STATUS: It’s going to be quiet all week. Lots of editors aren’t in the office. I’m working on two submissions that are going out in the next 2 weeks. I am so excited about both that I can’t keep from bouncing in my seat while I write up the submit lists and the cover letters. Can’t wait to share with editors.
What’s playing on the iPod right now? MISUNDERSTANDING by Genesis
Earlier this week I received an email from AAR (Association of Authors’ Representatives) that our contracts board is going to meet with S&S in the near future in order to discuss how recent developments in print on demand technology is affecting publisher out of print [OOP] clauses, etc.
I’m very glad that both sides are undergoing a dialogue.
For my impacted contracts, we are moving forward. I basically argued that these contracts were negotiated before the change and thus the previous boilerplate OOP language should be honored. And it was.
But I honestly can’t tell you what it will be like for future contracts and I’m worried about a two-tiered system. If a project is hot and the agent has leverage or there is an auction going down, I see there is flexibility with the OOP language. But if an author is mid-list and it’s option material time… it might be a whole difference experience. Too hard to say yet but it has me very concerned.
I’m just glad that agents exist so that writers can write, and not have to know their way perfectly through a contract. I consider myself to be pretty good with the words, but put a contract in front of me and I forget how to read.
“Too hard to say yet but it has me very concerned.”
It should. I’m an unpublished writer, and I’m nearly ready to start querying. These new OOP clauses will be a deal-breaker for me. I can’t be the only one thinking that.
Yes, I’m saying I’ll completely forgo any publishing deal for which one of these clauses is a non-negotiable point for the publisher. Even if that means there can never be any deals for me. I’d like to see my work in print, but not that much. Seriously, I can self-publish electronically without losing my dignity.
Of course, I’ll be up front about that with any agent who gives serious consideration to representing me. I hope that isn’t going to shoot me down, but c’est la guerre.
I’m also glad agents are around to negotiate and make this a discussion.
But I was mostly tickled that you are “so excited about both [projects] that I can’t keep from bouncing in my seat.”
I love that agents get as excited as the authors do. A sign that you love your job.
This comment has been removed by a blog administrator.
Kristen, I’ve been following this issue since it came out in the various agent blogs and such, and I’m curious just how much it will effect a midlist author, if this clause is tied to a dollar amount of yearly sales. This seems to be the indication I’ve seen as to how it will play out, i.e. if there aren’t a 1,000 dollars or whatever in sales for the year, then the author can reclaim the rights to the work. Am I wrong in assuming that most midlist authors don’t hit this threshold after the first year or two that a work has been released? Of course there are exceptions to this generalization, but I’m wondering how you see this whole thing in that light.
JDuncan
http://www.jimnduncan.com