Posted in Book publishers, Publishing, Self-Publishing

Are writers back in control? The electronic rights challenge

About two years ago I received an email from a former student who had stumbled upon one of my books – online.  The book was not published as an e-book.  Far from it.  In fact, when it was published in 2003, no one was even considering anything but the hold-in-your-hands, paper-between-covers kind of book.  However, it was a professional reference handbook that had continued to sell in dribs and drabs so was evidently still useful.  My student posed this question: Was I aware that it was available electronically through Questia?  I most assuredly was not.

The book I sold to a ‘traditional’ publisher after publishing the first edition myself. Then the publisher made it available on Questia without my knowledge.

I contacted the publisher (a large American textbook publisher that had since been acquired by a yet larger American textbook publisher) to try to find out how it got there, and why I wasn’t being compensated for its online use.  I got exactly nowhere.  And this is the story that came to my mind this morning as I read Simon Houpt’s article in the Globe and Mail.  He tells the story of the new e-book about (God forbid that we should need to know any more about her) Karla Homolka, accessory to brutal rape and murder a few years back.

Houpt describes the 14,000-word book Finding Karla that author and journalist Paula Todd decided to release as an e-book last week for a variety of reasons – the primary one was that since she found Homolka alive and well and living in Guadaloupe, she feared the story might be scooped by others on her trail.  Add onto this the idea that 14,000 words is more than a magazine feature and less than a “real” book and you have a writer seeking a new publishing model.  And no editor standing in front of you saying that 14,000 words are not enough.  Evidently readers beg to differ with those editors.

What’s interesting about this story is not the content of Todd’s book; rather it’s the story of how publishing models are changing.  I’ve talked about this previously, trying to figure out where all of this is heading.  But Houpt make an interestingly provocative observation of what might be happening: “…for the first time in decades, some of the power in publishing is shifting back to writers, who are trying to grab the electronic rights that publishers have been taking for granted…[1]

It’s these electronic rights and the on-going difficulty we have with publishers who seem to think they have the right to be the sole beneficiaries of the material that we slaved over.  Of course, these days a contract is likely to contain reference to electronic usage (I await my contract from the University of Toronto Press as we speak and I’ll be looking for a fair division of rights), but it still seems that unless we take matters into our own hands, we are the last ones to be paid – rather than the first.

I still haven’t figured out what to do with things I’m working on – apart from the final revisions on the UTP manuscript.  Will I dive back into the traditional publishing model; or will I go right to Kindle?  I’m thinking about it!

Posted in Reading, Writing craft

The beauty of a deadline… (OK, don’t shoot me!)

A few weeks ago I picked up a book that I didn’t realize was about deadlines.  Okay, I now recognize that Chris Baty’s entertaining little book No Plot? No Problem isn’t supposed to be about deadlines, but it is.  Baty, the creator of the National Novel Writing Month says this in the first chapter:

Deadlines are the dynamos of the modern age.  They’ve built every city, won every contest, and helped all of us to pay our taxes reasonably close to on time…a deadline is…optimism in its most ass-kicking form…a potent force… (p. 26)

…and it occurs to me that I’ve been sympathetic to this point of view for many years.  Just ask my students!

A deadline changes everything about any project that you plan to implement.  It moves you past the planning stage and drops you head first into the implementation phase, forcing you to consider milestones along the way.  And when the deadline is imposed by an external force (like your boss or your professor or your editor) those deadlines take on even greater importance.  Or do they?

I have about a dozen writing projects on the go right now.  Some of them are actually academic (low on the priority list at this point in my career), some of them are creative, and some of them are strictly personal.  The one project that gets done every week is my contribution to the travel blog I write with my husband.  Why?  Because I have a self-imposed deadline.  I made a personal commitment to a certain number of posts at certain intervals when we started on this project (which will become a book in due course) last fall, and I have neither looked back nor shirked my deadlines since.  The truth is that I have never missed an externally-imposed writing deadline, and now it occurs to me that when I have actually taken the time to create personal deadlines, my work has progressed faster and more efficiently than the more organic, artistic approach to work schedules that seem to be common among the ‘creatives’ of the world.

Case in point: I had almost forgotten, but a number of years ago I decided that I’d take a foray into screen-writing.  I think it’s because I see plot and dialogue as a kind of film running through my head when I write narrative, so I thought I might capitalize on that tendency.  I registered for a script-writing course, and set about learning the nuts and bolts of the process (not to mention learning about the paranoia that seems to run rampant through the film industry: no one wanted to share their ideas for fear of them being stolen – this never seems to happen in the world of books!).  After the course was finished, I had a notion of script framework, ideas and scraps of dialogue, but not much else.  So, I did what I always do, I bought a book on script-writing.

In fact, I bought several, but the one that really got me to a different level is not Robert McKee’s classic (and wonderful)  book titled Story; rather it is a small book called How to Write  Movie in 21 Days by Viki King.  I followed her framework for getting to a finished 90-minute script in 21 days and it worked.  I have the proof of it sitting in a drawer just waiting for a producer/director to snatch up Something I’m Supposed to Do.  But I had not noticed that her admonitions about deadlines really got inside my head.  In fact she says, “…your deadline…is your friend.  Focus to reach your deadline.  Make it your priority.  Sleep, food and phone are secondary to the deadline…” Okay, this was published in 1988.  These days she would have had to add a list of social networking sites to avoid – but I digress.

The bottom line is that if I impose a deadline on myself, I get it done.  It’s time I stopped flailing about trying to get the parts of my new novel (actually novels, and articles, and blog posts) perfect, and just get them finished.  There will always be time for editing later – with an editing deadline, of course!

Novelist Rita Mae Brown said: “A deadline is negative inspiration.  Still, it’s better than no inspiration at all.”

Posted in Book publishers, Self-Publishing

Holding self-published writers to account for quality

At the same time as I was contemplating what to do with my book that has reverted to me from a [now-defunct] publisher, I was preparing for my spring semester of teaching at MSVU.

One of the courses I’m currently teaching is related to my original area of specialization in communication: namely health communication.  I’ve written a lot in that area – including some four or five books – and had included a magazine health feature writing assignment for the undergraduate students in the course (there are also some Masters-level students who will do an analysis and critique rather than write a piece).  Since it’s been some years since I personally did medical feature writing, I thought that I’d update my reference materials so that I might be able to offer to the students a selection of recommended resources.  To that end, I began my book search where I usually begin: Amazon.  To my surprise, the up-to-date offerings are slim.  Of course, that always makes me see a trade literature gap; which makes me consider how to fill that gap; which makes me wonder if I have the expertise to write such a book…but I digress.

As I made my way through the list in search of what might be a useful book, I came upon one titled Popular Health & Medical Writing for Magazines.  I thought, well, that sounds just like what the students might need, so I ordered a copy to review it.  I evidently was remiss in my usual vetting of online book offerings.

I usually “look inside” reviewing the title page, table of contents, copyright page to see who published it and author bio to check for credentials.  I failed in my due diligence.  Published by iUniverse, the book turns out to be one of many (and I do mean many) books that this author has self-published.  Now, I’d be the last one to dismiss a book simply because it was self-published – many very worthy books have been published by the authors themselves over the years and I have dabbled in it myself as I’ve revealed in earlier posts – but when I began to look closely at the credentials of this “popular science journalist”  (as per the book description and her web site which I have sadly subsequently perused), I was hard-pressed to find those credentials that would lead me to recommend her work.

Her other books include such things as How to write plays, monologues, or skits from life stories, social issues, current events: For all ages, How to start personal history and genealogy journalism businesses: Genealogy course templates…, Creating family newsletters and time capsules: How to publish multi-media genealogy periodicals or gift booklets, and Middle eastern honor killings in the USA (a novel, I believe), among many others.  In fact, at the top of the author’s web site it says that she has published 80 paperback books, and half way down the front page it says 65+.  Okay, I guess that could mean 80.  Hmm…

I have no quibble with writers having wide interests – I suffer from that myself, so can identify – but I think that there needs to be some area of expertise that can be identified if we look closely.  And for someone to be writing a book about how to write health and medical pieces for popular media – well, let’s just say that I expect to be able to see that they have a grasp both of medical science and of journalism.  That was not evident – and I’m very sad to report that the self-published book that I paid for is bewildering at best.

Why I didn’t look at the first chapter title and get a clue is beyond me: “Making medical language specialists; Turning medical transcribers into medical writers and editors.”  The idea that all you need to be a medical writer or editor is to have experience as a transcriptionist made me see red.  Then sandwiched between a chapter titled “What to emphasize in medical writing…” and “Writing the self-help article” is a chapter titled “Writing about DNA and gene hunters.”  This made me begin to question both the framework and the agenda of the book.  Then the last chapter in this medical writing primer puzzled me even more: “Medical writing about pets: Care, food, travel, adventures, history, genres…”  What the h***?

So, I decided to actually read the book.  If I thought that the framework didn’t make a lot of sense, the individual chapters had something of a flight of ideas as well.  Then when I came upon this particular piece of advice: “…medical writers can also sell (or represent) the product discussed in the research and writing…” I slammed the book shut, realizing that there was a serious dearth of ethical considerations among the pearls of wisdom.   This led me to consider the following question:  Should I write a review on Amazon to save other bona fide budding medical writers from buying this book?  Or should I just let it go?

I had a sense that I didn’t want to hurt the writer’s feelings.  Where did that thought come from?  If self-publishing is to be thought of as a legitimate route to authorship, then writers need to be held to the same standards and measured by the same yardsticks as those published via the more traditional routes.  In these days of “everyone is a writer” and “everyone is a publisher” we do need some quality controls and if writers themselves are not prepared to do this, then writing and publishing is doomed to mediocrity or worse.

Clearly, the self-publishing model as it stands now is in serious need of reconsideration.  The problem is that the really well-written and edited self-published books do hold their own against anything that a more traditional publisher can produce.  Sadly, there is no way to figure this out unless you do what I did – and you buy it.  By then it’s too late.

So, it’s back to the drawing board to find another book for my students.