ANOTHER BOOK SLAMMING THE CIA.

WHICH SHOULD ONE BELIEVE? 

Just as it has with books by Rowan Scarborough and Tim Weiner, the CIA is charging that Ron Suskind’s The Way of the World is riddled with falsehoods and misstatements. It denies that the White House ordered it to “fabricate a letter describing a level of cooperation between Saddam Hussein and al- Qa’ida (sic) that simply did not exist.” CIA claims that it concluded and stated that the ties between Hussein and al-Qa’ida “were not as close as some believed.”  

The National Security Act prohibits covert actions that are “intended to influence United States political processes, public opinion, policies or media.”  Suskind accuses the agency of violating that law and offers a number of other allegations denied by the CIA. 

It generally is CIA policy not to respond to negative allegations by book authors. However in this era of governmental secrecy and misleading statements from the Bush bureaucracy apparently the agency felt it must defend its integrity. 

The question is whom do we believe? Frankly, after what we’ve seen come out of this White House and its executive agencies, there is no question that Suskind, Scarborough and Weiner get my vote.     
 

DIGITAL PUBLISHING SAVES THE DAY

FOR SCOTT MCCLELLAN’S WHITE HOUSE EXPOSE 

Scot McClellan’s  problem was very different from Ron Suskind’s. According to an interesting article in Book Business Magazine, the memoir of his White House experiences sold so well that Perseus could not fill orders.  

By chance Perseus Publisher Peter Osnos bumped into John Ingram of the Ingram Book Group at Book Expo, and talked of his dilemma. Ingram immediately suggested he turn the file over to his Lightning Source division for a rush digital printing.  

The file arrived on the Monday morning following Expo, and was on press by the afternoon. Several thousand orders of this hardback, jacketed book were saved and filled within 48 hours. 

Lightning Source is a publishing on demand (POD) house that has grown in popularity because of its relationship to parent company Ingram. It is trying to expand its reach into other areas of publishing. Digital printing, however, now represents only 2 to 3% of total book volume, according to market research firm Interquest. 

Charlie’s Choice

Weekly Tips to Help You Write,

Publish & Promote Your Work 

SUCCESS! YOU’VE LANDED

A PUBLISHING CONTRACT 

      Your agent calls with marvelous news. He/she’s found a publisher who is eager to publish your book, something you would not have been able to do on your own. It’s now contract time, and once again the help of an agent is essential.  

      Never attempt to deal directly with a publisher. There are far too many pitfalls that only a highly experienced member of the publishing community is aware of. If you haven’t retained an agent because you’ve secured a publisher on your own, be sure to retain the services of a competent literary attorney to represent you. This doesn’t mean that publishers are predators. Not at all. But they do try to secure the most profitable terms possible, and you could find yourself “giving away the goodies” if you don’t have a professional at your side.  

      For example, take the issue of royalties. You don’t simply negotiate a percentage. The key is establishing the basis for the percentage. In other words, a percentage of what? Your royalty can be based on the retail price of the book or on the publisher’s net profit after the commissions of wholesalers and retailers are deducted. I don’t have to tell you which the publisher prefers. 

      The question of the distribution rights the publisher receives can be even trickier, and affect your income substantially. Three categories are based on geography: North American rights (US and Canada), World English rights (any English-speaking country) and World rights (all foreign editions and translations).  

      In addition, there are Subsidiary rights that supplement the book rights. These cover electronic publishing, motion pictures, book club sales, serialization and good deal more. In addition to these, the contract must spell out the publisher’s responsibilities and those of the author. These too can be a bit tricky. 

Available Additional Help 

      I strongly urge you to familiarize yourself with the elements of a fair contract. Chapter 7 of Peter Rubie’s very helpful Writer’s Market FAQs dissects a publishing contract and explains the meaning and importance of every clause. 

      I also recommend you consider two excellent author’s organizations. The National Writers Union (www.nwu.org) provides quality assistance on contract issues. For authors with credentials that qualify them for membership, the Authors Guild  (www.authorsguild.org) offers free advice right on its web site. While the National Writers Association (www.nationalwriters.com) has no lawyers on staff, it offers experienced professionals who can make solid recommendations. 

      Copyright regulations are often misunderstood by novice writers, sometimes even by professionals. You, the author, are granted complete protection of your manuscript the moment it is written under laws passed in 1978. However, you do not have the right to undertake litigation against someone who infringed upon your copyright. Courts will only accept cases protecting those manuscripts that are formally registered with the United States Copyright Office.   

      One aspect of the regulations that many authors fail to understand is that you cannot copyright a general idea. Only your own specific treatment of that idea can be protected. Your article or your book is eligible, but not the general subject matter you write about.  

      To make this clearer, I used the following illustration in my book The Writer Within You. Perhaps you’re doing a piece or a book on the value of digital cameras to a traveler. That doesn’t stop other authors from writing about the benefits of using a digital. It simply keeps them from plagiarizing from your work or even rephrasing it and calling it their own. This is explained in detail on the copyright web site (www.copyright.gov). 

      Registration is simple, and you may want to file for it yourself before you send your work to an agent or a publisher. Infringements by these professionals are very rare. There is no reason to worry, but if you need a sense of security, click onto the web site to get complete application information and forms. 
 

Endless Editing 

      Once the contract is completed and signed, you will wait as the months pass and sometimes even expand to years as your book goes through endless rounds of editing and fact checking by the publishing house staff. Every sentence in the manuscript is dissected and evaluated. One team does line editing; another concentrates on content. The publisher has a large investment riding on the success of your book. It is willing to take as much time as is needed to ensure that success.  

      Throughout the process, you may be asked to rewrite or change some aspect of the text. If you disagree, you have the right to question and battle. But in the final analysis, the editor is the deciding entity. Most of the time you can compromise and occasionally you may convince him/her that it is best left as originally written. 

      You haven’t seen the end, even if you and the editors finally agree the manuscript is as perfect as you can make it. The next step is a review by the copy editing staff. They will go over it with the proverbial “fine tooth comb,” searching for grammatical errors, misspellings, incorrect facts and inconsistencies in your presentation. It will then be returned to you for one last review.

This is crucial because it represents the very last time corrections can be made without incurring additional prep expenses.  

      Once you return the corrected manuscript, you will wait for a month or two before galley proofs are sent for your approval. (You may have heard these called first-pass pages.) They include all of the changes and corrections that have been made and are formatted in the design of the final pages of the book. It is your job to carefully screen these. 

      Next, the galleys are reproduced in blue ink for a final review by your editor. These are called blues, and are the galleys formatted this time into the final configuration of the pages. They come in signatures, groups of 16 pages because of the requirements of the printing press. Ultimately when those 16-pages clusters come off the press, they will be bound  together to form your book. 

      For an author eagerly awaiting the completion of the book, this process is interminable. You wait, wait and wait some more. That is why traditional publishing is almost impossible if your book’s success depends on its timeliness. By the date it is ready, its value may have passed. 

There are alternatives, as we have stated in earlier columns. Next week, we’ll begin exploring the plusses and minuses of publishing on demand, (POD), the once highly controversial methodology that has now come into its own, as you can see in part from the item about Lightning Source on today’s blog. 
 

A FEDERAL COURT UPHOLDS

ANOTHER ASSAULT ON YOUR FREELANCE  INCOME 

Wooden Horse, the highly reliable and helpful directory of magazines reports that a Federal court ruled a magazine publisher has the right to re-publish its content, photographs included, as long as it reproduces it in its original layout. 

In a case involving the National Geographic Society, the US11th Circuit Court held that magazine publishers had the right to reproduce an article in a CD-ROM that included all of its issues published since the magazine’s inception. The CD will include computer programs for accessing and indexing the individual articles. 

This battle for equitable compensation never seems to end. So be on the alert and make sure payment for any additional usage is built into your contract when you sell the original article. 
 
 

The Digital World 

WHILE THE ECONOMY SAGS, THE WEB SURGES AHEAD

SO SHARPEN UP YOUR ONLINE PROMOTIONS 

At least one segment of the publishing world is weathering the economic downturn quite well. Bullish on the Web, eMarketer  predicts ad spending on the Internet  will reach $24.9 billion this year, followed by continuous double digit growth.  

The heaviest spending and strongest growth is generated by search engines. eMarketer anticipates a total of $10.4 billion  in search advertising this year, doubling that figure by 2012. That makes sense after reading the report by Pew Internet & American Life Project that states just under one half of all Internet users conduct at least one online search daily.  

Of course, Google tops the list. Last year, the portal garnered 57% of online ad revenue, an amount greater than the combined receipts of Yahoo, MSN and AOL.  

David Hallerman, senior analyst at eMarketer, opines that search will actually benefit from the faltering economy. He says, “Reduced revenues due to the economy will entice some marketers to not only increase their paid search programs, but also potentially to bid higher for core keywords that give good results.” He added that with money as tight as it is, consumers will head to their favorite search engines and scour the Internet for bargains.  

Sounds like we authors ought to take the cue and crank up online promotions for our books. 
 

FAMILY MATTERS WOO

EXEC DIRECTOR AWAY FROM NATJA 

All of us who deal with the travel industry—writers, publishers, destination owners and others—will miss the cooperation and graciousness of  Elizabeth Beshear who has served since 2001 as the Executive Director of the North American Travel  Journalists Association (NATJA).   

Elizabeth shepherded the group through its early formative years, working hand in hand with President Dan Schlossberg. She helped to coordinate the organization, mount the first annual conference and wet nurse the group’s online travel magazine. 

We will all miss Liz, but the loss is softened as we welcome her successor, the highly accomplished Helen Hernandez.

A TALE OF TWO AUTHORS 
 

THIS ACCOUNT OF AN AUTHOR’S MISCONDUCT

WILL MAKE YOUR HAIR STAND ON END 

1998 – Belgian writer Misha Defonseca completes A Memoire of the Holocaust Years. It becomes a bestseller in Canada and several countries in Europe and is translated into 18 languages. The American edition is published by Mt. Ivy press, owned by Jane Daniel. The book tells of a Jewish girl forced to live with wolves in the woods when her parents are taken by the Nazis 

2001 – Defonseca and the ghost writer who worked with her win a $33 million award in a lawsuit charging Massachusetts publisher Jane Daniel with failing to reach the bestseller category with the American edition of the book.  

2005 – The verdict in the case is upheld by an appeals court despite the fact that a number of critics raise questions about the veracity of some of the facts in the book.  

2007 – Daniel, the victimized publisher, begins publishing a blog about the trial. It is seen by Sharon Sergeant, a forensic genealogist, who searches for Defonseca’s birth certificate.

2008 – With all of the evidence piling up that the book is fiction, Defonseca finally admits in February that it is a hoax. She is not Jewish. Her real name is Monique De Wael. Her parents were Catholic resistance members caught and executed by the Nazis. 

2008 – Daniel’s blog entries are transformed into a book called Bestseller. It is due for release on Amazon. When the hoax is admitted, Daniel’s response is “I’m flabbergasted.”  She plans to move to court with the charge that Defonseco committed fraud by warranting the truth of the tale in the contract she signed. 

How’s that for a hair-raising tale to be added to the shameful list of fraudulent memoirs? 
 

Charlie’s Choice

Weekly Tips to Help You Write,

Publish and Promote Your Work 
 

A PROPOSAL - THE BEST AND ONLY WAY

TO “MARRY” A LITERARY AGENT 

      The door is now open. The agent you queried (as we explained in last week’s column) has responded favorably, and asked for more information about you and your book. If you’ve written a nonfiction book, the form in which he/she expects to receive it is the book proposal. If your book is fiction, you must send the entire finished book. 

      The reason for this dichotomy is very simple. A novel depends to a far greater degree on writing style, which cannot be described adequately in a proposal. The agent must be able to read the book to be able to evaluate its worth. Conversely, the essence of nonfiction is content. While style of course plays a role in the quality of a nonfiction book, the content and the way it is organized can be described effectively in a book proposal.  

      While the novelist must complete the book before even querying an agent, nonfiction authors should submit the query and, if requested, the proposal well before the book is finished. The agent requires only one or two completed chapters to be able to evaluate the quality of your nonfiction writing.  

      Despite all of this, I often suggest to my coaching clients that they craft a basic proposal to accompany their fiction book. The addition of marketing and promotional plans can substantially  boost your chances of a favorable response. 

The Task is To Sell 

      Don’t ever think of the proposal as a work of art. It is not. This 20-to-40-page document is a business letter offering a product to a buyer. It is done concisely and directly with no literary flourishes to help a busy agent understand the essence of the book without spending the time required  to read it through. 

       An effective proposal includes content, marketing and promotional opportunities, analysis of the competition and qualifications of the author. It cannot be based on guess work. Every statement you make must be supported by hard facts as you assess potential markets and the level of readership.  

      The proposal must demonstrate how your book is unique and preferable to others on the same subject that are already in print. Let’s now look at the various components of the proposal and how they are used to showcase you and your book. 

Cover Letter 

      Think of this as a letter of transmittal. Short and to the point, it should highlight your qualifications to write the book. Use any mode that you can to personalize the letter; if you were referred by someone, stress that. Referrals are great door openers. Include the “hook” or short phrase we talked of last week that captures the essence of what your book is all about. 

Table of Contents 

      Prepare a complete table of contents identical to what you will include in the finished book, leaving out only the page numbers.  

Hook  

      Place your hook on a separate page all by itself in at least 14 point type size. As you recall, this is a pithy overview in one or two sentences of what the book is all about. The shorter the better. Last week I gave the example of the hook I have used to market my latest book The Writer Within You: “Retire the WRITE Way.”  

Overview 

      There is some degree of difference in the views of experts on what to include in the overview. Some see it as a summary of the contents of the book. Others believe it should be an explanation of the need for the book, its uniqueness and why you are the best person to write it. Still others prefer to combine these two approaches. Whatever you decide, the overview is usually a 600 to 1,000 word narrative. My preference is to mention the anticipated length of the book and time it will take to complete, and then devote the rest of the overview to a description of the organization and content of the book and why you chose to write it. 

The Author 

      The approach you use depends on your personal qualifications. If you are an experienced author with solid writing credentials, that’s the aspect to stress. If you are a newcomer with little or no writing credentials, you must highlight your background and why you have the expertise to write on this subject. Agents are only interested in your background and writing qualifications, so include any writing experience you have, and leave out personal information about family. 

Marketing 

      This is one of the most important sections of the proposal. It indicates to the agent whether there is an audience for the book. Bluntly put, it tells the agent whether the potential readership is large enough to provide you, the agent and the publisher with an income. There can be no guess work here. You must justify your statements with careful analysis of the market. Demographics, income and educational levels, even geography play a role, as does the success of other books on the subject. You must list and justify the various groups of readers you believe will buy the book, as well as any possibilities for bulk sales to organizations or businesses.  

Competition 

      The number of other books already published on your chosen topic can be an asset or a liability. The subject may be popular and would welcome a new book that stands out because it offers a unique approach. Or the market may be saturated and the pendulum of poop interest may have shifted to another topic. Information on more than five million books can be found in Books in Print and Forthcoming Books, both published by Bowker. They are sorted by subject. But once again, I reiterate: you must demonstrate the uniqueness of your book and why a reader would select it over another book. 

Promotion 

      As I have stated time and again, no book can succeed without solid promotion. You are the person responsible for promoting it, not the publisher. Organize a promotional plan to reach the audience you outlined in the marketing section. Tell the agent whether you plan to retain outside professional help, what media you plan to use and how and describe any contacts or entrées you may have into the media. Make sure you include both on and offline promotion. 

Endorsements 

      While you won’t be able to secure reviews for your nonfiction book until it is completed, you can reach out for endorsements from important people in the publishing field or in the subject you are writing about by sending them a synopsis, TOC and at least one sample chapter. If writing a novel, you will be able to send the finished book before reaching out for an agent. Endorsements are very impressive if they come from a recognized expert in the field or a well known person. Include as many as you reasonably can in the proposal. 

Chapter Descriptions 

      Under the title of each chapter, add a brief one paragraph description and point out the chapter’s importance to the book. This is not necessary if you are sending a completed novel. 

Sample Chapter(s) 

      I suggest sending two or three samples. These don’t have to be in sequence, although most writers send the opening chapters. Pick the best chapters you have written. Obviously, there is no need to send samples when you send your entire novel. 

      It is essential to keep in mind, as stated again and again, that this is a business letter designed to sell your product. Only the sample chapters will be judged on their literary merits, not the bulk of the proposal. Keep it crisp, straight-forward and most of all verifiably informative.  

      Next week, we’ll look at the traditional process once you have secured an agent and he/she has found a publisher for you. See you then. 

Keep writing! 
 

MOST MAGAZINE EDITORS ARE CONFIDENT

THEY’LL SEE A SALARY INCREASE NEXT YEAR 

Although the percentage is 11points down from last years, 64% of magazine editors surveyed  anticipate receiving an increase in their compensation next year, according to Folio Magazine’s editorial salary survey. That’s good to hear in this era of consolidations, layoffs, faltering ad linage and a sinking economy. 

In a story on the survey, The Wooden Horse points out that 72% of top level editors claim that a good deal of additional work has been added to their routines, particularly as a result of their publication’s online involvement. Nonetheless, 66% says they are satisfied with their jobs. 

Average base salary in the industry tops out at $89,800  for male editorial directors. Females come in at $77,600, and that difference is pretty disgraceful to my way of thinking. There is also a substantial salary spread between those working in New York City and those in other locations.

DIGITAL BOOKMOBILE STARTS ITS TOUR

TO PROMOTE READERSHIP OF E-BOOKS 

With the growing popularity of audio and e-books, Cleveland-based OverDrive created a 74-foot long digital bookmobile to showcase the variety of digital products available at libraries. OverDrive  is a major supplier of more than 100,000 digital titles to libraries, stores and schools. 

The bookmobile received its send-off on its national tour from the New York Public Library.  An estimated 300 New Yorkers filed through the vehicle to learn about searching the library’s digital media catalog and to view other demonstrations. 

The bookmobile will travel coast to coast into next year. More information and a schedule of visits can be found on the web site www.digitalbookmobile.com.