Nonfiction lit agent repping journalists, thought leaders, change makers, fire breathers, artists, teachers, moms, dads & more. They're good people. She/Her
New York, NY
Ryan Foland @ryanfolandSo, I'm at the airport & I go to the bar to wait for my flight.
I meet a lady, we make small talk, I mentioned I was in town speaking. She kept asking questions, which led to me to mentioning my book.
I had one on me. She asked to see.
And she bought it.
How cool is that?!🙌 pic.twitter.com/TNS6liZaHZ
This cute story made me think of a #pubtip for authors. When & if your hardcover gets "remaindered" the publisher should give you notice & chance to buy highly discounted copies. Grab all you can afford to give as gifts & for future signings.
Anne Tibbets @AnneTibbets@ColorMeREADing Include in your pitch:
[Your book] has the tone of [book comp 1], the world of [book comp 2], and the [plot device] of [book comp 3]."
Brooke Warner @brooke_warnerThe short book is on trend. Let your content pack a punch. Don’t meander or write superfluously. You can give your reader a good dose of wow in a pretty small package—and you’ll probably sell more books as a result. #writetip #writers
Co-sign. Attention spans being what they are right now, either offer readers an immersive escape or quick powerhouse. #pubtip
Anne Tibbets ::CLOSED TO QUERIES:: @AnneTibbetsSAMPLES OF A QUERY PITCH PARAGRAPH
#amquerying #amwriting #writingcommunity
These are so good. You should practice writing a few pitch paragraphs about favorite books before doing yours. #pubtip
3) Cash: how you split income. The author can guarantee the writer a set fee no matter how much (or little) money the book makes. The parties can split the advance and/or royalties. Decide if there's a cap to the writer's earnings. I've seen many variations.
If it's truly a 50-50 collaboration, the copyright can be in both names. Keep in mind, both parties will need to agree on any decision, which gets tricky if the book has a long life since 2 separate sets of heirs may need to agree in the future.
2) Copyright: Regardless of the credit, who owns the material? Often the writer is a "work for hire" & the copyright is in the author's name only. This is the person making decisions about what happens to the property (foreign rights, tv/film).
1) Credit: the name(s) on the cover of the book. If it's ghost writing, only the author's name is credited. If a co-writer will get credit, decide on the order & how the names are to be separated. E.g."and" or "with." Let your publisher know the credit line.
Ethan Nosowsky @Nosowsky@sarahw @mattkeeley @lyzl @likaluca Just FYI, Graywolf sold the Canadian rights and Janklow sold the UK rights in this case. (We acquired North American rights.) Graywolf distributed The Argonauts in Canada.
In case you’re wondering:
“Distributed in Canada” means the US publisher shipped the US edition to Canadian outlets. “Sold Canadian rights” means the US publisher made a deal with a Canadien publisher to produce and sell a Canadian edition. #pubtip
Brandon @blgtylrThe truly chaotic people in this world are the ones who ask for page counts instead of word count like a civilized person.
Get used to thinking of your manuscript in terms of words not pages. (Publishing contracts specify # of words.)To estimate: 1 double spaced typed page = 250 words. #pubtip
Smith Publicity @SmithPublicityOur new episode of our All Things Book Marketing podcast is available! In this episode, we talk with @lynnjohnstonlit about tips & tricks on working with literary agents. smithpublicity.com/2020/01/new-po… #bookmarketing #authors #writing
One thing I discuss in the podcast is your digital footprint. The first thing an agent or publisher interested in your work will do is google your name. The worse result is to find nothing. #pubtip
But what if my first book didn't sell well? Isn't it great to have a guarantee for the next book? Yes & no. Many publishers put the same level of enthusiasm with the 2nd book even if the 1st didn't sell well. But some don't, not to mention editors leave.