of thumb, description should be as clear as possible, except when something is indescribable in simple language, in which case it can be more expansive.
Among the many reasons for this shift are marketing tools that have made it possible to orchestrate a virtual encounter, without the hassle or expense of travel. Publishers and authors are now touting books through podcasts, film tours, blog tours, book videos, and book trailers....
Man Booker Prize-winner Ian McEwan opted not to take his 10th novel, "On Chesil Beach," on the road this past summer. In his place, a short film was screened by bookstores in 54 U.S. cities....
Meanwhile, a company called TurnHere has launched an ambitious project to create an online book channel with short Internet videos - the founder likens it to an MTV for books. So far, BookVideos.tv has exclusively aired Simon & Schuster authors. But it recently announced plans to expand coverage to 10 other publishers.
It takes me about six months to write and revise each of my mysteries. I then email it to whichever editor is awaiting the manuscript and within a month, they usually provide feedback on the book. Sometimes I do some quick revisions following that editorial letter, but mostly, the book gets circulated among the copy editing team. A few months later, the first round of editing begins. This process lasts for two-three months and the book is edited by many eyes three times. About 10-12 months after I originally turned the book in is when it hits the shelves.
Afterwards: The life of one's published book is amazingly varied. My first mystery, A Killer Collection, debuted Jan. 6,2006. It is already out of print. In other words, the print run sold out and it didn't do well enough to merit another printing. So far, my supper club series, which debuted with Carbs & Cadavers, is still alive, but only the sales numbers can determine how long each book will stay in print.
The author's job doesn't end when the manuscript is accepted by an editor--in fact, a lot of the work is just starting. There can be requests for revision and there will definitely be copy edits to review and page proofs to read--I've discovered those surprise packages generally arrive on a Friday afternoon with instructions to return them "ASAP."
The thing to remember is often the process, while somewhat standard--at least at NY publishers--does vary from book to book and from house to house. I usually get only get copy edits and page proofs--and yes, they do come while you are working on the next book, and usually when you are just getting up steam and into that new project! I can't proof and write at the same time, so I have to put aside the new book to work on the book in production--and then get back into it once I send the production book back to my editor.
I actually came up with my book titles--well, I came up with The Naked Duke and everything has followed--Nakedly--from there. But I would say most times the house comes up with the title, though usually there is some back and forthing. I had no say on my covers--I think only the very big names do--but I was very happy, so no problems. I guess if there was something I really didn't like, I'd see what Jessica could do. But it is usually better to keep in mind that the house's sales/marketing team just might have a better idea of what will get people to pick up a book than the author--there are unfortunate mistakes, of course, but that is their area of expertise. They want the book to sell, too.
I pick my deadlines when I sign a new contract, but--and I'm in that position now--when the date approaches, if I'm running late, I contact my editor. If the book is on a tight production schedule, the author had better turn it in on time. But if the deadline really has no direct bearing on the production/scheduling of the book, then there's more wiggle room.
The house will schedule books way in advance--I think 2008 is probably already pretty full at my house, but 2009 isn't on the boards yet, though they have already got books coming in for that year--I'm contracted for a novel and novella for 2009. The actual scheduling--slots and what not--is another whole topic.
As to how I propose new books, I've been lucky--I just say, well, I'll do something Naked. (Though I'm running out of Naked guys and will have to come up with a new idea soon.) The contract is usually for a book or two with an option on the next work. So, for the option book, most folks do a synopsis and three chapters--but again, that can vary.
