Pub Rants

Author Archive

You Know You Have A Tired YA Fantasy Theme When…

by Kristin Nelson

STATUS: I had a great time listening to pitches that had a horror element to them and so different for anything I’ve looked at lately. It’s so rare to have 18 pitches and only three women in the mix. What a different mix-up so I’m enjoying World Horror.

What’s playing on the iPod right now? TOMMY THE CAT by Primus

Tonight I had dinner with fellow blogger and YA fantasy editor Stacy Whitman from Wizards of the Coast.

When you get an editor and an agent together, talk turns to submissions as we are wont to do. And you have to remember, we like to talk shop and even though we might highlight some tired themes in our conversation, any fresh twist on it can change our mind in a heartbeat.

Dinner conversation kicked off with a moment of understanding that it’s really hard to carry off a YA novel where a monster eats a child in the first chapter.

On one hand, it’s immediate conflict. On the other, not sure where the story can go from there….

But here’s our dinner list. You know you might have a tired YA fantasy theme when:

1. Your main protagonist is the “chosen one” and only he or she can save the world.

2. You have a lost magical amulet and that search alone is driving the story.

3. When your main protagonist is waking up and getting ready for the day in the opening chapter.

4. If you have to go through the portal to actually begin the story.

5. If your Mom & Dad are dead (and on top of that, they are dead wizards or something similar) that the protagonist must live up to.

And I would have added, you know you have a tired YA fantasy theme when your characters are on a quest but Stacy says she’s still game for those stories (albeit a little tired of Vampires because she can’t see how a writer might pull of an original story in that realm at the moment).

TGIF. I’m out!

Come Wind, Rain, Or Snow

by Kristin Nelson

STATUS: Tired. (and I see all my youtube tries finally showed up. Nothing like overkill. Sorry about that).

What’s playing on the iPod right now? Nothing on at the moment…

Like the mail people, I’ll make it to the conference regardless of weather. Got to Salt Lake City late after spending more than an hour at a dead stop on Wyoming’s Interstate 80 heading west from Rawlings.

Serious white-out conditions (wind blowing the snow something like 40 m.p.h.) and semi-trucks in the ditches on both the left and right side of us. Finally made it down from the pass to hear that the highway was closing behind us (and it stayed closed the rest of the day according to NPR). But once down, we were greeted by clearing blue skies. It was sunny the rest of the way to Salt Lake. And I thought Colorado had strange weather.

But I’m here and haven’t got the brain power to blog. It really was white-knuckle driving for a solid 2+ hours.

Private Arrangements Book Trailer

by Kristin Nelson

STATUS: Just a heads up that tomorrow morning I head to Salt Lake City for the World Horror Conference so I can’t promise I’ll blog on Thursday and Friday. I’ll try though.

What’s playing on the iPod right now? STAR 69 by R.E.M

Last year when the book THE MANNY hit shelves, there was a fun book trailer floating around blogs and easily spotted on youtube. If I could embed the link through the youtube site, I would but since I can’t figure that out, I’ll just add it here: http://www.youtube.com/watch?v=d3leewFinQ4

I have to say this trailer was uproariously funny. I watched it several times and laughed heartily with each viewing but ultimately, I didn’t buy the book.

There in lies the rub. Book trailers can be great, fun, and generate buzz but do they sell books? That’s the million dollar question. If we could accurately measure the books sales generated by a trailer then that would help quantify whether it has a positive impact or not.

But ultimately it can’t hurt book sales so if you are creative, or have the dinero to hire professionals to make one, I say go for it.

Especially when the trailer is clever or quite funny as that in and of itself might get the link spread around. With that in mind, I give a huge thumbs up to Sherry Thomas’s new book trailer for her debut PRIVATE ARRANGEMENTS, which just hit shelves yesterday for all you historical romance readers that have been eagerly awaiting the release.

I laughed outright while watching. No stuffy trailer here. Enjoy and let me know if it encourages you to buy the book. If it doesn’t, well….

Talking Book Trailers

by Kristin Nelson

STATUS: Just a heads up that tomorrow morning I head to Salt Lake City for the World Horror Conference so I can’t promise I’ll blog on Thursday and Friday. I’ll try though.

What’s playing on the iPod right now? STAR 69 by R.E.M

I actually tried to post this directly from youtube.com but for some reason, the post wouldn’t show up. With my luck, after I post this entry, it will show up three different times for all three of my tries.

If so, sorry about that.

Last year when the book THE MANNY hit shelves, there was a fun book trailer floating around blogs and easily spotted on youtube.

I have to say this trailer was uproariously funny. I watched it several times and laughed heartily with each viewing but ultimately, I didn’t buy the book.

There in lies the rub. Book trailers can be great, fun, and generate buzz but do they sell books? That’s the million dollar question. If we could accurately measure the books sales generated by a trailer then that would help quantify whether it has a positive impact or not.

But ultimately it can’t hurt book sales so if you are creative, or have the dinero to hire professionals to make one, I say go for it.

Especially when the trailer is clever or quite funny as that in and of itself might get the link spread around. With that in mind, I give a huge thumbs up to Sherry Thomas’s new book trailer for her debut PRIVATE ARRANGEMENTS, which just hit shelves yesterday for all you historical romance readers that have been eagerly awaiting the release.

I laughed outright while watching. No stuffy trailer here. Enjoy and let me know if it encourages you to buy the book. If it doesn’t, well…

2008 RITA Nominations

by Kristin Nelson

STATUS: Lots of smiling in the office today. Lots of smiling on the website as well as the new headshots are up if you want to check them out.

What’s playing on the iPod right now? ON THE STREET WHERE YOU LIVE from My Fair Lady

The phone literally rang of the hook this morning as the RITA-award nominees were being announced.

We have, count them, six RITA-award nominations for four of our clients. Huge news here at the agency and I couldn’t be prouder to share the announcement with all of you.

PRIME TIME–double nominee for Best Romantic Suspense and Best First Novel
GAMES OF COMMAND–Best Paranormal Romance

GRAFFITI GIRL–double nominee for Best First Novel and Best Young Adult

*LEAVING PARADISE –Best Young Adult

*please note that NLA didn’t actually sell this book but Simone is now one of our authors so we are super excited all the same!

Congrats Hank, Linnea, Kelly, & Simone

Payment Schedules

by Kristin Nelson

STATUS: All six contracts are almost complete. I’ll so drink to that!

What’s playing on the iPod right now? ELENORE by The Turtles

Over the weekend I realized my whole Friday entry was a bit cryptic if one didn’t know anything about payment schedules in publishing contracts. I’m pretty certain I’ve covered this in one of my prior entries (check out the Agenting 101 blogs) but what the heck, it doesn’t hurt to repeat it.

When a publisher buys a book, they don’t pay out the advance all at once (and probably none of you suffer from that assumption that they did, but I’ll state the basics just in case). No, when a publisher buys a book, they will stipulate a certain amount for the advance and then the payments are attached to what I call triggers—as in something contractually happens and a portion of the advance is paid.

Typical triggers can be these:

1. on signing of the contract

2. on d&a (delivery and acceptance) of a detailed outline
Side note: this happens often when a publisher is buying new books from one of their already established authors and they are buying on spec—as in nothing has been put on paper yet.

3. on d&a of the final manuscript

4. on publication of the work

5. on publication of a paperback edition

My favorite payouts are, of course, ½ on signing and ½ on d&a. Personally, when the monies are small, I really don’t see the sense in doing it otherwise. Now, I can understand when the advance pops into the six figures etc. but I don’t have to like it and I will certainly use all leverage possible to eliminate it. That’s my job after all—to get the best payout structure possible amongst other things.

Lately I’ve been seeing a lot of emphasis from Publishers to have payment in thirds rather than halves.

Of course I don’t lean that way either but I’m okay with it for the most part—if I can avoid the upon publ pym.

I’m sure y’all are sensing a mantra here. I’m not always successful and I imagine as Publishers dig in on this topic, it will be harder and harder to get.

Now as to Friday’s entry, what I meant by weighting forward is this.

What if the advance is 30k for one book. Payouts can look any number of ways.

If it’s in halves, that’s easy:
15k on signing
15k on d&a

If in thirds:
10k on signing
10k on d&a of outline
10k on d&a of full manuscript

Now let’s say you have to have the pym on publication and I can’t budge the Publisher on it. My job is to weight the payments forward.

Instead of equal thirds like this:
10k on signing
10k on d&a of full manuscript
10k on pub

I’ll try to weight monies forward:
12.5k on signing
12.5k on d&a full manuscript
5k on publication

And this can have a myriad of variations. I just did what was easy math.

Clear as mud?

Payments on Pub

by Kristin Nelson

STATUS: TGIF! I’m going to be so happy when all these contracts complete. That’s my new definition of happiness. That way I can get back to reading—which is the more fun part of the job.

What’s playing on the iPod right now? YOU LEARN by Alanis Morissette

I wish this issue would go the way of the dinosaur. I was talking with a few agent friends today and this topic came up—as it often does. Unfortunately, I’m convinced this one is stuck here for good so what to do about it.

Certain publishers are demanding payments on pub no matter what the advance is. (Cough—a publisher that begins with a “P” comes to mind). Other houses are more relaxed until the money gets into the six figures, then the upon pub payment rears its head.

Unless there is an auction going on. Then the agent can get the publisher off it because they want the book enough to be in an auction so will often be flexible where payout is concerned so as not to lose the auction.

If an author is big enough or established enough, well, anything is possible right? Not just no payments on pub.

But if you can’t get rid of it, what do you do? Well, we weight the money forward so as little money as possible will be paid on pub.

One agent did point out another factor I hadn’t really considered which is that an on pub payment allocates money in a different year as other monies in the contract (as publication more often than not happens in a year other than the contract). This can be better for authors in terms of paying taxes. This is true but it seems to me that taxes can be managed properly and most people would prefer the monies earlier.

I’m out.

Implications Beyond The Obvious

by Kristin Nelson

STATUS: Hey, I’m not blogging after 10 o’clock at night. This means it’s a good day!

What’s playing on the iPod right now? TIN MAN by America

I read this article with dread. Despite how one might personally feel about buying from chain bookstores versus supporting independents (and that’s a whole separate debate I don’t plan to get into with this entry), Borders possibly going out of business is not good news.

Why? Because the general public doesn’t know that the decision about buying books for the chains, which ones, and in what quantities, is in the hands of a very few people who wield significant amounts of power. B&N has A non-genre fiction buyer. Yes, you read that correctly. A decision to carry a book (or not) by that one person can make or break a book.

If Borders is taken out of the mix (or bought by B&N), the decision-making powers about what books will be featured or given shelf space in the store at all will have just consolidated yet again.
This is not good news.

There have been many instances of Borders supporting a book that B&N hasn’t and that making all the difference (vice versa is also true as I’ve seen B&N support a book that Borders took forever to get on board with –Carter’s I’D TELL YOU I LOVE YOU BUT THEN I’D HAVE TO KILL YOU comes to mind). A Borders closing is particular hurtful news for genre fiction as things like romance and SF&F are often more supported at the Borders store and bought in greater numbers by readers through that outlet.

If Borders goes, so do their buyers. And with the ringing death knells of so many independent stores in the news lately, the future isn’t looking bright—as the independents, as a collective force, could create a balance to this.

So lots of implications beyond the obvious.

Not Always At Once But Sometimes At Last

by Kristin Nelson

STATUS: I’ve got contracts on my mind.

What’s playing on the iPod right now? ME AND MRS. JONES by Billy Paul

As y’all know, I’ve been working on contracts and quite a few foreign rights sales as of late. I’m particular fond of some of the recent deals because they were several years in the making.

See, we submitted the project back when we did the US sale but alas, didn’t have any takers. The US sale had been a strong one so we were quite flummoxed. We received quite a few rejections that the project felt “too American” for the foreign audience.

In a sense, I get that.

But now the deals are happening, so what has changed? Several things actually. The global market climate for that genre. The strength of the US sales can be a tipping point factor. General excitement created by readers with the US copy (or of an English-language copy that was imported into a particular country). There can be a number of reasons.

The door is never closed. It’s a good reminder that even if a foreign sale doesn’t happen at once, it can certainly happen at last (and the money, and the love, can be better the second time around). This happens in Hollywood as well.

Just last year I sold a project to Hollywood that I had been shopping for three years. I hadn’t given up hope but things did look a bit unpromising. Then a surprise summer hit made this type of project suddenly hot again and voila, interest, and then a sale.

No Reply At All

by Kristin Nelson

STATUS: Finally getting around to blogging today.

What’s playing on the iPod right now? CALLING ALL ANGELS by Train

It’s the end of the era, and I have to say it makes me a little sad. Today Sara and I decided to no longer respond to query letters sent to us by snail mail. As much as it pains me to be one of “those” agencies that doesn’t respond to writers, it just doesn’t make sense to spend the time, the resources, and sacrifice the poor trees to kindly mail people a letter that informs them that we only accept inquires electronically.

We have done everything in our power to make the information of how to submit to us as widely available and easy to access as possible—both on the web and via print mediums.

Most things sent to us over the snail mail transom don’t remotely fit with what we clearly state we are looking for and it’s time to stop wasting paper, ink, and manpower on responding. From the ones we have received in the past, it’s obvious that the writers who haven’t contacted us via our submission guidelines are not researching and targeting us specifically.

From this day forward, anything received via snail mail goes into the recycling bin that is picked up every other month by our shredding service.

But if you send that query by email, we do read each and everyone that comes in and we do respond (although we can’t guarantee that a reply will reach you as we are often foiled by spam filters etc.)

So save that tree. Go electronic.