When I was at NAWGFest17 last month, I attended a Q&A panel session where two agents (Kate Nash and Hattie Grunewald) spoke freely about their work, what they could do as agents for authors, what prospective authors can do to increase their chances of securing an agent, and general chat about the book industry at the moment. Actually, I should probably also confess that I was there in a semi-official capacity as cameraman … for NAWG wanted to record the event and share it on their website (all camera wobbles are, therefore, my fault).
You can watch the event here: (it’s about an hour, so make yourself comfortable).
It’s been a busy week in the writing world on two different fronts: one which fiction writers may already be aware of, and another that probably won’t have registered with writers using Windows computers.
The first event concerned Woman’s Weekly magazine, whose staff issued an email, out of the blue, last week to advise that following a restructure at Time Inc (owners of the Woman’s Weekly brand), the entire fiction team was moving on.
Last week, I shared a post on Facebook (dating from March 2016, so it wasn’t new) from the Guardian’s Books Blog by Ros Barber who explained why she doesn’t want to self-publish. It was in response to the many comments she received on her own blog following a post she’d made about the derisory incomes authors earn these days, even those who are traditionally published. She was making the point that we’re not all offered the six-figure advances that many readers think we are. (Heck, we’re not always offered an advance at all these days!)
‘I don’t want to worry you, but have you seen this website?’ Those were the words from a concerned fellow author who’d found all her books were being offered for free, as PDF downloads, via an unscrupulous website. I searched for my name and found nine of my books listed. My immediate reaction was “Shiver Me Timbers,” or words to that affect. Then I wondered what I should do about it.
In this business of writing, copyright allows us to licence others to reproduce our work in a variety of agreed formats, hopefully for some financial reward. My first book, One Hundred Ways For A Dog To Train Its Human, published by Hodder & Stoughton, is available in print and ebook format, because that’s what the contract agreed. The only other businesses who can publish my words in these formats are the four foreign publishers who’ve negotiated the right to do so.
Sometimes, it’s not until you build up a body of work that you really appreciate what you have created. And that’s when the consequences of being a little slap dash with the rights you grant others in your work becomes apparent.
When you’re starting out, it’s easy to be swayed into granting more rights in a piece of your work than you’d like. You know you really ought not give a publisher copyright in your article, but they are going to publish it (which is what you really want) and, let’s face it, who is going to turn Ten Alternative Uses Of A Nose-Hair Clipper into a movie?
Last week I was approached by two different writers, each with their own publishing dilemma. I hope they found my comments useful, but what the queries demonstrated was that when it comes to publishing your book you need to be clear what your dream is. Only then can you decide what is right for you.
The first writer had made the decision to self-publish her novel, having spent many years writing it and then even more time trying to interest a traditional publisher. She’d come to accept that to get what she wanted – a print book she could encourage retailers to take – that self-publishing, or independent publishing, was the way forward for her. It would cost her money, but it was what she wanted.