Though the official release date for my new Jack Daniels novel, Dirty Martini, is July 3, you should be able to find it right now at bookstores everywhere.
Library Journal said: "Mix witty repartee with edge-of-your-seat suspense, over-the-top killing devices, and action that never takes a breather, and you have Konrath's latest white-knuckle thriller. Not to be missed."
Booklist said: "Like Jeffrey Deaver, Konrath ratchets up the suspense until readers don't dare stop flipping the pages. A solid success for those who like to mix comedy with grit."
Publishers Weekly said: "Dirty Martini is a particularly potent mix of equal parts mirth and mayhem with a dash of sex and a twist (or two) of plot. It should be taken straight, no chaser needed."
Kirkus said: "The prose ranges from careless to wretched, and the plot demands a breathalyzer."
Ah, Kirkus. If I hadn't burst out into laughter when I read that, I might have been irritated.
I sent out a MySpace bulletin a few days ago, and got over 200 positive responses, plus my Amazon numbers for each book in the series jumped in conjunction with the bulletin. For those authors interested in using MySpace as a promo tool (which should be all of you) here's my post:
---------------------------------
Hello (your name here)!
I'm your close, personal MySpace Friend, thriller author JA Konrath.
I hope everything is going well where you live in the world. How about those local sports in your area? I never would have predicted that win or loss.
I check your MySpace page several times a day. I know you're busy with all of those cool things on your Profile, like that awesome music you listen to, the cool TV shows and movies you watch, and those wonderful hobbies you have. I love those pics you may have posted. You're a truly awesome man or woman!
If you have some free time this week or next, I have a tiny favor to ask. My new Lt. Jack Daniels mystery novel, DIRTY MARTINI, is now available in bookstores everywhere.
Please buy a copy. :)
It's a fast, fun, beach read kind of book, about a homicide cop hunting for a lunatic who is poisoning Chicago's food supply. There's a lot of humor (you'll laugh) and some scary parts. Plus, plenty of action, suspense, and a little bit of sex as well.
If you like books by James Patterson, Janet Evanovich, Tess Gerritsen, Christopher Moore, Patricia Cornwell, Dean Koontz, Dave Barry, Kay Hooper, Kathy Reichs, Sandra Brown, John Sandford, Carl Hiaasen, Ridley Pearson, Robert Crais, David Morrell, or Robert B. Parker, you'll really love this book.
If you like TV shows like CSI, Law and Order, The Closer, Bones, The Flintstones, Curb Your Enthusiasm, American Idol, Survivor, The Sopranos, Sex in the City, Deal or No Deal, or Oprah, you'll really love this book.
If you have a pulse and can read without moving your lips, you'll really love this book.
DIRTY MARTINI is a hardcover. For every book sold, I'll donate a portion of the funds to ending world hunger, by taking my family to a nice restaurant.
If you can't afford a hardcover, please pick up my new Jack Daniels paperback, RUSTY NAIL, available at bookstores everywhere. This one is even scarier that DIRTY MARTINI. If you liked Silence of the Lambs, or Blades of Glory, you'll love it.
Please buy a copy. :)
My books are also available on audio, so you can listen to them while travelling, or working out, or watching juggling videos on YouTube.
If you're so broke you can't even pay attention, you can get my books at the library. If your library doesn't carry them, demand that they do. Try yelling loudly and throwing things. That's how my son gets his way all the time. And he's 23.
Thanks so much for your time (Your Name Here)! I'm so happy we met on MySpace. You've enriched my life and made me a better person.
Please buy my books, or I'll start cutting myself.
Your Friend,
JA
----------------------------
I'm off to Italy for a week. My Italian publisher, Alacran Edizioni, is flying me out to do some signings for Whiskey Sour. I'm excited, and encourage the many Italian readers of this blog to seek me out while I'm there.
When I get back, I'm going to release my next newsletter, which will have info on past and upcoming contests, along with a touring schedule for Dirty Martini. I'm looking to visit the West Coast this time.
Until then, check out the latest Jack Daniels novel, and let me know if the prose really does range from careless to wretched. Better buy several copies and get your friends' opinions too.
Rabu, 27 Juni 2007
Kamis, 21 Juni 2007
Negotiating Contracts
Let's talk about negotiating contracts.
As authors, we're so damn needy we usually accept whatever we're offered. We're afraid that if we don't take the offer, we won't get published.
Publishers know this. And they use this to their advantage. It is in their best interest to offer low advances and try to acquire as many sub rights as possible.
One one hand, if your book does well, the advance doesn't matter much---royalties will kick in, and you'll get quarterly checks.
On the other hand, a healthy advance lets you spend more time and money self-promoting, which can only help your sells. A healthy advance also shows that your publisher is confident in your books, and will spend a sizable amount on marketing them.
A wonderful book was recommended to me, called The Secrets of Power Negotiating by Roger Dawson. It demystifies a lot about negotiation, and tells you how to respond when your publisher lowballs you, pulls offers off the table, and basically tries to show you that they don't need you.
Truth told, your publisher doesn't need you. But you don't really need them either.
When you're negotiating a contract, your agent should be doing most of the work. But there are some things you should know before you enter negotiations.
1. How much you want per book.
2. What rights you're offering.
3. What your previous sales figures are.
4. What your sell-through is, and how many printings you've had.
5. What will make you walk away from the negotiating table.
6. How you will react to every point and counterpoint your publisher brings up.
The last one is especially important. You should always have an answer for anything your publisher throws at you. This means brainstorming, practicing, and role-playing.
By role-playing, I mean talking out things with a trusted friend playing the part of your publisher, so you're prepared if these things come up in negotiations.
What are you going to say when your publisher tells you:
"Your first book(s) didn't do as well as expected."
"That's as high as we can go."
"If you don't accept now we're pulling this offer from the table."
"The market for your genre is collapsing."
"We're the best publisher for your book, and we love you here."
"We can't offer more money in the advance, but we can offer X in bonuses for copies shipped, hitting the NYT list, copies sold, etc."
Be prepared to counter these statements using a combination of facts and logic. Passion is fine when negotiating. Anger is not.
If you want to be in a position of power while negotiating, you need to:
1. Be in control of your emotions.
2. Be knowledgeable about your numbers.
3. Be confident, but not cocky.
4. Be polite, but firm.
5. Be prepared for every possible thing that may come up.
6. Be willing to walk away.
Your agent should already know all of this. But you should discuss this with her anyway.
It may seem obvious, but it's easier to sell a finished book than a proposal. Just because your contract is finished doesn't mean you need another one immediately. It is almost always better for you to finish your next book and shop it around rather than accept your current publisher's low offer on a proposal.
Negotiation is a dance. Try to lead, rather than follow. And if you don't like your dance partner, find another one.
As authors, we're so damn needy we usually accept whatever we're offered. We're afraid that if we don't take the offer, we won't get published.
Publishers know this. And they use this to their advantage. It is in their best interest to offer low advances and try to acquire as many sub rights as possible.
One one hand, if your book does well, the advance doesn't matter much---royalties will kick in, and you'll get quarterly checks.
On the other hand, a healthy advance lets you spend more time and money self-promoting, which can only help your sells. A healthy advance also shows that your publisher is confident in your books, and will spend a sizable amount on marketing them.
A wonderful book was recommended to me, called The Secrets of Power Negotiating by Roger Dawson. It demystifies a lot about negotiation, and tells you how to respond when your publisher lowballs you, pulls offers off the table, and basically tries to show you that they don't need you.
Truth told, your publisher doesn't need you. But you don't really need them either.
When you're negotiating a contract, your agent should be doing most of the work. But there are some things you should know before you enter negotiations.
1. How much you want per book.
2. What rights you're offering.
3. What your previous sales figures are.
4. What your sell-through is, and how many printings you've had.
5. What will make you walk away from the negotiating table.
6. How you will react to every point and counterpoint your publisher brings up.
The last one is especially important. You should always have an answer for anything your publisher throws at you. This means brainstorming, practicing, and role-playing.
By role-playing, I mean talking out things with a trusted friend playing the part of your publisher, so you're prepared if these things come up in negotiations.
What are you going to say when your publisher tells you:
"Your first book(s) didn't do as well as expected."
"That's as high as we can go."
"If you don't accept now we're pulling this offer from the table."
"The market for your genre is collapsing."
"We're the best publisher for your book, and we love you here."
"We can't offer more money in the advance, but we can offer X in bonuses for copies shipped, hitting the NYT list, copies sold, etc."
Be prepared to counter these statements using a combination of facts and logic. Passion is fine when negotiating. Anger is not.
If you want to be in a position of power while negotiating, you need to:
1. Be in control of your emotions.
2. Be knowledgeable about your numbers.
3. Be confident, but not cocky.
4. Be polite, but firm.
5. Be prepared for every possible thing that may come up.
6. Be willing to walk away.
Your agent should already know all of this. But you should discuss this with her anyway.
It may seem obvious, but it's easier to sell a finished book than a proposal. Just because your contract is finished doesn't mean you need another one immediately. It is almost always better for you to finish your next book and shop it around rather than accept your current publisher's low offer on a proposal.
Negotiation is a dance. Try to lead, rather than follow. And if you don't like your dance partner, find another one.
Sabtu, 09 Juni 2007
Backlistics
I was reorganizing my library (late Spring cleaning) and a few hours into it I was hit by a terrifying revelation.
I have about 5000 books, paperback and hardcover. More than 4500 of these books are no longer in print.
These books are dead. Completely dead. And some of them are damn good reads.
If that wasn't scary enough, a lot of my favorite authors from years past are no longer being published.
Maybe some of them have passed on. But I suspect that there's also another, more sinister reason:
They simply can't sell their latest book.
When a book is published, the writer and the publisher have big hopes for it. They want it to sell well. They want it to make money. And they probably want it to keep making money for a long time.
But the majority of books published don't get a second printing. Like comets, they have their moment, then burn out.
This is bad for the writer for several reasons. First, because an out of print book isn't likely to see print again, which means no royalties. And second, because an out of print book often indicates a lack of sales, and these numbers are tracked by publishers who won't want to buy new books from this author. It's a downward spiral.
Having your backlist in print is hugely important. Not only do your sales accrue, but so does your fan base. The longer you're on the bookshelf, the likelier you are to be discovered, and the more books you'll sell in the future.
I've heard that publishers make most of their money on backlist titles. The huge bestsellers usually cost them huge advances, and those books can take years to earn out. But a steady backlist title can be a money machine, bringing in dollars year after year without any advances paid or marketing/advertising funds required.
So why isn't more attention paid to selling the backlist?
A few bestselling authors get dump boxes or cameos or endcap shelf space, dedicated to their backlist titles. In my opinion, this is the very best use of coop dollars. Even better than being on the New Release tables and towers. This does more than push the backlist and keep it in print. This is a message to potential readers which subconsciously says "This author is obviously worth reading because he has a big expensive display, and if I like him I'll be able to read more of his books because they're all right here."
If you're a series author, keeping the first few titles in print is critical. People want to start at the beginning.
But, unfortunately, it's unlikely your publisher will push your backlist titles. Those cardboard displays are expensive to produce, and bookstore real estate doesn't come cheap either. The irony is that the writers who get these displays are probably the ones who really don't need them, because they're already selling gazillions of copies.
Of course, it's not entirely your publisher's fault. Demand drives supply. If your books aren't selling, the bookstores won't order any more. Then they go out of print, and barring a miracle they'll stay out of print forever. Thus begins the downward spiral.
So what can you, the author, do to ensure your books stay in print?
More than you think.
Meeting Booksellers. A bookseller who likes you won't listen when the home office tells them to return a book. Instead, they'll handsell you. Last year, I met more than 1700 booksellers. I thank most of them by name in the acknowledgements of DIRTY MARTINI, coming out July 3. My new book also has back jacket blurbs by booksellers rather than the usual authors and reviewers.
Signing Books. It's a myth that signed books can't be returned. They get returned all the time. But they're less likely to get returned, and they're more likely to sell. Plus, a signed book often gets prime bookstore real estate without costing coop dollars.
Speaking in Public. Every chance you have to pimp your books should be taken. The more you stay in the public eye, the more books you'll sell. Speak at all of the libraries, conferences, conventions, and book festivals you can.
The Media. I'm not a fan of advertising. But getting a review, or doing an interview (for zines, newspapers, websites, blogs, radio, etc) is a free and easy way to get your name out there.
Writing. The very best way to stay in the writing spotlight is to keep writing. A book a year is essential. Two books a year is better. And don't forget short stories and articles--these not only pay you, but give you a much wider exposure than your books alone.
The Internet. Be active on your website, blog, MySpace, newsletter, newsgroups, message boards, listservs, and email correspondence. The more people you can reach, the better off you are.
Will this guarantee you never go out of print? No. There are no guarantees. But the fact remains: the more you do, the more books you'll sell.
I have about 5000 books, paperback and hardcover. More than 4500 of these books are no longer in print.
These books are dead. Completely dead. And some of them are damn good reads.
If that wasn't scary enough, a lot of my favorite authors from years past are no longer being published.
Maybe some of them have passed on. But I suspect that there's also another, more sinister reason:
They simply can't sell their latest book.
When a book is published, the writer and the publisher have big hopes for it. They want it to sell well. They want it to make money. And they probably want it to keep making money for a long time.
But the majority of books published don't get a second printing. Like comets, they have their moment, then burn out.
This is bad for the writer for several reasons. First, because an out of print book isn't likely to see print again, which means no royalties. And second, because an out of print book often indicates a lack of sales, and these numbers are tracked by publishers who won't want to buy new books from this author. It's a downward spiral.
Having your backlist in print is hugely important. Not only do your sales accrue, but so does your fan base. The longer you're on the bookshelf, the likelier you are to be discovered, and the more books you'll sell in the future.
I've heard that publishers make most of their money on backlist titles. The huge bestsellers usually cost them huge advances, and those books can take years to earn out. But a steady backlist title can be a money machine, bringing in dollars year after year without any advances paid or marketing/advertising funds required.
So why isn't more attention paid to selling the backlist?
A few bestselling authors get dump boxes or cameos or endcap shelf space, dedicated to their backlist titles. In my opinion, this is the very best use of coop dollars. Even better than being on the New Release tables and towers. This does more than push the backlist and keep it in print. This is a message to potential readers which subconsciously says "This author is obviously worth reading because he has a big expensive display, and if I like him I'll be able to read more of his books because they're all right here."
If you're a series author, keeping the first few titles in print is critical. People want to start at the beginning.
But, unfortunately, it's unlikely your publisher will push your backlist titles. Those cardboard displays are expensive to produce, and bookstore real estate doesn't come cheap either. The irony is that the writers who get these displays are probably the ones who really don't need them, because they're already selling gazillions of copies.
Of course, it's not entirely your publisher's fault. Demand drives supply. If your books aren't selling, the bookstores won't order any more. Then they go out of print, and barring a miracle they'll stay out of print forever. Thus begins the downward spiral.
So what can you, the author, do to ensure your books stay in print?
More than you think.
Meeting Booksellers. A bookseller who likes you won't listen when the home office tells them to return a book. Instead, they'll handsell you. Last year, I met more than 1700 booksellers. I thank most of them by name in the acknowledgements of DIRTY MARTINI, coming out July 3. My new book also has back jacket blurbs by booksellers rather than the usual authors and reviewers.
Signing Books. It's a myth that signed books can't be returned. They get returned all the time. But they're less likely to get returned, and they're more likely to sell. Plus, a signed book often gets prime bookstore real estate without costing coop dollars.
Speaking in Public. Every chance you have to pimp your books should be taken. The more you stay in the public eye, the more books you'll sell. Speak at all of the libraries, conferences, conventions, and book festivals you can.
The Media. I'm not a fan of advertising. But getting a review, or doing an interview (for zines, newspapers, websites, blogs, radio, etc) is a free and easy way to get your name out there.
Writing. The very best way to stay in the writing spotlight is to keep writing. A book a year is essential. Two books a year is better. And don't forget short stories and articles--these not only pay you, but give you a much wider exposure than your books alone.
The Internet. Be active on your website, blog, MySpace, newsletter, newsgroups, message boards, listservs, and email correspondence. The more people you can reach, the better off you are.
Will this guarantee you never go out of print? No. There are no guarantees. But the fact remains: the more you do, the more books you'll sell.
Selasa, 29 Mei 2007
A Fistful of Blurbs
I just saw a few copies of my newest paperback (Rusty Nail) in a bookstore, and did the standard author thing of picking them up and fondling them while grinning like an idiot. While fondling, I was stuck with a powerful emotion:
I'm the luckiest damn person on the planet.
I felt this because I'm living my dream, and because I'm well published by a smart publisher who knows what they're doing.
But I also felt this because on the cover, above the title, is this quote:
"Thrills, chills, and laugh-out-loud hilarity... Konrath expertly pours on both shivers and fun." - Tess Gerristsen.
I'm thrilled to get this blurb. Not because Tess is a NYT Bestselling author (though that doesn't hurt.) But because Tess is a stellar writer, and I've admired her work for a decade. Having met Tess, I can vouch that she's every bit as cool in person as she is in print. Having her name on my book makes me feel all kinds of cool.
But my happiness gets even happier. If you buy Rusty Nail (and you should) and open the cover you'll find wonderful blurbs by authors Anne Frasier, Alex Kava, Julia Spencer-Fleming, Gayle Lynds, William Kent Krueger, Jack Kerley, PJ Parrish, James Rollins, and Ridley Pearson. Plus favorable snippets from Booklist, Library Journal, PW, and the Midwest Book review.
If you happen to run into a paperback of Bloody Mary, on the cover you'll see this terrific blurb:
"Excellent smart-mouth thrills... my advice: Take an long sip." - Lee Child.
Thanks, Lee!
You'll also see praise from authors James O. Born, Blake Crouch, Bill Fitzhugh, David Morrell, Barara D'Amato, and MJ Rose.
If you move on the the PB of Whiskey Sour, on the cover you'll see the quote:
"Whiskey Sour is the best debut of the year." - Chicago Sun-Times (which is uber-critic David Montgomery)
There are also blurbs from Jay Bonansinga, Raymond Benson, Robert W. Walker, George C. Chesbro, F. Paul Wilson, Steve Alten, David Wiltse, Libby Fischer Hellmann, Andrew Vachss, Barry Eisler, Eric Garcia, Warren B. Murphy, and David Ellis.
Which means I've had 30 writers say nice things about me. That's thirty-one if you count Kay Hooper's remarks about Dirty Martini:
“It’s difficult as hell to balance wit with suspense and horrific violence with humor, but JA Konrath manages the feat deftly in his “Jacqueline ‘Jack’ Daniels” series of thrillers. Jack is a smart, sexy cop with a rocky personal life and a career that pits her strength and skill against the worst kind of evil – and she not only triumphs but does so with humor and style. Spend some time with Jack and the people in her life; I can promise you won’t regret it.”
So I've been extremely lucky when it comes to getting blurbs.
Naturally, I also try to return the favor.
Perusing the mystery section of the bookstore, I found eight books with my blurbs on either the front or back cover, and another four with quotes from me inside them.
Though I'm waaaay behind on my blurbs (I have a TBR pile the height of my desk) I still try my best to blurb everyone who asks. I went into a lot of detail about blurbing on a previous blog post (http://jakonrath.blogspot.com/2006/02/secret-world-of-blurbing.html) and I don't want to repeat myself here. Suffice to say, both getting and giving blurbs is an important part of the publishing business.
We all should remember that.
I'm the luckiest damn person on the planet.
I felt this because I'm living my dream, and because I'm well published by a smart publisher who knows what they're doing.
But I also felt this because on the cover, above the title, is this quote:
"Thrills, chills, and laugh-out-loud hilarity... Konrath expertly pours on both shivers and fun." - Tess Gerristsen.
I'm thrilled to get this blurb. Not because Tess is a NYT Bestselling author (though that doesn't hurt.) But because Tess is a stellar writer, and I've admired her work for a decade. Having met Tess, I can vouch that she's every bit as cool in person as she is in print. Having her name on my book makes me feel all kinds of cool.
But my happiness gets even happier. If you buy Rusty Nail (and you should) and open the cover you'll find wonderful blurbs by authors Anne Frasier, Alex Kava, Julia Spencer-Fleming, Gayle Lynds, William Kent Krueger, Jack Kerley, PJ Parrish, James Rollins, and Ridley Pearson. Plus favorable snippets from Booklist, Library Journal, PW, and the Midwest Book review.
If you happen to run into a paperback of Bloody Mary, on the cover you'll see this terrific blurb:
"Excellent smart-mouth thrills... my advice: Take an long sip." - Lee Child.
Thanks, Lee!
You'll also see praise from authors James O. Born, Blake Crouch, Bill Fitzhugh, David Morrell, Barara D'Amato, and MJ Rose.
If you move on the the PB of Whiskey Sour, on the cover you'll see the quote:
"Whiskey Sour is the best debut of the year." - Chicago Sun-Times (which is uber-critic David Montgomery)
There are also blurbs from Jay Bonansinga, Raymond Benson, Robert W. Walker, George C. Chesbro, F. Paul Wilson, Steve Alten, David Wiltse, Libby Fischer Hellmann, Andrew Vachss, Barry Eisler, Eric Garcia, Warren B. Murphy, and David Ellis.
Which means I've had 30 writers say nice things about me. That's thirty-one if you count Kay Hooper's remarks about Dirty Martini:
“It’s difficult as hell to balance wit with suspense and horrific violence with humor, but JA Konrath manages the feat deftly in his “Jacqueline ‘Jack’ Daniels” series of thrillers. Jack is a smart, sexy cop with a rocky personal life and a career that pits her strength and skill against the worst kind of evil – and she not only triumphs but does so with humor and style. Spend some time with Jack and the people in her life; I can promise you won’t regret it.”
So I've been extremely lucky when it comes to getting blurbs.
Naturally, I also try to return the favor.
Perusing the mystery section of the bookstore, I found eight books with my blurbs on either the front or back cover, and another four with quotes from me inside them.
Though I'm waaaay behind on my blurbs (I have a TBR pile the height of my desk) I still try my best to blurb everyone who asks. I went into a lot of detail about blurbing on a previous blog post (http://jakonrath.blogspot.com/2006/02/secret-world-of-blurbing.html) and I don't want to repeat myself here. Suffice to say, both getting and giving blurbs is an important part of the publishing business.
We all should remember that.
Rabu, 23 Mei 2007
Losing Touch
Way back in 2002, when I was a newbie writer, things seemed a lot more important.
Getting interviewed was a big deal. I always made sure I updated my website the moment I scheduled an appearance somewhere. I prepared several days in advance for booksignings. I kept careful track of where my work was published. Getting an email from a fan would put a smile on my face for hours.
And I saved stuff. Lots of stuff. Newspaper articles about my work, reviews, convention programs, fan mail, flyers from appearances, and so on.
A lot has changed since then. I've done a lot of interviews, and lost track of most. I forget to update my appearance schedule on my website for weeks at a time. I know I have stories in upcoming anthologies and magazines, but can't remember them all, or even some of the titles. Answering fan mail has become work. And I've given up trying to save every piece of paper with my name printed on it.
Being a writer has lost much of its luster. Writing is no longer a dream. It's a job.
Mostly, this is good. I no longer obsessively Google myself or check my Amazon ranking. I trust that folks will find my interviews online without me having to link to them. I've given the same speeches and talks so often that I don't have to meticulously prepare beforehand. Instead of seeking out venues for my short stories, many venues seek me out.
But I sometimes miss that naive enthusiasm. I miss being excited by every little good thing that happens. I even miss obsessing over things I thought were really important but turned out not to be.
Wide-eyed wonder can't hold up against hard won experience.
But then Fed-Ex dropped off a box of my new paperbacks (Rusty Nail, the third Jack Daniels book) and I set one on my desk and glanced at it while I worked. Every time I saw it, I smiled. And I kept smiling for the rest of the day.
Things may not be new or fresh anymore, but they're still pretty damn cool. I just needed a reminder. Why plant roses if you don't stop to smell them every so often?
And on that note, here are three recent interviews:
http://ambasadora.livejournal.com/115992.html#cutid1
http://eijohnson4u.blogspot.com/2007/05/bestselling-author-ja-konrath-he-is.html
http://www.horrorview.com/Interview%20Files/KonrathInterview.htm
http://poesdeadlydaughters.blogspot.com/2007/02/chat-with-ja-konrath.html
I'll also be in the upcoming anthologies:
Tales From the Red Lion
Until Someone Loses an Eye
Chicago Blues
Perfectly Plum
Thriller
Buy them all, along with the paperback of Rusty Nail if you were too cheap to spring for the hardcover...
Getting interviewed was a big deal. I always made sure I updated my website the moment I scheduled an appearance somewhere. I prepared several days in advance for booksignings. I kept careful track of where my work was published. Getting an email from a fan would put a smile on my face for hours.
And I saved stuff. Lots of stuff. Newspaper articles about my work, reviews, convention programs, fan mail, flyers from appearances, and so on.
A lot has changed since then. I've done a lot of interviews, and lost track of most. I forget to update my appearance schedule on my website for weeks at a time. I know I have stories in upcoming anthologies and magazines, but can't remember them all, or even some of the titles. Answering fan mail has become work. And I've given up trying to save every piece of paper with my name printed on it.
Being a writer has lost much of its luster. Writing is no longer a dream. It's a job.
Mostly, this is good. I no longer obsessively Google myself or check my Amazon ranking. I trust that folks will find my interviews online without me having to link to them. I've given the same speeches and talks so often that I don't have to meticulously prepare beforehand. Instead of seeking out venues for my short stories, many venues seek me out.
But I sometimes miss that naive enthusiasm. I miss being excited by every little good thing that happens. I even miss obsessing over things I thought were really important but turned out not to be.
Wide-eyed wonder can't hold up against hard won experience.
But then Fed-Ex dropped off a box of my new paperbacks (Rusty Nail, the third Jack Daniels book) and I set one on my desk and glanced at it while I worked. Every time I saw it, I smiled. And I kept smiling for the rest of the day.
Things may not be new or fresh anymore, but they're still pretty damn cool. I just needed a reminder. Why plant roses if you don't stop to smell them every so often?
And on that note, here are three recent interviews:
http://ambasadora.livejournal.com/115992.html#cutid1
http://eijohnson4u.blogspot.com/2007/05/bestselling-author-ja-konrath-he-is.html
http://www.horrorview.com/Interview%20Files/KonrathInterview.htm
http://poesdeadlydaughters.blogspot.com/2007/02/chat-with-ja-konrath.html
I'll also be in the upcoming anthologies:
Tales From the Red Lion
Until Someone Loses an Eye
Chicago Blues
Perfectly Plum
Thriller
Buy them all, along with the paperback of Rusty Nail if you were too cheap to spring for the hardcover...
Kamis, 17 Mei 2007
Submission
I'm submitting right now. Or rather, my agent is submitting my new novel to a dozen publishers.
Submitting manuscripts to publishers is one of the main reasons writers have agents. Agents know publishers, and the types of books they're looking for. They also know how to get the best deal.
These days, submissions are electronic. No more making copies and Fed-Exing or messengering them around NY. Agents send electronic files, and the editors print them up. This saves time and trees, and hopefully shortens the response time.
Responses do take time. Depending on the buzz around the book (your agent should have talked it up to editors before sending it to them) and the star-power of the author, it may take a few days to a few weeks (in some cases, even months) for the editor to read and respond.
Hopefully, a publisher will make an offer. This usually involves an editor bringing the manuscript to an acquisitions meeting, where her peers (fellow editors, bosses, marketing people, sales people, accounting people) decide whether or not to try to acquire a book.
These meetings (called "ax" meetings) rarely result in offers. Even if an editor adores a book, the house can still vote no. This depends on a variety of factors: author sales record, publisher sales record with similar books, new and passing trends, buying habits of chains, and many other things. I've heard that 4 out of 5 books brought to ax meetings die there. So even if the editor thinks your book is wonderful, there's still a 80% chance they won't offer a contract.
In the meantime, the author waits. Chewing fingernails. Jumping whenever the phone rings. Dreaming of huge deals and fearing no deals at all.
If you aren't normally neurotic, being on submission will make you so.
So what should this neurotic author do while waiting for the yes or no?
1. Write. You're a writer. That means you put words on paper. You shouldn't stop doing this just because you're anxious.
2. Talk. Bottling all of this anxiety up isn't healthy. Share it with family, friends, and peers.
3. Leave your agent alone. Bugging her constantly, asking for updates, is annoying. If she has good news, she'll call. Assume that no news means she hasn't heard anything yet.
4. Relax. This is easier said than done, but be Zen about it. You've done all you can. It's out of your hands. Worry, stress, prayer, hope, wishes, and dreams aren't going to do anything for you. Don't try to control the situation, because you have no control over it.
I won't sugarcoat it. Being on submission is awful, right up there with being between contracts. The unknown is scary, especially when this is how you make your living. That's why politicians spend so much money on election campaigns. Not having job security is terrifying. So is rejection.
Which is why you need to get back to work.
Submitting manuscripts to publishers is one of the main reasons writers have agents. Agents know publishers, and the types of books they're looking for. They also know how to get the best deal.
These days, submissions are electronic. No more making copies and Fed-Exing or messengering them around NY. Agents send electronic files, and the editors print them up. This saves time and trees, and hopefully shortens the response time.
Responses do take time. Depending on the buzz around the book (your agent should have talked it up to editors before sending it to them) and the star-power of the author, it may take a few days to a few weeks (in some cases, even months) for the editor to read and respond.
Hopefully, a publisher will make an offer. This usually involves an editor bringing the manuscript to an acquisitions meeting, where her peers (fellow editors, bosses, marketing people, sales people, accounting people) decide whether or not to try to acquire a book.
These meetings (called "ax" meetings) rarely result in offers. Even if an editor adores a book, the house can still vote no. This depends on a variety of factors: author sales record, publisher sales record with similar books, new and passing trends, buying habits of chains, and many other things. I've heard that 4 out of 5 books brought to ax meetings die there. So even if the editor thinks your book is wonderful, there's still a 80% chance they won't offer a contract.
In the meantime, the author waits. Chewing fingernails. Jumping whenever the phone rings. Dreaming of huge deals and fearing no deals at all.
If you aren't normally neurotic, being on submission will make you so.
So what should this neurotic author do while waiting for the yes or no?
1. Write. You're a writer. That means you put words on paper. You shouldn't stop doing this just because you're anxious.
2. Talk. Bottling all of this anxiety up isn't healthy. Share it with family, friends, and peers.
3. Leave your agent alone. Bugging her constantly, asking for updates, is annoying. If she has good news, she'll call. Assume that no news means she hasn't heard anything yet.
4. Relax. This is easier said than done, but be Zen about it. You've done all you can. It's out of your hands. Worry, stress, prayer, hope, wishes, and dreams aren't going to do anything for you. Don't try to control the situation, because you have no control over it.
I won't sugarcoat it. Being on submission is awful, right up there with being between contracts. The unknown is scary, especially when this is how you make your living. That's why politicians spend so much money on election campaigns. Not having job security is terrifying. So is rejection.
Which is why you need to get back to work.
Senin, 07 Mei 2007
I Talk, You Pay
I've been asked this question so many times I'm surprised I haven't blogged about it before.
If you're a writer, you're probably going to be asked to speak in public at some point.
The first few times this happens, you'll be flattered. So flattered, that you'll happily speak for free, or for the opportunity to sell three or four books to the crowd afterward.
As your star rises, you will be offered more and more speaking opportunities. In fact, you may get so many requests that you can pick and choose which ones to accept.
You'll pick the ones that are nearby and easy to get to. You'll pick the ones that will have the biggest crowds. You'll pick the ones where you were invited by a friend, or someone in the biz whom you owe. But first and foremost, you'll pick the ones that pay.
Being paid to speak is a wonderful thing. It validates your success. It gives you a forum where you're obviously appreciated. And most of all, it helps defer the cost of promotion, which is costly indeed.
But when someone contacts you and asks, "How much do you charge?" most new writers don't know how to answer.
Let's take a few scenarios.
1. A nearby library asks you to speak.
When I'm approached by a library within easy driving distance (less than 2 hours) I always ask if they offer a speaking fee.
Some libraries have budgets for speakers, and need to spend these budgets or else they lose them. Some libraries have no budgets, and can't pay anything at all.
If they don't offer a set dollar amount upfront, but instead ask what your fee is, I tell them to average the last three fees they've paid previous speakers, and I'll accept that.
This price can vary. I've spoken at libraries for a handshake. I've spoken at libraries for a tote bag. I've also spoken at libraries and gotten as much as $1200. The average is between $50 and $150.
Ask if you should bring books to sell (get these books from your local indie at a 40% discount, so they go toward your royalties.) I usually sell books to library patrons at a discounted rate (five bucks for paperbacks, twenty for hardcovers) and always bring some free giveaways for patrons, and some free books for the library.
2. A far away library asks you to speak.
I usually forgo the speaking fee, and instead ask for travel expenses. I do this because I figure I'm being taken someplace where I wouldn't normally go, for free. So I'll ask for gas or airfare, plus hotel if I'm staying overnight.
Many libraries will also throw in a free meal, which is always welcome. :)
3. A writing conference or convention asks you to speak.
Again, I usually do this for travel expenses, plus free admission to the event (including food if they have it.) I prefer the conference to handle flight/hotel details, rather than reimburse me later, because it makes things easier come tax time.
Could you ask for a fee on top of this? Sure, if you're big enough star. Some NYT writers ask for first class travel, accommodations, plus anywhere from $3000 to $50,000 to speak.
I'm not there yet. Someone paying for my travel is enough to get me someplace. If they insist on a little something above that, I won't turn it down.
Sometimes, I'll be invited to speak someplace (a book fair, a bookstore manager meeting) and won't be offered any sort of fee or travel expenses. I may still go, depending on the value of the event. Wouldn't you fly anywhere for a chance to speak to three hundred bookstore managers, or get a sound bite on the ten o'clock news?
If you're keynoting an event, receiving an award, or teaching a class, you aren't out of line to ask for them to cover expenses. After all, they want you, and you're there to work, so you should be paid for your efforts.
At these events, there is usually a bookseller who has your books available for sale. Be sure to contact them a few weeks prior to the event, to make sure they've got your books. While at the event, make sure you meet them and say thanks, and offer to sign their remaining stock.
4. Your publisher books a speaking engagement for you.
If you're lucky, your publisher may send you someplace to speak, usually at an industry convention like BEA or ALA or GLBA.
They may pay. They may not. It depends on their marketing budget for your book.
If your publisher does get you in front of a group of industry professionals, I say go, even if they don't pay your way. They can open doors you can't, and it's worth your time and money.
If they do pay, watch the expenses. Don't soak them for expensive room service or pay-per-view movies. This isn't a free vacation. It's a business trip.
If they don't pay, you can always ask your publisher for books to take to the event. Give away every last one they send you, and have them send the books to the hotel, not your home, so you don't have to travel with them.
This should go without saying, but DO NOT ask your publisher for a speaking fee. You might, however, ask them to compensate you for expenses after the fact, even if they originally said no to your request. Save your receipts, and give them a detailed rundown of what you did. Wowing a group of booksellers will get your publisher excited about you, and make them freer with the checkbook.
Conclusion
How much are you worth? It depends. Certainly your time is worth something. But when you're building a career, every chance you have to speak is time well spent. Even if it's a small crowd. Even if you don't sell a single book.
You never know which events are going to be stellar, and which are going to lead to even bigger events. I try to do as much as I can afford, both in terms of time and money. Getting paid is nice, but any opportunity that you have to speak in front of a group is an opportunity you should try to take.
Just remember: Before you start wondering how much you're getting paid, be sure that you're worth whatever they're offering. Hone your public speaking skills before you get in front of a crowd, or you may soon find yourself without any offers.
If you're a writer, you're probably going to be asked to speak in public at some point.
The first few times this happens, you'll be flattered. So flattered, that you'll happily speak for free, or for the opportunity to sell three or four books to the crowd afterward.
As your star rises, you will be offered more and more speaking opportunities. In fact, you may get so many requests that you can pick and choose which ones to accept.
You'll pick the ones that are nearby and easy to get to. You'll pick the ones that will have the biggest crowds. You'll pick the ones where you were invited by a friend, or someone in the biz whom you owe. But first and foremost, you'll pick the ones that pay.
Being paid to speak is a wonderful thing. It validates your success. It gives you a forum where you're obviously appreciated. And most of all, it helps defer the cost of promotion, which is costly indeed.
But when someone contacts you and asks, "How much do you charge?" most new writers don't know how to answer.
Let's take a few scenarios.
1. A nearby library asks you to speak.
When I'm approached by a library within easy driving distance (less than 2 hours) I always ask if they offer a speaking fee.
Some libraries have budgets for speakers, and need to spend these budgets or else they lose them. Some libraries have no budgets, and can't pay anything at all.
If they don't offer a set dollar amount upfront, but instead ask what your fee is, I tell them to average the last three fees they've paid previous speakers, and I'll accept that.
This price can vary. I've spoken at libraries for a handshake. I've spoken at libraries for a tote bag. I've also spoken at libraries and gotten as much as $1200. The average is between $50 and $150.
Ask if you should bring books to sell (get these books from your local indie at a 40% discount, so they go toward your royalties.) I usually sell books to library patrons at a discounted rate (five bucks for paperbacks, twenty for hardcovers) and always bring some free giveaways for patrons, and some free books for the library.
2. A far away library asks you to speak.
I usually forgo the speaking fee, and instead ask for travel expenses. I do this because I figure I'm being taken someplace where I wouldn't normally go, for free. So I'll ask for gas or airfare, plus hotel if I'm staying overnight.
Many libraries will also throw in a free meal, which is always welcome. :)
3. A writing conference or convention asks you to speak.
Again, I usually do this for travel expenses, plus free admission to the event (including food if they have it.) I prefer the conference to handle flight/hotel details, rather than reimburse me later, because it makes things easier come tax time.
Could you ask for a fee on top of this? Sure, if you're big enough star. Some NYT writers ask for first class travel, accommodations, plus anywhere from $3000 to $50,000 to speak.
I'm not there yet. Someone paying for my travel is enough to get me someplace. If they insist on a little something above that, I won't turn it down.
Sometimes, I'll be invited to speak someplace (a book fair, a bookstore manager meeting) and won't be offered any sort of fee or travel expenses. I may still go, depending on the value of the event. Wouldn't you fly anywhere for a chance to speak to three hundred bookstore managers, or get a sound bite on the ten o'clock news?
If you're keynoting an event, receiving an award, or teaching a class, you aren't out of line to ask for them to cover expenses. After all, they want you, and you're there to work, so you should be paid for your efforts.
At these events, there is usually a bookseller who has your books available for sale. Be sure to contact them a few weeks prior to the event, to make sure they've got your books. While at the event, make sure you meet them and say thanks, and offer to sign their remaining stock.
4. Your publisher books a speaking engagement for you.
If you're lucky, your publisher may send you someplace to speak, usually at an industry convention like BEA or ALA or GLBA.
They may pay. They may not. It depends on their marketing budget for your book.
If your publisher does get you in front of a group of industry professionals, I say go, even if they don't pay your way. They can open doors you can't, and it's worth your time and money.
If they do pay, watch the expenses. Don't soak them for expensive room service or pay-per-view movies. This isn't a free vacation. It's a business trip.
If they don't pay, you can always ask your publisher for books to take to the event. Give away every last one they send you, and have them send the books to the hotel, not your home, so you don't have to travel with them.
This should go without saying, but DO NOT ask your publisher for a speaking fee. You might, however, ask them to compensate you for expenses after the fact, even if they originally said no to your request. Save your receipts, and give them a detailed rundown of what you did. Wowing a group of booksellers will get your publisher excited about you, and make them freer with the checkbook.
Conclusion
How much are you worth? It depends. Certainly your time is worth something. But when you're building a career, every chance you have to speak is time well spent. Even if it's a small crowd. Even if you don't sell a single book.
You never know which events are going to be stellar, and which are going to lead to even bigger events. I try to do as much as I can afford, both in terms of time and money. Getting paid is nice, but any opportunity that you have to speak in front of a group is an opportunity you should try to take.
Just remember: Before you start wondering how much you're getting paid, be sure that you're worth whatever they're offering. Hone your public speaking skills before you get in front of a crowd, or you may soon find yourself without any offers.
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