A couple of years ago author Jennie Ensor shared with me her thoughts about how, via the publishers Unbound, she’d crowdfunded her novel . I began by asking her why she’d chosen this particular route. What had led her to make this decision?
Write book. Publish Book. Go on book tour in nightwear. Simon Whaley explores the modern way to promote books. Gone are the days when publishers organised country-wide book tours for every author, dropping them into every major town and city bookstore to promote their latest offering. Many authors are probably thankful for this, for such events were frequently gruelling and exhausting. Today, a good book tour still requires energy and effort on an author’s part, but the modern virtual book…
Back in 2015, I chatted to Glynis Scrivens, author of about those moments in a writer’s life when we have a crisis of confidence. While many people experience these crises, whatever job they do, writers in particular are more susceptible to these moments of doubt, because we tend not to have that team of work colleagues to help us put things into perspective. It’s therefore extremely useful to have mechanisms for coping with these confidence-crushing moments.
Two’s company, three’s a crowd … but six can be a good marketing strategy, says Simon Whaley. It doesn’t matter whether we’re traditionally published or self-published, when it comes to marketing most of us are pretty much on our own. It’s a little ironic that traditional publishers usually allocate the biggest marketing budgets to those already- famous authors who have cost them significant sums of money in advance payments, which those said publishers then need to recoup: hence the bigger…
A brief post this week, just to point you to an article that was recently published in The Guardian, written by Alison Flood, about the anger from Woman’s Weekly’s writers at the exploitative new contract. You can read Alison’s piece here. We were hoping for a better, more detailed response from TI Media. Their response that they will continue to credit writers does not answer the question about why they need copyright, and their response to waiving moral rights enables…
“If you want to be successful in this business, don’t be different. Be like someone else.” That’s how Phil Rickman, author of the popular novels, opened his talk at the Church Stretton Arts Festival last week. And it’s a perfect reminder of how publishers (particularly those publishing fiction) want more of the same. Ideally, they want more bestsellers. (Don’t we all?) “Publishers want something … they don’t really want something different. They want something that is guaranteed to sell.”
The snowball is gathering momentum. It was slow to start off with because when you’re not big name writers, it’s difficult to make yourself heard. It’s been an uphill struggle. But now the direction is sloping gently downhill, enabling the snowball to gather pace and potential clout. Much of this has been thanks to the tweets of Joanne Harris. When @BigFatLion tweeted a link to my open letter to the leadership team at TI Media she also brought it to…
Back in Womag-land, there’s been no feedback from TI Media (that I’m aware of) regarding their change of contracts to All Rights, and their cutting of payments by a third. Although, some writers have received some interesting emails. Woman’s Weekly has emailed a couple writers who’ve had stories that just failed to make the grade in the past (so were rejected, but encouraged to rewrite and resubmit them) enquiring whether they’ve had a chance to rewrite those stories yet.
At the end of June I posted about the recent changes being made at Woman’s Weekly concerning their latest contract, which demanded All Rights from their fiction writers. Now, I’m not a prolific short story writer, but I have been published in Woman’s Weekly’s Fiction Special, and therefore this is a market in which I have an interest. And although I have other writing priorities at the moment, writing short stories for the women’s magazine market is something I plan…
The annual short story competition run by one of the writers’ circles I go to has just closed, and once again I’m staggered by the number of entrants who failed to read the rules. I just don’t understand it. I deal with the administration of some of the entries before they are passed on to the judges, and part of that admin work involves checking that entrants have met all of the competition’s rules. The two most commonly broken rules…
It was a moment of dichotomy. I’d just been offered a job. An employed job. It was my first job interview for twenty years and they offered me the position. (Clearly, they were desperate!) I was going back into the world of employment, albeit on a part-time basis. But the euphoria was tempered with guilt. After all this time working as a full-time self-employed writer, was I selling out on the dream? Would this make me less of a writer?…
Writers in Womagland (those who write short stories or serials for the women’s magazine market) have been venting their anger and frustration on social media recently. Woman’s Weekly magazine has changed its contract terms and payment rates. Those who have received an acceptance email in the last week or so have been told that the magazine is now seeking All Rights (including copyright) in their short stories and the payments are being reduced.
When is a commission not a commission? Well, it all depends upon when in the writing process you make the sale. Patsy Collins of the Womagwriters blog asked me to write a guest post about the latest confusion concerning some of the fiction markets using the word commission when accepting (or rejecting) a story, and I thought I’d also publish it on my own Business of Writing blog here. Firstly, here’s the get-out clause: I’m not a solicitor, therefore this…
Pretty much every book on writing urges writers NOT to sign away their copyright in a project. And I would agree that, in 99.99% of cases, that is definitely the right step to take. However, there are times when doing the unthinkable can work out useful.
I’ve just received a payment that I’ve been chasing since June 2017 (for a piece originally written in 2016). What made this slightly more challenging was that the publication was based overseas. Here in the UK we have the Late Payments Act that allows us to charge interest on overdue payments. And if the worst comes to the worst we always have the small claims court to fall back on. But when it comes to foreign customers, things are a…