I have heard other authors discussing their experience with assistants, and frankly, some of them were horror stories. I wasn't even clear on what an assistant did, much less being able to assess if I needed, or could afford one. When my friend, Susan Squires, raved about a new assistant she hired, Kelly Oakes, I wanted to know more. I thought you'd want to know more. So Susan and Kelly Oakes agreed to allow me to interview them about their experience.
First - the author:
How/why did you come to the decision to use an assistant?
I have known I needed an assistant for some time. There is so much to promoting books these days that it doesn’t leave enough time for writing if you’re not careful. I am fairly organized because I used to manage projects in my day job, but I was struggling to meet the commitments to promotion I made.
How did you find one?
With great difficulty! I first asked around among my writer-friends and got some recommendations. I had three failures before I found Kelly. The biggest problem was over-commitment on the part of the assistant. We would have great conversations about what I wanted to accomplish and how that might work, and then either life interfered, or they had just taken on too much work. After two failures, I took someone very inexperienced, but who had the time. That was okay, but the truth was, I needed a full partner who had perhaps more experience at promoting than I did, not someone I needed to instruct. I had just about given up in despair when I met Kelly at a reader’s conference we both attended. We hit it off immediately, but I waited to engage her until I was about three months out from releasing my next book. I liked the fact that she treated the release like a project, with a schedule, and due dates (for both of us!). She planned to sub out things that were simple and cheap to do, like organizing blog tours. She had a plan!
How do you decide what work to hold onto, and what to delegate?
We discuss it together and agree. She can manage social media in terms of promoting the books, but I write personal posts so my personality can shine through. She organizes the Facebook party, but it’s my job to get other authors to attend. She manages the mailing list and formats the newsletters but I write them. She places the book in promotional opportunities and uses the blurbs, bios, and excerpts that I have written. It isn’t just Kelly who gets assignments. She gives me assignments too.
Who comes up with the marketing ideas?
Kelly is a fount of knowledge, but we do work together. And we’re getting more comfortable with brain-storming sessions together. Then the trick is to prioritize all those good ideas and break them down into steps with assignments, due dates and an understanding of the budget that will be allocated to the idea. Kelly was very blunt about the things we needed to do to get my promotional efforts up to speed. Just what I wanted! That included having my web guy redo my website, getting an Author page up (I know—pretty basic, huh? But I’d been putting it off), new covers for my current series, etc. Now she wants a new author photo. Oh, no!!! She can’t help with my photo, but she put up the Author page, found a dynamite cover designer, and we had a meaningful discussion about branding.
Would you do it again? How expensive is it?
I would have engaged an assistant a lot earlier if I’d found a good one sooner. I will use Kelly for the foreseeable future. It’s possible our hours may fluctuate a little, but they haven’t so far. As far as expense goes, I think Kelly pays for herself and then some. I think of it as a longer-term investment in building audience. I initially thought the investment of hours was front-loaded as we did lots of work on the basics, but now we have new ideas to implement that go beyond basics, so I don’t see our hours changing all that much. The trick is to set a level of hours invested with your assistant that will meet your needs, and that you can afford. I think it’s only fair to your assistant to keep that as consistent as possible, so she can have reliable income as well. Right now, 20 hours a month seems to be about right for us.
It’s also important for you, as an author, to plan in advance. If you haven’t been using many hours and then suddenly you say to your assistant, “I have a book coming out next week and want more hours from you”—Well, she might have those hours available and she might not. You need several months’ notice anyway to generate reviews, blog tours, cover reveals, release parties, or whatever, so plan ahead. If you don’t plan ahead, you won’t be maximizing the usefulness of your assistant.
At what stage of an author’s career do you think they should consider using an assistant?
This is a hard question and one only each author can answer. Personally, I think an assistant can help you generate income, but unless you have an independent source of money (great day-job, lottery win, inheritance, or a sugar daddy) you may want to wait until you’re sure the book sales you are currently generating will pay for the assistant as well as the promotional activities she plans. But that’s just my take on it.
Any suggestions you have for an author who is interviewing assistants?
Ask how many hours they have available. I think reserving a specific number of hours is much more effective than paying by the individual task. If the hours aren’t used, then they should roll over to the next month. Then ask what tools the assistant uses to keep track of both of your activities. Does she keep a time sheet? I like getting spreadsheets with all my blog dates on them (as well as links), for instance, so it would be good for me to hear that the assistant knows a program that produces spreadsheets. I like to understand how the work will be invoiced. Figure out how you will stay in touch. This is especially important if you live in different time zones. I’m very glad Kelly and I live in the same time zone, but it can be done even if you don’t. You just have to schedule your talks, and set hours in the day when you will both reliably answer emails. Kelly and I meet at the beginning of the month by phone to plan out the month’s activities and periodically during the month but we communicate primarily by email and instant message in the interim.
Next, The Assistant:
Kelly, do you only work for authors? How did you get into this line of work?
Yes, I started this company because of my love of books and wanted to do something that involved them, but at the same time, wouldn’t make me hate books.
It started with a book… No really, I hurt my back nearly 6 years ago and was bored out of my mind while on a 2 week rehabilitation at home. A friend brought by a book from a series she’d been reading… it was my gateway drug. I started blogging about these amazing things called BOOKS!
I’ve now been a blogger for over 5 years and made many author friends from my site or going to book conventions. I loved interacting with the authors and promoting their books.
It wasn’t until a BIG move across the U.S. was scheduled with my husband’s company that I had the idea, or fear, “What the heck am I going to do for work in Florida?” So, one night when at a convention and sitting in a van with Jade Lee outside of a strip club in Vegas, she mentioned she was losing her assistant. I jumped at the chance and said, “I’m starting my own company, I’ll be your assistant!” True story. The move fell through, but the new company and job was born.
What skills do you need to become an author’s assistant?
#1 Survey answer is: Organization! That is your main job, keep your author organized and on task.
But other than that, it’s good to have experience with: Social Media (Facebook, Twitter, Pinterest, Goodreads, Instagram, etc.), Blogging, Word, Excel, MAC applications, Photoshop, Communication skills, Google applications, time management and creativity. Having 17 years interior design experience and management skills seem to help a little too! I know that sounds like a lot, but you need to know everything from mailing a box, to creating a blog post or coming up with ideas for teaser images to promote a book.
How do you find authors?
Actually, word-of-mouth and referrals are the main way. Some I’ve met at book events while working for another author.
I do have a website, but only get a couple inquiries from there.
What does your job entail?
Please see answer: “What skills do you need to become an author’s assistant?” and much more! Really, I do anything that an author needs and that I can accommodate. I am however, not a marketing company, nor do I bill myself as a publicist. (disclaimer)
Do you like this job?
I love this job!. I’m currently doing it part-time, and hold a Full-time day job as a Designer, but hope to transition it to full-time VERY soon.
Any suggestions you have for authors that would make your job easier?
Copy me on everything! It’s hard to keep track of things that I don’t know are happening. But my group of authors are very good about keeping me in the loop, most of the time. :)
What’s the weirdest thing you’ve been asked by an author to do?
Lace up an author’s corset. Although that’s not weird at all, attending conventions we all have dressed in the occasional costume.
Are you looking for clients? If so, how would an author contact you?
Not at the moment, but some of my clients don’t need me at all times and every month. So don’t be afraid to contact me if you need a Facebook party scheduled, book tour or just help with an upcoming book release, I might be able to fit you in.
So, WITS readers, what do you think? Would an assistant fit your style? Could you see yourself using one?
NaNoWriMo season is almost here, a time when Plotters and Pantsers set aside their differences to chase a common goal: pounding out a 50K novel in 30 days. If this is your first time, fear not. It can be done!
And while pantsers everywhere may start screaming (Can you hear the lambs, Clarisse?) the fact is, a bit of preplanning is often wise. How much planning is up to you of course, but there are some story and character basics that can really make life easier as you shape your novel. For example, as the star of the show, the more you know about your protagonist beforehand, the better. After all, what he wants or needs will dictate his actions throughout the entire story. Likewise, knowing why he does what he does is pretty critical too, can we agree? (For more on brainstorming on backstory, just zip over to this earlier post.)
With more developmental structuring in mind, here’s a fast and dirty rundown of some important “set pieces” you may want to explore & plan BEFORE the big day.
I think we all can agree that for a novel to be compelling, an overall storyline should take place. The hero needs to work toward achieving something, and that “thing” is something readers should view as worthy of interest. Two set pieces help us nudge the outer story in motion.
Outer Motivation is the GOAL. Win the girl’s love. Find the killer. Stop the bomb from going off. Pretty clear-cut stuff. What the heck is your hero trying to achieve by novel’s end?
Outer Conflict is the force or forces trying to PREVENT your hero from reaching his goal. The ex lover who is also vying for the girl’s heart. The slick rival detective trying to put your hero out of business. The villain bomber on a mission.
This classic story frame of Goal and Opposition shapes most novels, TV shows and movies. Make your hero’s goal a worthy one, and provide opposition that makes his journey extremely difficult. The stronger your adversary, the harder the protagonist must strive to overcome him, which makes for compelling reading.
Most stories also have an inner journey as well.
Inner Motivation is the WHY behind the GOAL. Why does he want to win the girl’s love? Why does he feel compelled to find the killer? Why must he stop the bomb? The WHY (his reason for acting) is tied to a specific *NEED he alone has. He needs to find love to feel complete. He must find the killer to prove he isn’t a washed up detective. He has to stop the bomb so he can save the lives of his children. Perhaps something is missing from his life. Or perhaps he had everything to make him happy until he lost something along the way (or had it taken from him) and now he must get it back to feel complete. His NEED to fill this void in his life is what compels him to act.
*Wonder what your hero needs most? Check out Maslow’s Hierarchy of Needs for inspiration: Physical Needs; Safety & Security; Love and Belonging; Esteem; Self Actualization.
Inner Conflict is the WAR WITHIN a character, and the battlefield is CHANGE. After all, change is scary--stepping into the unknown can mean getting hurt, screwing up or failing. Leaving one’s comfort zone makes your hero feel vulnerable, so part of him wants to avoid it at all costs. Staying the same is much safer and easier in his mind. The problem is, change is necessary for your hero to gain the insight he needs (growth) to understand what he must do to achieve his goal.
In this internal war (Character Arc), the sides of the battle are clear.
The hero’s Fear(of being emotionally wounded again, of failing, etc.), his Mistaken Beliefs “The Lie” (irrational beliefs like I am not worthy of love, it’s my fault my son died, I should have seen she was planning to commit suicide, etc.), and Flaws (the hero’s negative qualities that keep people at a distance so they can’t hurt him) face off against his Need to grow, to become something better, and feel fulfilled.
When stories have this inner journey, the character must 1) face his fears, 2) realize an internal truth (that he is worthy, or that the easy choice is not the best one, that he does deserve happiness, etc.) and 3) shed his fatal flaw (which holds him back in some way). This allows for growth (insight into what really matters, a change in attitude, etc.) which pushes him to better utilize his strengths (positive attributes) and build up his skills in a way that will lead to success. NOTE: if the hero cannot overcome his fear and see the truth, or subdue his fatal flaw, the story then becomes a Tragedy.
Dual conflictingdesires can also cause great upheaval (wanting a sexy promotion that means constant travel vs. the desire to put down roots and have a family, for example). In this instance, the hero must circle back to his missing need, and discover what it is that will lead to true fulfillment.
Do you believe in structuring set pieces? If so, do you frame your story’s outer arc first, or the inner one? Let me know in the comments!
Spring is the time “when a young man’s fancy turns to thoughts of love,” but in autumn, writers dream of contract offers. With the summer contract season over, and many authors “on submission” with agents and publishers alike, the delights—and dangers—of publishing contracts gain an important focus at this time of year.
One of the most important, and often most confusing, segments of the publishing contract is the “Grant of Rights.” This section, which often encompasses more than a single paragraph in the contract itself, designates exactly which rights the author is licensing (or “granting”) to the publisher in the contract.
Contract language varies widely from publisher to publisher, and even from deal to deal, but let’s take a look at some of the common characteristics authors should look for (and some to avoid) in grants of rights:
1. Primary Rights: Print, ebook.
The standard “grant of rights” in a publishing contract normally includes both print and ebook rights. Most contracts also include a laundry list of other rights, but those are generally negotiable (to one degree or another). At its core, the publishing contract normally focuses on print, ebook, and some important related rights.
If your publisher is a digital only publisher (or imprint), the publisher may or may not want print rights also. Otherwise, all publishers will generally ask for print and ebook rights, and in most cases those rights are not negotiable. Ebooks are commonplace, and it’s rare for a publisher not to want the rights to publish your book in print and electronic forms and formats.
“Print and ebook” normally also includes serial rights (the right to publish your work in serial format rather than in a single volume—though publishers don’t generally do this unless they discuss it with the author in advance) and non-dramatic reading rights (which often translates to “audiobook rights” … see more about that in a minute).
These rights also normally include the right to produce or license royalty-free “accessible editions” for the handicapped. While this is a good idea in terms of providing access to charities and handicapped persons, most publishers will add language requiring them to split any profits they do receive on such licenses (or from handicapped-accessible editions of the work) with the author … but you need to know to ask for it.
2. “Enhanced Ebooks” and audiobooks.
“Enhanced ebooks” are ebooks which include other forms of media—for example, video clips, interactive maps, soundtracks and audio extras. They’re not too common now but may become more popular in years to come, and many publishers have started including language governing them now.
Audiobooks, in various formats, are more familiar to authors and readers, and most publishers’ standard contract forms do ask for audio rights. Many publishers will also leave these rights with the author if you ask.
3. Subsidiary Rights: Film, TV, merchandise, apps and gaming.
Subsidiary rights are one of the most contested clauses in publishing contracts, and publishers’ responses to an author’s request to withhold them varies widely. Most large publishers recognize the author’s right to hold back these important rights, and will eliminate them from the contract upon request. Other publishers want to share in film, TV, and merchandising rights, and to have the right to license those rights on the author’s behalf.
Ultimately, the decision whether or not to license these rights is a business decision the author must make, but I advise clients to keep these rights and not to hand them over to a publisher who may or may not sell them, and may end up with a windfall if the book becomes popular enough to inspire a film or television series.
4.Territorial rights: worldwide, North American, U.S. – the sky’s the limit.
Most publishers want (and need) worldwide ebook rights, and it makes sense to allow worldwide distribution in ebook format. Print books are another matter entirely, however, and authors should take care to ensure they grant the publisher only those rights the publisher has the capacity to fulfill in a meaningful manner.In particular, small publishers without good distribution may not have the capacity to sell or distribute books abroad. Evaluate territorial rights with care to ensure the clause you grant is reasonable under the circumstances.
5.Languages: English only vs. translations.
Most standard publishing contracts contain “translation rights,” meaning the right to translate or license translation of the author’s work into any (and every) language. As with territorial rights, authors should make sure the publisher has the ability to exercise these rights, and a history of licensing good translations, before signing over valuable rights.
Some publishers have active translation and foreign rights departments, while others simply want to possess the rights in case of a windfall. Talk with your publisher during the negotiation process and see whether licensing translations makes sense in your particular situation. If the publisher won’t negotiate for outright elimination of translation rights from the contract, ask about reversion after a stated period of time if the publisher hasn’t utilized the translation rights within a certain period: for example, the ability to terminate and reclaim your translation rights after 36 months if the publisher hasn’t licensed or arranged for translation of the work before that time.
6. Reservation of rights – a normal, but important, protection.
Make sure your contract has a line—somewhere—which states that “Author reserves all rights not [expressly] granted to Publisher in this Agreement.” That’s called a “reservation of rights,” and it does exactly what it seems to: it makes it clear to a court that you’ve given over only the rights the contract says that it includes.
This isn’t a comprehensive explanation, but it gives a “first impression” of the things an author should look for in a publishing contract’s grant of rights. Next month, we’ll return to the grant of rights for a look at some common rights-related pitfalls authors should avoid.
Have you ever negotiated a grant of rights? What are your biggest rights-related concerns?
Susan Spann writes the Shinobi Mysteries, featuring ninja detective Hiro Hattori and his Portuguese Jesuit sidekick, Father Mateo. Her debut novel, CLAWS OF THE CAT (Minotaur Books, 2013), was a Library Journal Mystery Debut of the Month. The second Shinobi Mystery, BLADE OF THE SAMURAI, released on July 15, 2014. Susan is also a transactional attorney whose practice focuses on publishing law and business. When not writing or practicing law, she raises seahorses and rare corals in her marine aquarium. You can find her online at her website, http://www.SusanSpann.com, and on Twitter (@SusanSpann).
