Book Writer and PublisherAuthor and Publisher
Author/Publisher Financial Relations | Inside Publishing
It is obvious that publishing houses and writers are basically in a contradictory stance. There is the excitement, even in the very best and most supporting publisher/writer relations, that arises when writers want to make as much as possible from their writers and editors to afford as little as possible.
To understand this is part of the work of your way through the relationship to come out of it in the way that best suits you as the writer. However, it can be said from the start that publishing houses are actually only intermediaries. You have to work with the book trade which has changed dramatically in recent years.
This means, for example, that you can be the best Western writer outside the US or an writer that has been released by this publisher for many years, but if there is no longer a text marketing space for your texts, your publisher will not want to do so.
Editors are not charitable organizations and most are now run on fairly commercially oriented routes. If the book trade is under increasing pressures or if grocery stores and bookstore networks successfully negotiate ever increasing rebates, publishing houses will not be able to keep their profit margin and want to share some of the hurt with the writers in the form of lower license fees.
There has been a radical change for publishing houses in the fast-paced expansion of on-line bookstores, especially Amazon, and you can be sure that they are giving these dealers a very high rebate. After all this, it is very important to know how the authors are paid by the publishing houses and what it means for you.
It' s quite complex, which is why people who aren't very tough when it comes to selling their own work choose to have an asset. You can read the Inside Publishing articles about Advances and Royalties to see how they work. This increase in e-books is a new burden on the relation between publishing houses and editors, as publishing houses try to find a way to make cash out of e-books without cutting back on their other outlays.
Most of the time, the editors are of the opinion that they should have a much higher license fee for e-books, as the shipping and handling charges are so low in comparison to the sales and marketing outlays. It overlooks the huge investments that publishing houses have made in electronic technologies and it also overlooks all the other production expenses of a book, but it's simple to understand why composers think so.
If, during your negotiations, you recall that the publisher tries to make as little payment as possible and that there is no "right" number, you will find it much simpler to comprehend what is going on in the negotiations. When you are in a good standing and your book is considered coveted, your sales representative may sell it to the highest tenderer, although other considerations such as spending on advertising or advertising may also be considered.
Of course, the agent wants to get as much advanced money as possible for their author, as this will affect their own revenues from the work. The majority of agencies take 10% or 15% from the main agreements (see The Relationship between Publishers and Agents), but do not forgetting that they will take the percent of the revenue that has been arranged for all of them.
Many of the very high prizes that have been charged for the work of some new authors have often made the news and unfortunately have given many up-and-coming authors the impression that the way to make a fast buck is to write. The big businesses are the exceptions rather than the rules, and when their works have not appeared on the open markets, an writer is often abandoned by his publisher, who has spent a great deal of the undeserved prepay.
Even worst, it will be difficult for these writers to find another publisher, as information about past releases is now available for free. It is not only that a prospective new publisher has to make sure that it is profitable to hire someone who is seen as a loser - although he has indeed been selling quite well - but the bookstores will also not be prepared to attack this writer again.
When you can find an agency to replace you, there is a good chance that their effort will help you not only to get a contract but also a better one. However, it has now become so hard to convince an operative to take you over that it may well be that you try to do it alone, or you can write in an area where you don't have an operative, such as schooling.
Alternatively, you have yourself been publishing and now a publisher is interested in you. It is important in these cases to have a very clear understanding of what you expect from the business and what you will be accepting. For example, I would not recommend any writer to disparage himself by saying that he does not care not to have an upfront.
It is an indicator of how the publisher evaluates you and generally writers who do not even evaluate an upfront will not get much of their publishers' interest unless they write in an area where upfront is not the standard. When you think that your book can have a long lifespan, the most important thing is the royalty.
It' great to be able to get a regular return on your back list as a writer. However, if the important thing is to get your work out there in front of readers, then maybe the Deal Itself won't be the pivotal thing for you and you have to consider what you think about the publisher and what they will do for you.
One way or another, remember that very few authors can rely on their letter alone, so do not enter on the tag without being sure about your earnings from the letter. In addition, you may find it beneficial to remain connected to the rest of the planet through your work.