Pub Rants

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Q&A continued

by Kristin Nelson

STATUS: Nose to the grindstone. Only two more days after today to finish stuff.

What’s playing on the iPod right now? NIGHT PART ONE: SNOW by George Winston

Before I kick off more Q&A, here is a fascinating article on Amazon, $9.99 eBooks, losing money, profits, wholesale prices and where the author is going to fit in all this.

Definitely worth a read.

Anonymous asked:
My question would be what are your instant turn-offs? Any genre or just something that you are so tired of you don’t even want to look at anymore…
It’s certainly true that we often tire of seeing vampire queries or thieves as the main narrator in fantasy or what have you but you never know when somebody is going to have a different spin on it. In general, if the query is well done, we’ll ask for sample pages, even if we saw 200 queries this week about a vampire thief in a dystopian near future society.

My answer is that there isn’t anything that is an instant turn off.

Evangeline Holland asked:
What I would love to ask an editor? In the crunched market, would some measure of success in the e-publishing or self-publishing market tip the scales towards acquiring the author? What is expected of an author today that a newly published writer of one year ago, two years ago, or even five years ago, wouldn’t have had to deal with or worry about?
For your first question, would some measure of success in e or self-publishing tip the scales? It would really depend on the type of e-publishing. If the author is with an established eHouse in a genre that has had a lot of success with eBooks only, then yes, I can see this being a weighted factor in the author’s favor. However, if the author just self-pubbed and got out a 100 copies to friends and family, probably not going to help.

There have certainly been several publishing stories this year of successful books that had their start in self-pubbed world such as STILL ALICE or THE LACE READER. However, the authors of those books did the whole self-pub thing smartly by hiring an external PR firm that had done a lot of book promotion to get the book in the right hands etc. They hired professional book cover artists and editors for book layout and design. They didn’t just throw it out there “to see what might happen.” The authors had a plan, a budget, and a way to reach people. When they started selling thousands of copies consistently, you bet editors took notice and both titles ended up selling to traditional publishers after the fact.

As for your second Q, an author today is definitely expected to be internet savvy, have a website, and have a sense of social media outlets and how promo is done electronically.

Anonymous asked:
“In general, is the number of male readers declining? What trends do you see among male readers over the next three to five years?”
The answer is yes—although I don’t have any statistics on hand to confirm my yes. I just know I’ve seen articles this past year highlighting that male readership is declining. This is not necessarily true for SF&F readers. That male readership has stayed fairly steady.

As for trends, I see male readers staying tight with their tried and true authors and not exploring much outside of the biggest name sellers unless we give them a reason to. I see young male readers becoming more reluctant to read unless schools loosen up their definition of a book by letting them read graphic novels or other things that catch their interest. Reading—any kind—is good.

Anonymous asked:
Kristin — Kirkus is closing, can you offer any insight into what this means for authors? That Kirkus star review was such a sign of quality, and they often gave stars to books that other reviewers (such as Booklist or VOYA) overlooked. I’m so sad that books will have one less opportunity to shine and gain notice.
Kirkus was a bi-weekly founded in 1933 and has annually published hundreds of thousands of reviews since its inception. This was huge news when it hit the wires. I’m still stunned although not surprised. Lots of publications are discontinuing because of declining subscriptions.

I have to say that Kirkus rarely liked things. It was almost a badge of honor to get a bad Kirkus review asit was expected. But when they did like a book, wow, that Kirkus review would carry some major weight.

Now I’m not sure what will be “the review.” I do think blog reviewers will start becoming more prominent and certain sites will start becoming more and more well known to fill the gap. It’s just too bad Kirkus couldn’t make that transition to that medium (although I’m not sure if they even tried).

Authors Guild on RH’s Rights Grab, Q&A continued

by Kristin Nelson

STATUS: It’s obvious that I need to rule the world. I couldn’t BELIEVE that the judges dismissed FACE from the Sing-Off. Are they nuts? Not to disparage the other performers but FACE is doing something different with a cappella. Surely an audience might like to see more of what they can do. Now it’s just the same old same old for the remaining groups with the exception of Nota (who were outstanding). Go and buy FACE’s new album Momentum anyway. Take that Sing-off.

What’s playing on the iPod right now? COLORADO CHRISTMAS by Nitty Gritty Dirt Band

I’m getting an early start to my blog or I’m just going to get buried. I was very happy to see the Author Guild speak out. In a message to members, they basically rejected RH’s argument that its older contracts that grant rights to publish “in book form” or “in all editions” is a grant of electronic rights.

RH politely disagreed with their stance. Surprise I know. Put on your boxing gloves. Here we go.

But back to Q&A.

Anonymous asked:
Ask them – are mid-list authors dead in the water? What do you expect from mid-list to say yes to future projects?
I don’t believe that midlist authors are dead in the water but it also depends on where they are in the midlist. There are different levels—the consistently-selling midlister versus the midlister who is now having declining sales for each subsequent project.

If the author is a solid seller, publishers are still buying new projects—however, they may be offering less money than they have in the past or they are sticking with the same terms as previous contract. There’s not a lot of negotiating leverage for the midlist author.

In order to say yes to a future project from a midlist author (looking to change representation), I would have to believe that the new project or proposal is strong enough to bump the sales numbers or will take the author in a new, stronger direction from which the author can build.

Anonymous asked:
I was wondering if you have ever fallen in love with a manuscript and then never found a home for it?
Sadly yes. It always amazes me when I’m not able to sell a project. There’s obviously something wrong with the editors. Grin.

Rebecca Knight asked:
Hmmmm. My question for an editor would have to be what direction they think e-book pricing and the royalty structure is going to go in the next few years.
Actually, individual editors have no idea. All changes to eBook pricing and royalty structures are set by corporate policy. In fact, in negotiations, they have to toe the party line.

From my perspective? I think eBook pricing and royalty structure is going to be a huge battle. Publishers are seeing squeezed profit margins and they are clearly on notice about how third parties such as Amazon are controlling the perception of what pricing should be for eBooks (with their $9.99 price point or lower).

On Mike Shatzkin’s blog, he speculated that the publishers’ decision to delay the e-book versions of some major upcoming titles isn’t “a battle to rescue hardcover books from price perception issues caused by inexpensive ebooks” so much as it is about “wresting control of their ebook destinies back from Amazon.” I don’t disagree. His insights are worth reading.

Because of fear, publishers are all jumping on board the 25% of net bandwagon because they have no clear idea of price points and discounts that would be needed to stay with a 15% or 25% of retail model.

Who loses out the most right now? Authors. Unless they contract directly with eBook providers such as Amazon or Rosetta Books (see the stories on Stephen Covey’s deal with Rosetta and the Pat Conroy deal with Open Road). However, that’s probably only profitable (right now) for clearly established authors who have a backlist and control of those eRights. A debut author is not going to be in the same position and if that debut wants a traditional print publisher on board as well, then they will have to acquiesce to the electronic royalty structure being offered.

Agents aren’t stupid. We know that this 25% of net crap is not good now and it’s not going to be good 5 to 10 years from now and we might be stuck. (Just as the 7.5% trade pb royalty rate hasn’t change in 20 years although the publishing model for trade books has shifted significantly). If we have leverage, auction situation, we get more. When that’s not available, what is the likelihood of that debut author or midlister walking away from a traditional book deal over eRoyalties when the current percentage of sales done electronically is not even 1% of the total book sales overall? And yes, I know this is going to change drastically over the next 5 years but the agreements being done right now are creating the “standard.” However much we disagree with them and warn authors that it’s not to their advantage.

May you live in interesting times. Rather sounds like a curse right now.

RH Gets Brazen!

by Kristin Nelson

STATUS: We are in the final days. Ack. Such a list of things to accomplish!

What’s playing on the iPod right now? SANTA CLAUS IS COMING TO TOWN by Dave Brubeck
We interrupt this Q&A to give you an announcement.

And here I thought Simon & Schuster was brazen in the summer of 2008 when they tried to drop off the crucial 4 lines of their Out of Print clause. Random House has that beat hands down with their recent pronouncement that by default, electronic rights belong to them via their definition of what is a “book” for any backlist title still in print.

From the letter they sent to agents:
“The vast majority of our backlist contracts,” writes Dohle, “grant us the exclusive right to publish books in electronic formats. At the same time, we are aware there have been some misunderstandings concerning ebook rights in older backlist titles. Our older older agreements often give the exclusive rights to publish ‘in book form’ or ‘in any and all editions’. Many of those contracts also include enhanced language that references other forms of copying or displaying the text that might be developed in the future or other more relevant language that more specifically reflects the already expansive scope of rights. Such grants are usually not limited to any specific format, and indeed the “form” of a book has evolved over the years to include variations of hardcover, paperback and other written word formats, all of which have understood to be included in the grant of book publishing rights. Indeed, ebook retailers market, sell and merchandise ebooks as an alternate book format, alongside the hardcover, trade paperback and mass market versions of a given title. Whether physical or digital, the product is used and experienced in the same manner, serves the same function, and satisfies the same fundamental urge to discovery stories, ideas and information through the process of reading. Accordingly, Random House considers contracts that grant the exclusive right to publish ‘in book form’ or ‘in any and all editions’ to include the exclusive right to publish in electronic book publishing formats. Our agreements also contain broad non-competition provisions, so that the author is precluded from granting publishing rights to third parties that would compromise the rights for which Random House has bargained.”

Oh really now. I have a feeling that many agencies and the Authors Guild are going to disagree with this interpretation.

My agency hasn’t been around long enough to have to confront this (as digital rights were already addressed in any RH contracts I’ve done in the last 7 years) but that’s not the case for many agents I know who have been doing this 20+ years.

And speaking of an agent who has been doing this for a long time, Richard Curtis gives some insight on this RH rights grab via his blog E-Reads.

Friday Fun

by Kristin Nelson

STATUS: Plowing through stuff.

What’s playing on the iPod right now? O HOLY NIGHT by Paul Potts

Hey readers, sorry for the blog silence yesterday. I was literally at the office from 9 in the morning until 10:30 at night. I just couldn’t muster the extra energy to squeeze in a blog entry. I, as well as many other agents, are working crazy hours to wrap things up by year’s end. Our agency always closes around the 18th, 19th, or 20th (depending on which date is that Friday) and we are closed until the new year.

No queries, no reading, no religiously checking emails, no nothing.

I do plan to blog all next week. Monday through Thursday, I’ll continue Q&A. I still have a ton of Qs from the last comment round but if I see some good ones in the comments over the next couple of days, I may add some. Friday will be our year-end stats and let me tell you, they are pretty sweet.

But today I’m doing Friday Fun with a shameless plug that has nothing to do with publishing but is just too cool not to share. Besides, it is peripherally connected to the agency because it’s about Sara Megibow, her husband Mark, and his band FACE.

FACE is premiering on TV this Monday, December 14 (8 pm EST) on NBC’s new show The Sing-Off. They will also be on Tuesday, December 15 and Wednesday, December 16.

Squee! They did a lot of filming in Colorado for the back story (you won’t see yours truly but Sara is definitely featured).

The show is set up kind of like American Idol. Monday and Tuesday night will be pre-judged elimination rounds but on Wednesday, it’s up to the viewing public to decide the winner.

FACE really rocks so I hope you agree and will tune in and vote for them.

Because You Asked—Take 2

by Kristin Nelson

STATUS: People assume that Denver is cold in the winter. In general, our temps are pretty mild. Not this week. We’ve got Alaska weather. It was -13 degrees when I woke up this morning. At least the sun was shining…

What’s playing on the iPod right now? RIVER by Sarah McLachlan

Kristi asked:
I’d love to ask an editor if they feel less inclined to take on a debut author due to the current economic climate – if they happen to address that issue, I’d love to hear their thoughts.

If the project is strong enough and generates excitement, editors are just as interested in bidding for it at auction and taking on a debut author. However, if there isn’t that level of excitement, I do see that editors are being more cautious about submissions. And maybe cautious is the same as reluctant but I don’t think so. Editors are still showing interest but they are not jumping in with an immediate offer. I see editors asking for revisions first. Wanting to give it a second read post-revision to see if their interest level is still high. Then they are getting on board to try and make an offer.

I’m also noticing that all of the above is taking a lot of time. It used to be that editors would turnaround a project with an offer in 6 to 8 weeks. Now it’s taking 6 months. 8 months. Even a year. Cautious is definitely the word of the day.

Jade asked:
I’d be interested to know if angels are the new vampires or are vampires still the new vampires? Actually, I’m just generally interested in YA trends as always, especially since whatever is being bought now won’t be in stores for a couple of years.Oh. What about merepeople? That’s my call for the next big trend. Everyone seems to be writing about meremaids and meremen…except me.

I’d have to say that angels are probably the new vampire—although I don’t think vampires are done yet.

As for mer-people, I’m not sure what to say. I haven’t seen a lot in this realm but hey, maybe that’s the next hot trend and it hasn’t surfaced quite yet (pun intended!).

And I’ll tackle more Qs tomorrow…

Because You Asked

by Kristin Nelson

STATUS: Very sad to see that Imeem has now merged with My Space music. Not sure how good my music excerpts will be until I can find a new, good site for the embeds. I already miss Imeem.

What’s playing on the iPod right now? BABY IT’S COLD OUTSIDE by Johnny Mercer and Margaret Whiting.

And because I so rarely answer, I thought it would be fun to take your questions from the comments section of my December 1, 2009 blog entry and actually respond.

I know. Try not to die of shock or get used to it. Grin.

Lisa Dez asked:
I’ve been asked to make some revisions by an editor PRIOR to her taking my mss to her editorial board. My agent says this imprint is doing that more and more. I’d love to know if this is a common thing at all houses.

Sadly, this year a lot of editors are asking for revisions before going to ed. Board or before offering to buy a book. It’s becoming unpleasantly common across a number of publishing houses.

Stephanie McGee asked:
I’d be interested to get a feel for how angels are faring with agents and editors these days. I know Becca Fitzpatrick had Hush, Hush hit shelves a couple months ago. I’ve got an angel project hanging out on the sidelines but I’m not sure I should bother since I couldn’t get it done in time to hit any sort of angel renaissance.

Angels do seem to be popular as of late. Random House is releasing their angel book called FALLEN this month as well. Is there room for more angel books? I’d say yes but it depends on your take on it. They haven’t been done to death as of yet but just like all things paranormal in the YA world, editors are looking for something different and fresh. Since different and fresh is almost impossible to define until you see it, I’m not sure this answer helps you much.

Debra Schubert asked:
One question: Did you simply hold the glass of wine or did you get to drink it, too?

I did take the occasional sip!

New Line At SMP

by Kristin Nelson

STATUS: It was 5 degrees walking to the office this morning. Can somebody remind me why I live in Denver and not San Diego?

What’s playing on the iPod right now? CHRISTMAS IN HOLLIS by Run DMC

When I was in Arizona over the Thanksgiving break, I gave a talk to a group of writers. One of the participants asked me about the new line over at St. Martin’s Press and did I know how much sex was going to be allowed in the romance for that line targeting older teens and twenty-somethings.

I didn’t have an answer as I had only just seen the press release and didn’t know much else about it.

But now I do. When I was in New York, I had a chance to meet up with Dan Weiss (who is heading up this new line) and his assistant S. Jae-Jones (known as JJ). I can now answer this question.

First off, you need to know who Dan is. I know he’s not going to take offense at my highlighting that he has been around the publishing block a time or two. You either love Dan for bringing you the Sweet Valley High books back in the early 1980s or your loath him for being responsible for that series. Grin.

Dan was the owner of 17 Street Productions book packaging—a company he sold to Alloy Entertainment several years ago. (Note: Alloy Entertainment is the packager responsible for bringing you the Gossip Girls and Sisterhood of the Traveling Pants among other things.)

So what I’m saying is that Dan has been in the biz for a good long time and he particularly knows publishing for young people. So when he decides to start a new line to deliberately target older teens and twenty-somethings, he knows a thing or two about it. JJ is his assistant. Being a smart, twenty-something who knows her way around the internet and how this target audience uses this medium, she and Dan make a good team.

But back to the original Arizona question that started this entry. How much sex is going to be allowed in the romance?

Well, this new line at SMP is not a romance imprint per se—which is what I think that participant thought it might be. They are more a line for publishing smart, upmarket fiction for this target audience where sex and relationships are simply part of the question. In other words, it’s not so much about the happily-ever-after, which is the focus for a romance, nor is it about the sex—explicit or otherwise. It’s more about the story that will speak to older teens and twenty-somethings. Think Emily Giffin’s SOMETHING BORROWED, Curtis Sittenfeld’s PREP, Nick Hornby’s SLAM, and even GIRL WITH A PEARL EARRING in some respects.

Now the biggest issue for this new line, and we discussed this, is where the books will be shelved. Considering that there are numerous books that cross-over, it would be an issue easily solved if Barnes & Noble, Borders, and Independent Bookstores could shelve a copy of the book in two different places. Alas, they don’t do that. Right now, the system is set up so a publisher is forced to choose where to shelve it.

If this line is targeting older teens and twenty-somethings, you can see the potential problem—where to put these books so they can be found by the target audience. Does it go in the teen section or in the general fiction?

For the above examples, all of them were shelved in general fiction. Did older teens find the above books? The goal of this new SMP line is to make sure they do for the books they decide to take on. They also want to do creative things with the electronic book.

All in all, an interesting proposition for them to specifically go after this niche.

Harlequin Horizons Debacle Revisited

by Kristin Nelson

STATUS: Dashing out again in about 15 minutes.
What’s playing on the iPod right now? COME BACK AND STAY by Paul Young

Sorry for the blog silence. I left my hotel around 8 in the morning yesterday and didn’t arrive back until after 10pm. Sure, I could have done the blog entry via my iPhone but I really can’t see me “thumbing” in a whole entry.

On Thursday, I stopped by Harlequin to talk with several editors there. Now I realize that this whole Horizons business was a corporate decision made at the Toronto headquarters and they probably didn’t even bother to tell the editors in New York before they did it but I still voiced my negative opinion about Horizons now called DellArte. Now one editor did try out the spiel about how publishing houses need to shift models in this bad economy but I wasn’t having any of that.

I said vanity publishing was predatory—plain and simple and that needed to be understood. That Harlequin had a reputation that they are now putting in jeopardy and that the writers organizations had every right to speak out strongly as their whole purpose is to protect writers.

And speaking of, Mystery Writers Of America issued a statement today. Here it is:

Dear MWA Member:
The Board of Mystery Writers of America voted unanimously on Wednesday to remove Harlequin and all of its imprints from our list of Approved Publishers, effective immediately. We did not take this action lightly. We did it because Harlequin remains in violation of our rules regarding the relationship between a traditional publisher and its various for-pay services.

What does this mean for current and future MWA members?

Any author who signs with Harlequin or any of its imprints from this date onward may not use their Harlequin books as the basis for active status membership nor will such books be eligible for Edgar® Award consideration. However books published by Harlequin under contracts signed before December 2, 2009 may still be the basis for Active Status membership and will still be eligible for Edgar® Award consideration (you may find the full text of the decision at the end of this bulletin).

Although Harlequin no longer offers its eHarlequin Critique Service and has changed the name of its pay-to-publish service, Harlequin still remains in violation of MWA rules regarding the relationship between a traditional publisher and its various for-pay services.

MWA does not object to Harlequin operating a pay-to-publish program or other for-pay services. The problem is HOW those pay-to-publish programs and other for-pay services are integrated into Harlequin’s traditional publishing business. MWA’s rules for publishers state:”

The publisher, within the past five years, may not have charged a fee to consider, read, submit, or comment on manuscripts; nor may the publisher, or any of the executives or editors under its employ, have offered authors self-publishing services, literary representation, paid editorial services, or paid promotional services.

If the publisher is affiliated with an entity that provides self-publishing, for-pay editorial services, or for-pay promotional services, the entities must be wholly separate and isolated from the publishing entity. They must not share employees, manuscripts, or authors or interact in any way. For example, the publishing entity must not refer authors to any of the for-pay entities nor give preferential treatment to manuscripts submitted that were edited, published, or promoted by the for-pay entity.

To avoid misleading authors, mentions and/or advertisements for the for-pay entities shall not be included with information on manuscript submission to the publishing company. Advertising by the publisher’s for-pay editorial, self-publishing or promotional services, whether affiliated with the publisher or not, must include a disclaimer that it is advertising and that use of those services offered by an affiliate of the publisher will not affect consideration of manuscripts submitted for publication.”

Harlequin’s Publisher and CEO Donna Hayes responded to our November 9 letter, and a follow up that we sent on November 30. In her response, which we have posted on the MWA website, Ms. Hayes states that Harlequin intends as standard practice to steer the authors that it rejects from its traditional publishing imprints to DellArte and its other affiliated, for-pay services. In addition, Harlequin mentions on the DellArte site that editors from its traditional publishing imprints will be monitoring DellArte titles for possible acquisition. It is this sort of integration that violates MWA rules.

MWA has a long-standing regard for the Harlequin publishing house and hopes that our continuing conversations will result in a change in their policies and the reinstatement of the Harlequin imprints to our approved list of publishers.

Frankie Y. Bailey,
Executive Vice President,

MWAMWA’s Official Decision: That because Harlequin’s for pay publishing business violates MWA’s rules for approved publishers, MWA takes the following action: First, Harlequin shall be removed from MWA’s list of approved publishers upon the adoption of this motion; Second, that all current active status members of MWA whose status is based upon books published by Harlequin shall remain active status members; Third, that MWA decline applications for active membership based upon books published by Harlequin pursuant to contracts entered into after the effective date of this motion; Fourth, that books published by Harlequin pursuant to contracts entered into prior to the adoption of this motion shall be eligible for the Edgar® Awards, except that books published by DellArte Press shall not be eligible for the Edgar® Awards regardless of when such contract was entered into; and Fifth that books published by Harlequin pursuant to contracts entered into after the adoption of this motion shall not be eligible for the Edgar® Awards.

MWA’s Executive Vice-President, and her or his designates, are directed to continue discussions with Harlequin in an effort to reach an agreement that would allow for Harlequin to be an approved publisher according to MWA’s rules. This e-bulletin was prepared by the MWA national office on behalf of the MWA National Board of Directors.

I have been told that Harlequin is still have dicussions with RWA over this matter.

Good but I don’t necessarily see Harlequin abandoning this appalling business path with Horizons/DellArte. I think the lure of easy money is too strong.

Things You Don’t Want to Learn While In New York!

by Kristin Nelson

STATUS: Back at the hotel for 30 minutes before I need to run out again.

What’s playing on the iPod right now? COME BACK TO ME by David Cook

I mentioned in our November newsletter a couple of weeks ago that Sara and I just absolutely loved a submission that came our way, offered rep, but alas the author went with another agent (as there were many agents interested).

I heard today that the project sold at auction for some money–with tons of houses bidding on it.

Ack. Hate that. But you know what? We tried for it; we were in the game. We loved it. Obviously lots of people agreed.

And for all of you, this is good news. This means Publishers are willing to step up to the plate for projects—something I was rather worried about as of late.

But truthfully, I wish editors hadn’t told me about it. Ignorance can be bliss…

LOL!

These Little Town Blues

by Kristin Nelson

STATUS: Turning in for the night.

What’s playing on the iPod right now? THAT’S LIFE by Frank Sinatra

Are melting away…

Can you guess it? Your intrepid blog reporter had to pop to New York City today to take care of some business so I’m here all week. I’ll try and dig up the dirt and serve it up. I’m interested to know what questions you readers would be dying to ask if you could meet with editors.

For my first night in town, I headed over to the Egmont USA launch list party they were hosting at their offices. I figured since I was here and I’m rarely here for NYC parties, I’d stop by to say hello to Regina and company.

So what happens at a Publisher party? Well, you write your name on a name tag. You hold a glass of wine. You nibble some cheese. You chat with the editors and you connect with a bunch of agents you happen to know who are also there. In fact, the number of agents present far outweighed the number of employees at Egmont!

For the agents, I chatted with Holly Root, Barbara Poelle, Dan Lazar, Ginger Clark, Scott Hoffman, Emmanuelle Alspaugh, and Eddie Schneider (just to name a few).

As for yesterday’s post, I might as well ‘fess up. I actually think the author is lovely and the project did go to an agent friend of mine so I’m happy to give it a plug. The author knows I was really torn on that project when I passed. I also knew about 3 weeks later when I kept thinking about it that I was going to regret passing on it. Such is life. Every agent I know has at least one story like this.

The project was SHIVER by Maggie Stiefvater.

Grin.