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      Category : Career

      • June 30, 2014

        What if I'm a part-time writer, part-time something else?

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        A friend wrote to say, “I have a degree in teaching, and I’ve taken classes in a professional writing program… but I feel stuck between two careers. What do I do?”

        If you’re trying to make it as a writer, you’ve got an uphill climb. But so does everybody who wants to make a living with art. Making a living in the arts (ANY art) is hard. Here’s an example I’ve used several times: I’m a pretty good ballroom dancer. (Really. Publishers love it when I come to their publishing balls, since there will be 300 authors and 6 guys who know how to dance.) I took lessons, was in dance classes, and hoofed it in musical theater. If you saw me on the dance floor at the Harlequin ball, you might think I was head and shoulders above most beginners. But I realize there’s a huge gap between being pretty good at the local dance club and asking people to pay $80 to come watch me dance in a show on Broadway. There’s a gap between being “pretty good” and being “a professional.”

        My son is a good guitar player, but there’s quite a leap from playing in a garage band and asking people to plunk down $18 for your latest album on iTunes. My daughter Molly could act and was in the plays in school — but there’s a big gap between “being pretty good in the high school comedy” and “asking people to come see me at an equity theater.” All of us who grew up in churches have heard really good singers over the years… but there’s a big gap between the woman who is pretty good with a solo in the Christmas concert and the professional singer who has been granted a record contract.

        So just because someone is a pretty fair writer doesn’t mean she can expect a reader to pay $25 for her

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      • June 25, 2014

        As a working writer, how do I create a budget?

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        Several people read my Monday blog and asked me, “What does a writing budget look like?”

        Here’s the basic idea…

        1. The author sets a financial goal for the year. It’s got to be something that is livable (if the writer is attempting to make this a full-time job) and reachable (so there’s no setting a goal of “a bazillion dollars”). Let’s say, for someone just moving into full-time writing, the goal is $36,000 per year. Yeah, that’s pretty skinny, but at least it’s a real wage for most writers. So figure out how much you need to earn in a year from your writing.

        2. I encourage an author to break that annual figure into monthly chunks — so in our example, the author’s goal is $3000 per month.

        3. The next step is to add up what the author expects to earn on the writing they are doing. How much in contracts does she already have? What other writing does she know she’ll be doing and getting paid for? That will help her figure out how much money is coming in, and how much she needs to add. Let’s say an author has a royalty check coming in May, expects to have completion money on a book contract in July, and is expecting to sell a project in October. All you have to do is to figure out the amounts and write them onto your writing calendar. Nothing will give an author more clarity than hard numbers written down on a calendar — it’s a way of saying, “I’m making this… so now I need to work to make that.”

        4. The obvious thing to do next is to match up dates and amounts. If you know you’re going to be working on a book in March/April/May, you can write down how much you’re making on that project. By looking at your calendar, you’ll see where

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      • June 23, 2014

        How can a writer create a career plan?

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        I have a background in organizational development — my graduate degree focused on how an organization grows and changes over time. In my job as a literary agent, I’ve found it’s proven helpful when talking to writers about their careers. You see, my contention is that some agents pay lip service to “helping authors with career planning,” but many don’t really have a method for doing that. (Actually, from the look of it, some don’t even know what it means. I think “career planning” to some people is defined as “having a book contract.”) During my doctoral program at the University of Oregon (Go Ducks!), I served as a Graduate Teaching Fellow in the Career Planning and Placement Office. The focus was on helping people graduating in the arts figure out how to create a career plan, and that experience allowed me the opportunity to apply the principles of organizational theory to the real-world setting of those trying to make a living with words. In other words, I figured out how to walk an author through a real-world career map. So here are a few things I like to consider when talking with a writer…

        First, I want to get to know the author. Who is he (or she)? What’s the platform he brings to the process? Does she speak? If so, where, how often, to whom, to how many, and on what topics? Does he have experience with other media? What kind? What’s her message? What books has she done in the past? What other writing is the author doing that could boost the platform? If I can get to know an author, I can better help him or her to make wise career decisions that fit their own personal vision.

        Second, I want to find out about the author’s past. What were the significant events and accomplishments? What experiences did the author have that she liked or hated?

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      • June 18, 2014

        Ask the Agent: "How am I paid on my book contract?"

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        Someone wrote me to ask, “Can you explain how money is paid on a traditional publishing contract? I’ve got a contract in front of me, and I don’t understand it.”

        Happy to explain it. First, when you sign to do a book with a legacy publisher, most authors are paid an advance against royalties upon signing the contract. There’s a long tradition of publishers paying advances to authors, since it allows the author to survive while he or she is working on the book. This isn’t free money — it’s sort of a no-interest loan that will be earned back after your book releases.

        Let’s say the contract calls for a total advance of $20,000. Typically you’d get one-third of this on signing, another third upon turning in the completed work, and the last third upon publication. (That said, there are a million ways to divide the advance. Some pay half on signing, some pay a percentage when the author completes the bio and marketing forms, Random House wants to pay a portion when the book flips from hardcover to trade paper, etc.) So when your book releases, you’re now in the red $20,000 with the publisher. You’ve been paid that amount, but you haven’t earned anything back yet. Again, that’s not a loan that needs to be paid back, but it’s advance that needs to be worked off — or, in the parlance of the industry, it needs to be “earned out.”

        Second, as your book sells you are credited with money for each sale. That’s your royalty money, and with each sale it slowly reduces that $20,000 debt. Most trade publishers in the general market (that would include Random House, HarperCollins, Penguin, Simon & Schuster, Hachette, etc.) pay a standard royalty on hardcover books: 10% of the book’s retail price on the first 5000 copies sold, 12.5% on the next 5000 copies sold, and 15% thereafter. Royalties for

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      • June 16, 2014

        Can a novelist market herself?

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        A woman I met at a conference wrote and asked, “Is it really possible to market yourself as a novelist?”

        I definitely think it’s possible for a novelist to market himself or herself. Over the past couple years, I’ve tried to share some thoughts on how novelists can market themselves, so you may find it helpful to meander back through my posts in order to look for ideas. But here’s the big picture: In my opinion, a novelist has to begin seeing herself not just as an artist (which you, as a writer, most certainly are), but also as a brand name or commodity that deserves marketing. And that means creating a well-thought-out plan for marketing yourself and your work. (Okay, I’ll admit that part of me hates writing that. I don’t like talking about words as “commodities,” and treating the writing arts as though they were cans of corn. But let’s face facts — I’m talking with writers who want to make a living writing, and that translates to selling books.)

        Non-fiction writers find it easier to do some basic marketing, since they have a topic or hot-button issue that is clearly discernable. If you were to write a book on losing weight or making money or raising kids, the potential audience for such a topic is easy to recognize. You can go onto radio programs and talk about the problem and the solutions you’re offering, or write articles for magazines and e-zines that explore your particular approach to the issue. With fiction, it’s tougher. Good stories are not about one topic, but explore numerous threads. And no radio or TV program wants to invite you on to re-tell your novel. So instead of focusing on the story, most fiction writers find they have to focus on the author or the genre. In other words, you and your voice becomes the focus of your marketing. This is why

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      • June 5, 2014

        Thursdays with Amanda: The Extroverted Writer

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        2014AmandaAmanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.

         

        Well, I’m at conference (again!) and so this Thursday, let me leave you with an FYI that The Extroverted Writer is now available in print!! (Not everyone knew this!). 

         

         

        And here are some places around the web, worth checking out:

        FRONT Business_Card_Vertical

        Estimating Kindle Sales from Amazon Rankings

        Are You Boring Your Social Media Followers?

        Nine Unconventional Writers Residencies

         

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      • June 2, 2014

        What should I ask a prospective agent?

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        A friend wrote to say, “You’ve said several times that an author should ask a prospective agent some questions in order to get to know him (or her). I’m going to a conference in a couple months — what sort of questions should I ask?”

        I’ve talked about this question a couple of times, and I think the answer keeps changing as the industry evolves. Here are some thoughts to get you started…

        -How long have you been doing this?
        -How many contracts have you negotiated for authors?
        -Who do you represent?
        -What publishing houses have you worked with in the past year?
        -Which editorial personnel have you done deals with?
        -How many deals have you done in the past year?
        -What sort of authors and projects do you represent?
        -What do you like to read? (Ask for titles.)
        -Can you give me a couple book titles you sold that you loved?
        -Can you give me a couple book ideas you sold that you loved?
        -Do you offer editorial input to authors?
        -How often will we be in touch?
        -What would you say are your best skills?
        -What’s unique about your agency?
        -What percentage do you earn on a book deal?
        -Are there any hidden fees or charges? Any up-front costs?
        -Do you charge back your expenses?
        -How do you handle legal or accounting issues?
        -In what ways do you get involved in marketing?
        -Have you ever worked in publishing or done any editing or writing?
        -How do you approach career planning?
        -Do you work by yourself?
        -Are you full time?
        -Are you a member of AAR?
        -How long have you been in business?
        -How many people work at your agency?
        -About how many books do you contract in a year?
        -Will you be handling my work, or will someone else?
        -What are your expectations of me as a client?
        -Can you help me if I want to self-publish?
        -How

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      • May 21, 2014

        FINDING, AND TRUSTING, AN AGENT

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        BY CHIP MACGREGOR

        Someone wrote to say, “I heard an agent speak at our writing group. He sounded interesting, so I went to his website, which is interesting but I wasn’t sure I could trust it. You have to contract with them for a year and pay an up-front fee of $195, though it’s not clear if that is per project for for all your works. Is that the usual course?“

        Yikes. Several thoughts come to mind . . .

        First, don’t go to any agent that asks for an up-front fee. That screams rip-off. I don’t know of any credible literary agent who asks you to send him or her a check right off the bat. You can’t be a member of AAR by charging fees, and you’ll get listed in “Predators and Editors” if you do. Stay away from fee-based agents. (And if you’re interested in this topic, I highly recommend the book Ten Percent of Nothing, which offers a fine expose’ of scam agents.)

        Second, you don’t want to sign up with an agent you know nothing about. Websites are marketing tools, and some of them over-promise when in reality the agent will under-deliver. I can claim anything I want on my website (that I’m the best agent in history, that I’ll make you a million dollars, that I look exactly like Brad Pitt), but if we don’t know each other, and if we’ve never met, HOW IN THE WORLD DO YOU KNOW WHAT TO BELIEVE? Be cautious over sites that over-promise. (For the record, I look exactly like Brad Pitt. Especially if you stand far away. And squint. And are blind.)

        Third, be wary of agents trolling for business by sending you advertisements. It’s one thing to meet someone at a conference, or to begin a dialogue over a submission you’ve sent in — most of the authors we represent we met somewhere and

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      • May 1, 2014

        Thursdays with Amanda: The Future of Literary Agents in a Digital World

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        2014AmandaAmanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.

         

        All this talk about hybrid authors and self-publishing, and there’s one question that is bound to surface:

        Are agents a dying breed?

        Maybe. I mean some freakish thing could happen that changes everything and puts the final set of nails in the Literary Agent coffin, but the way things are shaping up, my answer would be “no.” We aren’t a dying breed, and here’s why…

        AGENTS AND SMALL OR INDEPENDENT HOUSES

        I’m no expert on the history of the literary agent, but it’s quite clear that the role was developed out of necessity. The typewriter, and later email, made it ridiculously easy for anyone to pound out a terrible novel and send it to the best editors the industry had to offer. Those terrible novels would fill up the queue, thus suffocating the really great publishable novels. Editors, whose time is valuable and limited…and who also have a tendency to spend much more time analyzing a manuscript than an agent does…eventually turned to agents to help weed through the bad and find the good.

        While we tend to think that indie and small houses are there for the unagented, the fact of the matter is that these publishers are more than willing to work with agents. In fact, they many times welcome it. They love when someone else has vetted the material before they even have to give it a look. And consequently, an agent can many times get a faster response from them than your typical unagented author. Why? Because there is a sense of professional responsibility.

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      • April 30, 2014

        What would you ask a literary agent? (the wrap up)

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        A handful of leftover questions from our month of “sitting down with a literary agent” series…

        Can a person who does not aspire to fame be a successful writer?

        Of course. Some writers are looking for fame, but in my experience most get into writing because they have a story to tell. By the same token, some writers embrace the “fame” aspect of getting published, and love the attention it creates, while others hate it, and just want to write and maintain their privacy. There are plenty of examples of both. Perhaps this is getting skewed today because of social media, which can sometimes make it seem like every author is required to be an extrovert. But my feeling is that there are a lot of introverted writers, who don’t seek to be everywhere, all the time, commenting on everything.

        If I have a really well-written book, how can I meet literary agents?

        You can go to conferences and meet some agents face to face. You can go to a book show or industry event and get in touch with agents. You can talk to published authors about their current agent. You can look at Chuck Sambucino’s Guide to Literary Agents, or Jeff Herman’s Guide to Book Publishers, Editors, and Literary Agents. You can go to the Association of Author Representatives website, or to AgentResearch.com. You can find out who the busiest agents are, or which agents tend to work in your genre by joining Publishers Marketplace and researching their database. Or I suppose you could do it the old fashioned way and try to get a face-to-face meeting by sending them a fabulous proposal and showing up to talk. No matter what you do, spend some time researching the agent to make sure he or she is a fit, what they require in a proposal, and how they work with authors. You can also go to Predators & Editors

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