Before I go, time for one more question then. Hi Callalily61. I appreciate that you have knowledge of business practices, and understand your concerns. All purchases of our books are through a distributor. The distributor takes the payment, dispatches the book to the buyer and then pays us after a set amount of time has passed (30 days). The same is true of our e-books through Amazon.com (60 days). All records are precisely kept, and the only benefit to 'Horrified Press', in regards to the 40% profits withheld, is what we can do with it, for our authors and for 'Horrified Press' to move forward and become a bigger concern. I hope you will support me, and more importantly our authors in this aim, and I shall be extremely happy to issue our first payments to those authors, hopefully soon.
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That's not publishing experience, and therefore didn't prepare you to work in publishing.
I assume you weren't working for the distributor (which one was it, by the way?), but for the "large corporate institutions". Were they publishers?
So you have no real experience of working in publishing.
I've had several hundred short stories, poems, articles and books published with a variety of presses: some small, most of them big.
Having one's work "entered into the British Library" doesn't make one special, by the way: it's a legal requirement.
Payment via exposure is very rarely worth working for.
To summarise: you spent three years writing for exposure or very little money, then decided to set up your own publisher (despite having no experience of working in publishing that I can see) in order to "help others".
Did your efforts to help others have the side benefit of getting your own work published?
I'd be more impressed if you were encouraged to do this by publishing professionals who know what they're doing, and think you can do a good job.
My mother thinks that I, a plump, grey-haired housewife in her fifties, am the image of Nigella Lawson. She adores me. I am grateful for this. But I wouldn't start a business because she told me how good I'd be at it.
If you're publishing the works of others, then of course you should edit their books and not charge for that. I do hope you've employed experienced, knowledgeable editors to do this work.
I'm interested to hear how you're "organizing the supply chain": do you have distribution? If so, which company is handling it for you?
If you make a payment after every 150 copies sold, and you claim this gives you less admin than publishers which pay at specific intervals, then you're suggesting that your books sell fewer than 150 copies per month, six months, or year. Which seems a very low rate of sales to me, and gives me another reason to avoid your press.
Ah. So when you said earlier that you were going to "set about organising the supply chain", you didn't mean that you had distribution, because if you did, your books would already be in bookshops.
And if your authors "could potentially reach the sales of 100 paperbacks quite quickly" "Once [you] get our titles into bookstores", then that implies that right now, your authors aren't making as many sales as that at the moment. Which is a worry, considering that you only pay them "once [you] clear 150 copies of the e-book edition".
I'm sorry, Mr Horrified, but I'm not impressed by your press, or by your ability to run a publishing company. I see too many flaws in your reasoning, and too many gaps in your knowledge and experience.
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"I have experience in business, running two small businesses for a period of thirteen years, although, these were unrelated to publishing."
That's not publishing experience, and therefore didn't prepare you to work in publishing.
A: It prepared me for business.
I have since worked for large corporate institutions, one of which had me organizing the sales and distribution of books through the leading book distributors within the UK.
I assume you weren't working for the distributor (which one was it, by the way?), but for the "large corporate institutions". Were they publishers?
A: No. They sold books and I used to deal with distributors at a head office level.
I self published my debut novel 'Infatuation - the story of the snow queen', then went on to write and publish a second 'Hilltop Manor - Gale's story'. My second novel was also serialized for free in a popular webzine, for exposure only. My experience in the world of publishing is from a personal perspective in both the corporate world and through my own endeavors.
So you have no real experience of working in publishing.
A: I do, because I had to publish these books and market them.
As a writer who only returned to the field three years ago, I have had over fifty short stories and poems published with a variety of presses; some small, some big. Some of my work has even been entered into the British Library.
I've had several hundred short stories, poems, articles and books published with a variety of presses: some small, most of them big.
A: Sincerely, congratulations!
Payments for my work have either been for exposure or very little monetary payment; of which I have put into 'Horrified Press'.
Payment via exposure is very rarely worth working for.
A: Not always the case, but if that is what you have experienced... okay.
If you wish to know if I have any professional training, the answer is yes and no. I'll explain...
Did I study my craft through recognized learning institutions after I left college education? No. Did I work hard with recognized, published authors to learn my skills in the field? Yes. For three years I knuckled down and worked on my writing career every chance I could get. I did this because I love the genre and finally connected with my true calling, that of telling stories. Horrified Press was set up by myself (Nathan J.D.L. Rowark), so that I could push my own work myself and gain control over it more, putting its success firmly in my hands. After struggling to learn my craft, and perfect it to a high standard, I then made the decision that I would enjoy helping others.
To summarise: you spent three years writing for exposure or very little money, then decided to set up your own publisher (despite having no experience of working in publishing that I can see) in order to "help others".
Did your efforts to help others have the side benefit of getting your own work published?
A: I gained experience by working in the field and by having the advice and support of established, contracted writers to guide me. They liked my work and felt I had talent that needed refining (wasn't that true). Through the support of established authors, I became a better writer. Then I decided to pass that knowledge on to other authors (where they need it), because I wanted to 'Help Others'. And I didn't need to do it to publish my own work because I already had.
This decision was encouraged by my peers, and by those who know me personally.
I'd be more impressed if you were encouraged to do this by publishing professionals who know what they're doing, and think you can do a good job.
My mother thinks that I, a plump, grey-haired housewife in her fifties, am the image of Nigella Lawson. She adores me. I am grateful for this. But I wouldn't start a business because she told me how good I'd be at it.
A: Other members of the horror writing community suggested it to me, and those who knew me supported me because I wasn't sure if it was the best thing to do. They gave me the confidence to take the next step because they believe I can make a valuable contribution to the genre.
My mother suggested nothing - she's dead.
New writers would gain free editing services and advice on how to progress. They would also gain exposure. I set about creating our first anthologies, and am so proud of our authors efforts. The quality of tales submitted was of an incredibly high standard, and the books themselves came out wonderfully. After release, around 6-8 weeks now, I set about organizing the supply chain, so they will reach even more people than they already have as the months progress.
If you're publishing the works of others, then of course you should edit their books and not charge for that. I do hope you've employed experienced, knowledgeable editors to do this work.
I'm interested to hear how you're "organizing the supply chain": do you have distribution? If so, which company is handling it for you?
Firstly, to clarify, once we clear 150 copies of the e-book edition of a book our authors have been featured, then they will receive a 60% share of that revenue, and from every 150 copies that follow. Two reasons for this. The first, it gives the author a bigger payment. Second, less administration. One payment made to each author every 150 copies sold. [/QUOTE]
If you make a payment after every 150 copies sold, and you claim this gives you less admin than publishers which pay at specific intervals, then you're suggesting that your books sell fewer than 150 copies per month, six months, or year. Which seems a very low rate of sales to me, and gives me another reason to avoid your press.
A: By organizing the supply chain, I mean making sure everything is in place and it gets to the bookstores from the main distributors. In the case of our books, when this was checked, it had to be altered through Nielsen and the distributor.
Professional editors (who became so by writing and editing in the field) have offered me assistance. It's nice to get that, and big of them to extend the hand of friendship and their reputations in this way.
Once we get our titles into bookstores (and they are currently of a quality where it is feasible), our authors could potentially reach the sales of 100 paperbacks quite quickly, and multiple times in a month.
Ah. So when you said earlier that you were going to "set about organising the supply chain", you didn't mean that you had distribution, because if you did, your books would already be in bookshops.
And if your authors "could potentially reach the sales of 100 paperbacks quite quickly" "Once [you] get our titles into bookstores", then that implies that right now, your authors aren't making as many sales as that at the moment. Which is a worry, considering that you only pay them "once [you] clear 150 copies of the e-book edition".
A: Currently we are making sales through on-line means. This means our authors are already on their way to a royalty payment. Sales would be greatly improved by having these books on bookstore shelves. Unfortunately, distributors and bookstores are separate entities. Now the supply chain has been rectified, we are ready to approach them. Samples have been delivered, letters written, and I am currently awaiting a meeting, to be scheduled by a bookstore chain and at their convenience.
If it was up to me it would be tomorrow. Everything that has been within my remit... choosing covers, designing graphics, editing our books, communicating with authors, supporting authors, has been handled with expediently and with professionalism.
I'm sorry, Mr Horrified, but I'm not impressed by your press, or by your ability to run a publishing company. I see too many flaws in your reasoning, and too many gaps in your knowledge and experience.
A: I've answered your points. My name is Nathan J.D.L. Rowark. My reasoning is fine, I have had lots of experience and have been offered the experience of long-term writers and publishers in support of my aims since the original thread was posted that started this debate on our practices. If people really want to know what our books are like, I call them on it - BUY THEM! Give our authors a chance to make their royalties quicker, and enjoy the hard work and professionalism that a small press has proved it can accomplish.
That's not publishing experience, and therefore didn't prepare you to work in publishing.
A: It prepared me for business.
I have since worked for large corporate institutions, one of which had me organizing the sales and distribution of books through the leading book distributors within the UK.
I assume you weren't working for the distributor (which one was it, by the way?), but for the "large corporate institutions". Were they publishers?
A: No. They sold books and I used to deal with distributors at a head office level.
I self published my debut novel 'Infatuation - the story of the snow queen', then went on to write and publish a second 'Hilltop Manor - Gale's story'. My second novel was also serialized for free in a popular webzine, for exposure only. My experience in the world of publishing is from a personal perspective in both the corporate world and through my own endeavors.
So you have no real experience of working in publishing.
A: I do, because I had to publish these books and market them.
As a writer who only returned to the field three years ago, I have had over fifty short stories and poems published with a variety of presses; some small, some big. Some of my work has even been entered into the British Library.
I've had several hundred short stories, poems, articles and books published with a variety of presses: some small, most of them big.
A: Sincerely, congratulations!
Payments for my work have either been for exposure or very little monetary payment; of which I have put into 'Horrified Press'.
Payment via exposure is very rarely worth working for.
A: Not always the case, but if that is what you have experienced... okay.
If you wish to know if I have any professional training, the answer is yes and no. I'll explain...
Did I study my craft through recognized learning institutions after I left college education? No. Did I work hard with recognized, published authors to learn my skills in the field? Yes. For three years I knuckled down and worked on my writing career every chance I could get. I did this because I love the genre and finally connected with my true calling, that of telling stories. Horrified Press was set up by myself (Nathan J.D.L. Rowark), so that I could push my own work myself and gain control over it more, putting its success firmly in my hands. After struggling to learn my craft, and perfect it to a high standard, I then made the decision that I would enjoy helping others.
To summarise: you spent three years writing for exposure or very little money, then decided to set up your own publisher (despite having no experience of working in publishing that I can see) in order to "help others".
Did your efforts to help others have the side benefit of getting your own work published?
A: I gained experience by working in the field and by having the advice and support of established, contracted writers to guide me. They liked my work and felt I had talent that needed refining (wasn't that true). Through the support of established authors, I became a better writer. Then I decided to pass that knowledge on to other authors (where they need it), because I wanted to 'Help Others'. And I didn't need to do it to publish my own work because I already had.
This decision was encouraged by my peers, and by those who know me personally.
I'd be more impressed if you were encouraged to do this by publishing professionals who know what they're doing, and think you can do a good job.
My mother thinks that I, a plump, grey-haired housewife in her fifties, am the image of Nigella Lawson. She adores me. I am grateful for this. But I wouldn't start a business because she told me how good I'd be at it.
A: Other members of the horror writing community suggested it to me, and those who knew me supported me because I wasn't sure if it was the best thing to do. They gave me the confidence to take the next step because they believe I can make a valuable contribution to the genre.
My mother suggested nothing - she's dead.
New writers would gain free editing services and advice on how to progress. They would also gain exposure. I set about creating our first anthologies, and am so proud of our authors efforts. The quality of tales submitted was of an incredibly high standard, and the books themselves came out wonderfully. After release, around 6-8 weeks now, I set about organizing the supply chain, so they will reach even more people than they already have as the months progress.
If you're publishing the works of others, then of course you should edit their books and not charge for that. I do hope you've employed experienced, knowledgeable editors to do this work.
I'm interested to hear how you're "organizing the supply chain": do you have distribution? If so, which company is handling it for you?
Firstly, to clarify, once we clear 150 copies of the e-book edition of a book our authors have been featured, then they will receive a 60% share of that revenue, and from every 150 copies that follow. Two reasons for this. The first, it gives the author a bigger payment. Second, less administration. One payment made to each author every 150 copies sold. [/QUOTE]
If you make a payment after every 150 copies sold, and you claim this gives you less admin than publishers which pay at specific intervals, then you're suggesting that your books sell fewer than 150 copies per month, six months, or year. Which seems a very low rate of sales to me, and gives me another reason to avoid your press.
A: By organizing the supply chain, I mean making sure everything is in place and it gets to the bookstores from the main distributors. In the case of our books, when this was checked, it had to be altered through Nielsen and the distributor.
Professional editors (who became so by writing and editing in the field) have offered me assistance. It's nice to get that, and big of them to extend the hand of friendship and their reputations in this way.
Once we get our titles into bookstores (and they are currently of a quality where it is feasible), our authors could potentially reach the sales of 100 paperbacks quite quickly, and multiple times in a month.
Ah. So when you said earlier that you were going to "set about organising the supply chain", you didn't mean that you had distribution, because if you did, your books would already be in bookshops.
And if your authors "could potentially reach the sales of 100 paperbacks quite quickly" "Once [you] get our titles into bookstores", then that implies that right now, your authors aren't making as many sales as that at the moment. Which is a worry, considering that you only pay them "once [you] clear 150 copies of the e-book edition".
A: Currently we are making sales through on-line means. This means our authors are already on their way to a royalty payment. Sales would be greatly improved by having these books on bookstore shelves. Unfortunately, distributors and bookstores are separate entities. Now the supply chain has been rectified, we are ready to approach them. Samples have been delivered, letters written, and I am currently awaiting a meeting, to be scheduled by a bookstore chain and at their convenience.
If it was up to me it would be tomorrow. Everything that has been within my remit... choosing covers, designing graphics, editing our books, communicating with authors, supporting authors, has been handled with expediently and with professionalism.
I'm sorry, Mr Horrified, but I'm not impressed by your press, or by your ability to run a publishing company. I see too many flaws in your reasoning, and too many gaps in your knowledge and experience.
A: I've answered your points. My name is Nathan J.D.L. Rowark. My reasoning is fine, I have had lots of experience and have been offered the experience of long-term writers and publishers in support of my aims since the original thread was posted that started this debate on our practices. If people really want to know what our books are like, I call them on it - BUY THEM! Give our authors a chance to make their royalties quicker, and enjoy the hard work and professionalism that a small press has proved it can accomplish.
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I would like to say I'm glad the owner of Horrified Press has come here to respond to our question in a civilized manner. That isn't always the case, and it shows professionalism from the owner's side.
However, I have to agree with what Old Hack said. Experience running a business isn't the same as experience in a publishing business. Being a writer isn't the same as being an editor. It's one thing to publish or edit your own manuscript, but something else altogether when you're responsible for publishing or editing someone else's manuscript.
That said, I wouldn't buy a Horrified Press anthology. Not because I don't want to support new authors - hey, if I was a billionaire, I'd support all authors - but because buying those anthologies wouldn't support the authors, since they wouldn't see a dime, unless of course I'd purchase 150 copies at once.
I don't understand publishers who only pay authors 'when a certain quota has been reached'. If the publisher earns from the get-go, why not share that profit with the authors? I've heard publishers go on and on about how they have to break-even first and all that. But it's a publisher's job to break even, and then to (hopefully) make a profit. It's the author's job to write. An author shouldn't have to suffer because a publisher can't manage to do their job.
However, I have to agree with what Old Hack said. Experience running a business isn't the same as experience in a publishing business. Being a writer isn't the same as being an editor. It's one thing to publish or edit your own manuscript, but something else altogether when you're responsible for publishing or editing someone else's manuscript.
That said, I wouldn't buy a Horrified Press anthology. Not because I don't want to support new authors - hey, if I was a billionaire, I'd support all authors - but because buying those anthologies wouldn't support the authors, since they wouldn't see a dime, unless of course I'd purchase 150 copies at once.
I don't understand publishers who only pay authors 'when a certain quota has been reached'. If the publisher earns from the get-go, why not share that profit with the authors? I've heard publishers go on and on about how they have to break-even first and all that. But it's a publisher's job to break even, and then to (hopefully) make a profit. It's the author's job to write. An author shouldn't have to suffer because a publisher can't manage to do their job.
You do make an interesting and valid point, Eternalised. I would love to have more financial backing, in order to pay authors from the get-go. It would have made things much easier, for myself and them. I deal with what I have and I have laid my cards on the table. Thanks for asking questions, and I do see the frustration from the authors point of view, as well. All I can say is, when I say we offer a professional service to our authors, we do. Those same authors are also nearer to a payment than some may think. If people were to give us that little push, they would not only enjoy what they purchase, but our authors could reap the rewards, as well. As for showing professionalism by answering your questions, it's part of my job to respond to criticisms. I also appreciate our authors patience as we take our first steps, and will do everything in my power to make sure it is rewarded in the near future 
Actually, I have just checked some figures and would like to report (and will do on our facebook page shortly) that contributors to our anthology 'Tales of the Undead - Hell Whore' are already half way towards meeting their first royalty payment, based on paperback sales, and the book has only been available on-line for 6-8 weeks. Half way to happier days!
It is very nice to see a small press owner being civil. Greetings, welcome, sorry for the harsh reception.
And yeah, I'm thirding what Old Hack said. Sorry, but she's right. You can't jump from self-publishing to publishing other people's books. I gleefully self publish, but I wouldn't dream of publishing somebody else's work.
And it REALLY isn't right to not pay your authors. Even if you have to reduce royalty payments to quarterly and write two dollar checks to your authors, they should be getting SOMETHING. Authors deserve to be paid.
And yeah, I'm thirding what Old Hack said. Sorry, but she's right. You can't jump from self-publishing to publishing other people's books. I gleefully self publish, but I wouldn't dream of publishing somebody else's work.
And it REALLY isn't right to not pay your authors. Even if you have to reduce royalty payments to quarterly and write two dollar checks to your authors, they should be getting SOMETHING. Authors deserve to be paid.
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My concern with the 150 is that what if you only sell 148 copies? Or 299? Essentially, it sounds like you just won't receive payment for those copies. Or, maybe you will if you wait long enough? In the meantime, the publisher is making money on those books, so it seems only right to me that the authors should as well.
At least with quarterly payments you're paid on a regular basis and you know what to expect, and you don't have to worry about not getting paid for 100 copies sold.
At least with quarterly payments you're paid on a regular basis and you know what to expect, and you don't have to worry about not getting paid for 100 copies sold.
Hi Christwriter, and it's okay, about the reception . I see your point, about what makes me think I can edit a book when all the experience I'd received (before the 90 or so writers I've since edited work by) was my own. But that leap of faith, and faith that I could perform that duty to a diligent end has led me to do just that. Often times, and you could apply this to most things in life, you have to do it before you know it, or at least try. I was sure of my abilities and made good on them. Good for me, and good for our writers. I was reluctant at first, to take on such a difficult and demanding role, but have proved it was the next step to take, for them and for me. Could it have gone wrong? No. I would never have put myself up for the role if I felt it would cause misrepresentation or damage to another author's work. Has it? Nope. It's helping certain writers to move on in their careers, and it has been a pleasure to help them do so
. I see your point, about what makes me think I can edit a book when all the experience I'd received (before the 90 or so writers I've since edited work by) was my own. But that leap of faith, and faith that I could perform that duty to a diligent end has led me to do just that. Often times, and you could apply this to most things in life, you have to do it before you know it, or at least try. I was sure of my abilities and made good on them. Good for me, and good for our writers. I was reluctant at first, to take on such a difficult and demanding role, but have proved it was the next step to take, for them and for me. Could it have gone wrong? No. I would never have put myself up for the role if I felt it would cause misrepresentation or damage to another author's work. Has it? Nope. It's helping certain writers to move on in their careers, and it has been a pleasure to help them do so Kaitie. You have made an extremely valid point. What if we sell 99 copies of the paperback and never reach 100? The reason for the limit isn't to withhold payment from authors for as long as we can, it's to pay them a healthy and reasonable amount when we do. If we hit numbers like 97-98, and for some reason the book in question stopped selling for longer than, let's say... a week? I'd still make the payment, anyway.
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Wouldn't it be better to have that in writing, though? I mean, it's great that you say that (and I mean that, and I'm not implying that you don't have every intention of doing that), but at the same time, the contract is what authors have to protect us. If the contract said 150 and an author sold 98 and was never paid for those 98, they'd have no recourse because the contract states 150, you know?
I'm not saying you're trying to screw writers over, just that I don't think these are particularly good terms for writers.
I'm not saying you're trying to screw writers over, just that I don't think these are particularly good terms for writers.
Again, a valid point Kaitie. But these rules aren't in place to beat writers to death with like a big stick. I know what you mean, but it would be a difficult thing to draft into a contract. I do promise (on a public board, no less) that that will be the case, that I will issue a payment if sales of a particular title do fall short slightly and stop for some reason. Let's hope they don't Let's hope they continue on so the contributors to that title receive a second payment, a third. This is where the next part of my job description becomes relevant - highly relevant. We need to get these titles into bookstores, and if nothing is heard by next week, I shall be chasing them up. To add, we are still waiting for our titles to become available on various on-line platforms too. The process for this is a long one but has been entered into. As the weeks progress, you should see the reach of our titles expand. You know, being a writer myself, it does 'Horrified Press' no good to bite the hand that feeds it. Our writers are important to this business. I only wish to do right by them more and more as we continue on this journey... together. As we progress, will there be further changes made along our path? I'm sure there will, and they will only be for the benefit of all concerned, those that read our books and contribute. The road is long...
Let's hope they continue on so the contributors to that title receive a second payment, a third. This is where the next part of my job description becomes relevant - highly relevant. We need to get these titles into bookstores, and if nothing is heard by next week, I shall be chasing them up. To add, we are still waiting for our titles to become available on various on-line platforms too. The process for this is a long one but has been entered into. As the weeks progress, you should see the reach of our titles expand. You know, being a writer myself, it does 'Horrified Press' no good to bite the hand that feeds it. Our writers are important to this business. I only wish to do right by them more and more as we continue on this journey... together. As we progress, will there be further changes made along our path? I'm sure there will, and they will only be for the benefit of all concerned, those that read our books and contribute. The road is long...
priceless1
Banned
This is where your self-publishing experience hinders you because there's nothing difficult about it. Royalty payments and schedules are always included in the contract. It's the norm. Agents would scream bloody murder if you didn't have them.
Again, this is where you lack of experience defeats you. Promising something has zero meaning, and many of us in the publishing industry have seen publishers come and go, all who made grand promises. Unless it's in a contract, your word means zilch, no matter how kind and good your intent.
Hi Priceless1,
I think you misunderstand me. Our royalty details are in our contracts. What Kaitie was talking about is a hypothetical situation where the sales of one of our titles stops just short of the contracted payment threshold. In this instance, I would make a separate call from what is stated in our contracts and make the payment early as a gesture of good faith to our authors.
I think you misunderstand me. Our royalty details are in our contracts. What Kaitie was talking about is a hypothetical situation where the sales of one of our titles stops just short of the contracted payment threshold. In this instance, I would make a separate call from what is stated in our contracts and make the payment early as a gesture of good faith to our authors.
priceless1
Banned
Well, then I have to fall back on what has already been stated; that as a publisher, you owe it to your authors to pay royalties on all sales - not until they meet some arbitrary number of sales because you don't have the operating capital in which to pay them. How does this instill confidence in your company?
Running a publishing company is hideously expensive, and one must have a healthy bank roll in order to do a proper job of editing, doing print runs, marketing, promotion, distribution. I don't know of any successful publisher who started out with very little money. I'm sure one or two exist, but it's the exception, not the rule.
Given your business model and lack of publishing or editing experience, I don't understand how you're in a position to determine a marketable book. I'm sure you have a good heart and want to do well, but it takes a lot more than that to make a successful company.
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Horrifiedpress:
Thank you for responding politely to the probing questions we ask of every publisher here. Our goal is to help writers make the most informed choices possible.
After reading all your responses, I still would never sub a story to one of your anthologies because everything you've said confirms that your payment structure benefits Horrified Press and not the authors.
I sub only to magazines and anthologies that have the funds in place to pay authors up front, and have wide distribution to pay royalties.
YMMV.
Thank you for responding politely to the probing questions we ask of every publisher here. Our goal is to help writers make the most informed choices possible.
After reading all your responses, I still would never sub a story to one of your anthologies because everything you've said confirms that your payment structure benefits Horrified Press and not the authors.
I sub only to magazines and anthologies that have the funds in place to pay authors up front, and have wide distribution to pay royalties.
YMMV.
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This strikes me as what's called "a forward-looking statement." That is, it's what this press wants to do, not what it actually does right now. A pious hope rather than a performable promise.
It might be best to revisit the question after this goal has been achieved, and, in the meantime, it might be best for authors to consider presses that already do, today, what this press hopes for some day in the indefinite future.
As far as contracts, it's a good rule for writers to negotiate the contract as if, twenty minutes after it's signed, the publisher will be hit by a bus and the business taken over by his evil twin. If something isn't in the contract, it isn't there. If something is in the contract, even if the publisher verbally assures the author, "We never enforce that clause," count on it: They will.
May I suggest that if some publisher doesn't have the capital to pay royalties from the sale of the first copy they don't have the capital to be in business at all; they are expecting authors to subsidize them.
Last, may I invite you to read Why Publishers Fail. It may prove interesting.
May I suggest that if some publisher doesn't have the capital to pay royalties from the sale of the first copy they don't have the capital to be in business at all; they are expecting authors to subsidize them.
Stone cold...
Stone cold...
If I had a time machine I would send this rule to myself about a year and a half ago, in huge fiery letters. Such good advice for any writer trying to decide whether they're getting a fair deal.
If the publisher verbally assured me, "We never enforce that clause," I'd ask them, "Then why is it in the contract at all?" Then I'd strike it out and give 'em my best "You wanna make something of it?" glare. Or I'd walk away, because what am I doing signing a contract with someone who would say "We never enforce that clause," right? Either they don't know what they're doing, or they hope that I don't know what I'm signing. Neither case is good.
Clauses are not decorative elements. They are in the contract to be enforced.
True.
Similarly, clauses which are not in the contract cannot be enforced, and so should not be assumed to be there.
Speaking as a lawyer, it's definitely not a difficult thing to draft into a contract. In fact, I can think of 3 different ways of putting it into a contract to achieve what you say you want to achieve:
(1) Lower the threshold full stop - if it's likely that people will get close but fail then the threshold's too high;
(2) Maintain the current threshold but add in a 10% lower grace figure at which the publisher can pay royalties acting reasonably and in good faith;
(3) Maintain the current threshold but add in a 10% lower grace figure at which the publisher can pay royalties acting in his discretion.
The trick is whether you want to put it in. Making public statements on forums is all well and good but the ability to enforce those statements is open to doubt so why put someone through that if you're going to be such a good chap and act in their interests anyway?
MM
Hi all,
Just to say, I can't answer all of your questions all the time, but as part of my role I will pop back on here from time to time to try and catch up with them.
That said, I wouldn't buy a Horrified Press anthology. Not because I don't want to support new authors - hey, if I was a billionaire, I'd support all authors - but because buying those anthologies wouldn't support the authors, since they wouldn't see a dime, unless of course I'd purchase 150 copies at once.
A: Every copy sold gives a share to its contributing authors. You don't need to purchase 150 copies at once, just one. As more people do the same, we will then start releasing payments to our authors.
Well, then I have to fall back on what has already been stated; that as a publisher, you owe it to your authors to pay royalties on all sales - not until they meet some arbitrary number of sales because you don't have the operating capital in which to pay them. How does this instill confidence in your company?
May I suggest that if some publisher doesn't have the capital to pay royalties from the sale of the first copy they don't have the capital to be in business at all; they are expecting authors to subsidize them.
A: Authors will receive a share of every copy sold of the book they are in. The threshold has nothing to do with operating capital. It is there so that when we do pay them, it's a reasonable amount.
Speaking as a lawyer, it's definitely not a difficult thing to draft into a contract. In fact, I can think of 3 different ways of putting it into a contract to achieve what you say you want to achieve:
(1) Lower the threshold full stop - if it's likely that people will get close but fail then the threshold's too high;
(2) Maintain the current threshold but add in a 10% lower grace figure at which the publisher can pay royalties acting reasonably and in good faith;
(3) Maintain the current threshold but add in a 10% lower grace figure at which the publisher can pay royalties acting in his discretion.
A: Thank you for this suggestion, and it will be looked into.
Just to say, I can't answer all of your questions all the time, but as part of my role I will pop back on here from time to time to try and catch up with them.
That said, I wouldn't buy a Horrified Press anthology. Not because I don't want to support new authors - hey, if I was a billionaire, I'd support all authors - but because buying those anthologies wouldn't support the authors, since they wouldn't see a dime, unless of course I'd purchase 150 copies at once.
A: Every copy sold gives a share to its contributing authors. You don't need to purchase 150 copies at once, just one. As more people do the same, we will then start releasing payments to our authors.
Well, then I have to fall back on what has already been stated; that as a publisher, you owe it to your authors to pay royalties on all sales - not until they meet some arbitrary number of sales because you don't have the operating capital in which to pay them. How does this instill confidence in your company?
May I suggest that if some publisher doesn't have the capital to pay royalties from the sale of the first copy they don't have the capital to be in business at all; they are expecting authors to subsidize them.
A: Authors will receive a share of every copy sold of the book they are in. The threshold has nothing to do with operating capital. It is there so that when we do pay them, it's a reasonable amount.
Speaking as a lawyer, it's definitely not a difficult thing to draft into a contract. In fact, I can think of 3 different ways of putting it into a contract to achieve what you say you want to achieve:
(1) Lower the threshold full stop - if it's likely that people will get close but fail then the threshold's too high;
(2) Maintain the current threshold but add in a 10% lower grace figure at which the publisher can pay royalties acting reasonably and in good faith;
(3) Maintain the current threshold but add in a 10% lower grace figure at which the publisher can pay royalties acting in his discretion.
A: Thank you for this suggestion, and it will be looked into.
priceless1
Banned
Publishers aren't concerned about paying out a "reasonable amount," they're concerned with paying out royalties against sales in a given quarter - regardless of how much or how little the check may be.
If your assertion is that this has nothing to do with operating capital, then why not pay royalties on all sales for a given quarter? This would put distance between possible suggestions that you're keeping their royalties in order to keep you afloat.
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Is it possible that they are paying royalties on all books, but they don't cut a check until a certain threshold is reached? That's not unusual. Or have I misunderstood what's going on?