Writers in the Storm

By Chuck Sambuchino

Ah, platform. It’s that dirty word writers hate. It appeared several years ago like a bad dream — a word publishing bigwigs used to describe a writer’s ability to sell their own work through a writer’s social media, networking and visibility. The bigwigs made it clear: Writers would not only have to write books now, but be the main marketing force behind them, as well.

Let’s be clear: If you’re a fiction writer, you want a platform. If you’re a nonfiction writer, you need a platform.

In fact, if you’re writing nonfiction and you don’t have at least a modest platform, literary agents and editors probably won’t even consider your book idea, no matter how good it may be. If you can’t sell your own book, they ain’t interested in your pitch.

In fact, I’ve been speaking so much about platform lately that I wanted to write something here about it here — my thoughts on “current platform” vs. “future platform.” See, building a platform is difficult and takes time. But some good news, in my opinion, is that if you get off to a solid start, you can use realistic, down-to-earth predictions when pitching your book regarding where you will be in the future. After all, your book won’t get published for a year and a half or two years. Surely by that time your platform will have continued to grow — so feel free to mention where you think you’ll be.

ELEMENTS OF A PLATFORM

Off the top of my head, here are some elements that contribute to a writer’s platform:

1. A successful blog
2. A successful newsletter
3. Article/column writing with bylines
4. Contributing to large publications/blogs/etc.
5. Networking and who you know
6. Public speaking, such as presenting at writers conferences and retreats
7. Social media (Twitter/Facebook/etc.)
8. Organization membership
9. Media appearances and interviews

These are all things that a publisher will want to hear about if you’re pitching a nonfiction book. These are your weapons in pitching to a publisher as well as selling your book to readers.

(Hi, everyone. Chuck here chiming in for a second. I wanted to say I am now taking clients as a freelance editor. So if your query or manuscript needs some love, please check out my editing services. Thanks!)

YOUR “FUTURE PLATFORM”

When you’re writing a nonfiction book proposal, you will be examining all of the above elements and listing out the weapons at your disposal. Now, after that section is done, feel free to include some quick notes on where you think your platform will be in 1.5–2 years. This is your “future platform.”

For example: How many page views does your blog get a month? Perhaps 7,500? But what was that number three months ago? Six months ago? A year? Discover those numbers and chart its monthly growth rate. After you do that, your nonfiction proposal can include the line:

“My blog, (URL), currently receives 7,500 page views a month, and is growing at a rate of 12% a month. By spring 2013, even using a more conservative growth rate, the blog should receive more than 20,000 page views a month if not more. The author is committed to blogging at least (X) times per week and will be continuing that frequency in the future…”

Another example: “In 2011, the author presented on (topic/specialty) to two trade conference: (conference name and other conference name). He/she is already contracted to present at least three events in 2012 with more invitations expected. In 2013, the goal is 6-10 major speaking appearances at industry events, with audience numbers ranging from (number) to (number)…”

The catch regarding all this is: Do not bullshit a literary agent or editor. If you bullshit us, we see through it immediately, and discussing your future platform unrealistically will actually work against you. When uncertain, err on the conservative side with numbers. Even a conservative growth in blog figures or public speaking appearances will aid your pitch.

Last important note: Your current book promotion ability (your current platform) is all that you are able to do right now. Your future platform is a realistic prediction as to your platform growth in the next few years.

Note that in neither definition do I want you to discuss what you would be willing to do. By that I mean: “I would be willing to do radio interviews in support of my book. I would be willing to discuss a book tour. I would be willing to be interviewed by Oprah.” All those possibilities are hypothetical, pie-in-the-sky scenarios that you are not able to make happen.

When discussing your platform, only discuss what you are able to do. If you cannot make it happen for certain, do not discuss it.

(This column excerpted from my book, CREATE YOUR WRITER PLATFORM, from Writer’s Digest Books.)

Note:
This post is Part 4 of Chuck's debut series here at WITS: Take Your Writing By Storm.

Part 3 was Should You Pitch (and Sign With) a New Literary Agent? The Pros and Cons. Please return at 11 am ET for Part 5: How to Support an Author’s New Book: 11 Ideas For You.

About Chuck

Chuck Sambuchino of Writer's Digest Books edits the GUIDE TO LITERARY AGENTS and the CHILDREN'S WRITER'S & ILLUSTRATOR'S MARKET. His Guide to Literary Agents Blog is one of the largest blogs in publishing.

His 2010 humor book, HOW TO SURVIVE A GARDEN GNOME ATTACK, was optioned by Sony Pictures. Chuck has also written the writing guides FORMATTING & SUBMITTING YOUR MANUSCRIPT and CREATE YOUR WRITER PLATFORM.

Besides that, he is a freelance book & query editor, husband, sleep-deprived new father, and owner of a flabby-yet-lovable dog named Graham.

Find Chuck on Twitter and on Facebook.

photo credit: njhdiver via photopin cc

by Chuck Samuchino

One of the most common recurring work blog items I get complimented on is my “New Literary Agent Alerts,” a series where I spotlight new/newer literary agents who are open to queries and looking for clients. At writers conferences, a frequent question I get is “Is it OK to sign with a new agent?” This is an interesting question, so let me try to delve into it here.

First of all, let’s look at the CONS:

• They are likely less experienced in contract and money negotiations.
• They likely know fewer editors at this point than a rep who’s been in business a while, meaning there is a less likely chance they can help you get published.
• They are likely in a weaker position to demand a high advance.
• New literary agents come and some go. This means if your agent is in business for a year or two and doesn’t find the success for which they hoped, they could bail on the biz altogether. That leaves you without a home. If you sign with an agent who’s been in business for 14 years, however, chances are they won’t quit tomorrow.

Now let’s look at the PROS:

• These agents are actively building their client list — and that means they are hungry to sign new writers and lock in those first several sales.
• They are usually willing to give your work a longer look. They may be willing to work with you on a project to get it ready for submission, whereas a more established agent has lots of clients and no time, meaning they have no spare moments to edit your novel for structure and plot, etc.
• With fewer clients under their wing, you should get more attention than you would with an established rep.
• If they’ve found their calling and don’t seem like they’re giving up any time soon (and keep in mind, most do continue on as agents), you could have a decades-long relationship that pays off with lots of books.
• Just as they may have little going for them, they also have little going against them. An established agent once told me that a new agent is in a unique position because they have no duds under their belt. Their slate is clean.

(Hi, everyone. Chuck here chiming in for a second. I wanted to say I am now taking clients as a freelance editor. So if your query or manuscript needs some love, please check out my editing services. Thanks!)

How can you decide for yourself?

1. Factor in if they’re part of a larger literary agency. Agents share contacts and resources. If your agent is the new girl at an agency with five people, those other four agents will help her (and you) with submissions. She’s new, but not alone.
2. Learn where the agent came from. Has she been an apprentice at the agency for two years? Was she an editor for seven years and just switched to agenting? If they already have a few years in publishing under their belt, they’re not as green as you may think. Agents don’t become agents overnight.
3. Ask where she will submit the work. This is a big one. If you fear the agent lacks proper contacts to move your work, ask it straight out: “What editors do you see us submitting this book to, and have you sold to them before?” The question tests not only their plan for where to send the manuscript, but also their fervor for the work.
4. Ask “Why should I sign with you?” This is another straight-up question that gets right to the point. If she’s new and has little/no sales at that point, she can’t respond with “I sell tons of books and I make it rain cash money!! Dolla dolla bills, y’all!!!” She can’t rely on her track record to entice you. So what’s her sales pitch? Weigh her enthusiasm, her plan for the book, her promises of hard work, and anything else she tells you. In the publishing business, you want communication and enthusiasm from agents (and editors). Both are invaluable. What’s the point of signing with a huge agent when they don’t return your e-mails and consider your book last on their list of priorities for the day?
5. Get to know them personally. Agents reveal a lot about their personalities and lifestyle through their Twitter accounts. Plus, you can always attend a writers conference or writing retreat where agents gather to meet with them.
6. If you’re not sold, you can always say no. It’s as simple as that. Always query new/newer agents because, at the end of the day, just because they offer representation doesn’t mean you have to accept.

(This column excerpted from my book, the GUIDE TO LITERARY AGENTS, from Writer’s Digest Books).

Note:
This post is Part 3 of Chuck's debut series here at WITS: Take Your Writing By Storm.

Part 2 was 11 Frequently Asked Questions About Book Royalties, Advances and Money. Part 4 posts at 10 am ET:  The Difference Between Your “Current Platform” and “Future Platform.”

About Chuck

Chuck Sambuchino of Writer's Digest Books edits the GUIDE TO LITERARY AGENTS and the CHILDREN'S WRITER'S & ILLUSTRATOR'S MARKET. His Guide to Literary Agents Blog is one of the largest blogs in publishing.

His 2010 humor book, HOW TO SURVIVE A GARDEN GNOME ATTACK, was optioned by Sony Pictures. Chuck has also written the writing guides FORMATTING & SUBMITTING YOUR MANUSCRIPT and CREATE YOUR WRITER PLATFORM.

Besides that, he is a freelance book & query editor, husband, sleep-deprived new father, and owner of a flabby-yet-lovable dog named Graham.

Find Chuck on Twitter and on Facebook.

photo credit: anicaps le forum via photopin cc

By Chuck Sambuchino

If you’re going to wheel and deal with literary agents and editors, you’ll end up spending more time than you’d like discussing rights, contracts, advances, royalties and a whole lot of other important stuff. That said, I want to address the most common questions regarding how advances and royalties work. In other words, how does the payment process work when you sell a book?

Here are some FAQs:

1. How do writers make money?

You sign a contract with a publisher. In exchange for signing over the North American and English language print rights to your book and possibly other rights, as well, you are paid one of three ways:

• flat fee: a set amount of money upfront that’s yours to keep. The amount does not change no matter how well the book sells. For example, if your flat fee is $10,000, the amount remains the same no matter if the book sells 10 copies or 10 million.
• royalties: a small amount paid to you for every book sold.
• advance against royalties: a sum of money upfront to you with the promise of more (royalties) should the book sell well.

2. Which of the three methods above is most desirable?

An advance against royalties. It’s probably the most desirable, and it is by far the most common. It’s like you get both #1 and #2 combined. Let me explain exactly how an advance against royalties would work.

For this example, I’ll keep it real simple (for my own sake). Let’s say the publishing house offers you an advance of $60,000 and royalties of $3/book. Note that the upfront advance of $60,000 is not in addition to royalties, but rather part of royalties – meaning they’ve given you royalties for the first 20,000 books (times $3/book) up front.

Since they’ve already paid you the royalties of the first 20,000 books, you will not start actually making an additional $3/book until you sell copy 20,001. The royalty possibilities are essentially endless. You can make $3 a book forever as long as it keeps selling in bookstores and on Amazon.

3. What if my book bombs? Do they get the money back?

No. Any upfront money — a flat fee or advance — is yours to keep no matter what. But you’re on to something here with that question.

If your book tanks and the project is a financial failure, that is a huge hurdle to get over in order to sell another book. Yes, a huge advance means a large sum of guaranteed money (sweet), but a small advance means more reasonable expectations for you to meet, and a greater chance for your book to be profitable — making you “a valuable author” in a publisher’s eyes. So I highly suggest that all authors build their author platform, get on social media, and speak at writers’ conferences to sell more books and make yourself more attractive in terms of selling future titles.

4. How much are royalties per book?

Totally depends on the cost of the book and your contract and how much it is to produce copies of the work. If you write a hardback novel, you may get $3/book. If you write a niche nonfiction, it’s probably more like $1/book. And keep in mind if you write with a co-writer, that percentage drops in half. If you work on a picture book with an illustrator, that percentage would also drop in half.

5. How much money can authors expect from their first advance?

This is the big question that never gets answered. The reason it never gets answered is not because editors are being coy, but rather because there is no answer. The answer depends on the book’s genre/category, the size of the house, the scope of the deal, your platform, your agent’s skill, and much more. There are just as many $3,000 deals going on in a day as there are $100,000 deals. That’s why there is no answer. No one wants to throw a figure out there that is interpreted as fact.

(Hi, everyone. Chuck here chiming in for a second. I wanted to say I am now taking clients as a freelance editor. So if your query or manuscript needs some love, please check out my editing services. Thanks!)

6. Are there any trends in money and advances these days?

Yes. Sadly, advances are trending down. That’s bad. But the good news, if your book sells well, there’s still plenty of money to be made on the back end with royalties.

7.  When do you receive the money after you sign your contract?

It depends, but know that money is usually split upon into multiple payments. For example, if you sign a deal for $12,000, you may get $4,000 (one third) upon signing the contract, then another one third upon completion of editing/writing the project, then the final one third when the book is released.

8. Do writers get the checks from the publisher?

Personally, I don’t. The check gets sent to my literary agent, who cashes it. She then sends me a check from herself for the amount of 85% of the original. An agent’s standard commission is 15% of all monies made off the book. Her financial success is directly tied into yours, which is why she fights so hard for you and tries to guide you toward a good deal.

9. How do I make sure that I’m getting paid properly?

I’m honestly not sure, and that’s why I encourage you to find a literary agent. It’s the agent’s responsibility to be in touch with the editor and accounting department to make sure the royalty statements (payments) accurately reflect proper totals that take into account sales, returns, foreign territory sales, and film rights, etc.

10. On that note, do you make money for selling foreign rights and film rights?

Traditionally yes (as long as you don’t have an unfortunate contract that deems otherwise). If a production studio wants to buy your film rights off you, they have to pay you — and that isn’t cheap, either. They will likely option your book, meaning that they buy the film rights temporarily in exchange for a more limited amount of money. Either way, you’re getting paid.

For every foreign territory (country) that you sell to, that’s more money. It works the same way as over here. You get a small lump sum with each territory (an advance) with the possibility of more (royalties) should the book sell well. If the book sells in 10 territories, let’s say, that’s a great — and easy — way to make money off a project.

11. When multiple publishing houses are interested in your work, should you just go with the highest bidder?

Not necessarily. Money will play a big, big role in the selling of the book — but there is more to consider.

• Are they promising a thorough marketing and publicity plan?
• Do they seem excited about the book? (Excitement translates to them featuring the book prominently in catalogs and bookstore shelves.)
• What rights and percentage splits are they asking for in exchange for that money?
• Do they design and produce beautiful books?
• Do they have a history of keeping their books in print for years and still promoting them down the road?
• Do they publish 10 books a year or 400? — and how will that play out in how your book is handled?

All these questions factor in big time. In my opinion, it’s better to take a $10,000 deal with a house that loves the book and will push it than a house that offers double the advance but not a whole lot of love. It’s love and enthusiasm for a book that will give it the best possible chance to sell well.

What else is there to know about money and writing?

Lots, I suppose, but those are the big points. Before you sign a contract, your agent will go over it with you step by step and explain everything. Good luck!

(For anyone interested in making money writing, freelancing is a great place to start. WD Books has some resources on freelancing here.)

Note:
This post is Part 2 of Chuck's debut series here at WITS: Take Your Writing By Storm.

Part 1 was Literary Terms Defined: The Uncommon and Common. Please return at 9 am ET for Part 3: Should You Pitch (and Sign With) a New Literary Agent? The Pros and Cons.

About Chuck

Chuck Sambuchino of Writer's Digest Books edits the GUIDE TO LITERARY AGENTS and the CHILDREN'S WRITER'S & ILLUSTRATOR'S MARKET. His Guide to Literary Agents Blog is one of the largest blogs in publishing.

His 2010 humor book, HOW TO SURVIVE A GARDEN GNOME ATTACK, was optioned by Sony Pictures. Chuck has also written the writing guides FORMATTING & SUBMITTING YOUR MANUSCRIPT and CREATE YOUR WRITER PLATFORM.

Besides that, he is a freelance book & query editor, husband, sleep-deprived new father, and owner of a flabby-yet-lovable dog named Graham.

Find Chuck on Twitter and on Facebook.

photo credit: nirbhao via photopin cc