A Work in Progress

Writing is actually work.

Panelists: James Hay, Courtney Willis, David D. Levine, Tom Galloway, Kevin Andrew Murphy

Interesting note: Connie Willis' husband teaches physics in Colorado.

Favorite physics violations:

Cruising around, I checked out most of the exhibits and looked at many, many more books. I bought Elizabeth Bear's and the new "Dune" book so I'd have them for the signings later this afternoon.

Four signed books in about an hour—not a bad afternoon's catch!

I met Kevin Anderson twice at the 2002 WorldCon. He was congenial as always, but pressed for time due to a fairly long line at his and Brian's signing. Kevin always amazes me at his sheer volume of work—but then he does write for a living, as a job, so I guess it really does make sense!

It was the first time I had met Brian Herbert in person and he seemed very personable and willing to take the extra time to personalize my books. It was equally possible that he was relieved that I only had two books that I wanted to get signed.

I am apparently an amateur when it comes to book signing events at conventions. Several people both ahead and behind me in line had boxes of books to be signed. I remarked to the fellow ahead of me that the next time I'd remember to bring my luggage to the Con and he replied, "You're new at this, aren't you?". I told him, "No, not really." What I didn't say was, "Just not obsessive." But next time, I will bring something on wheels.

Elizabeth Bear was absolutely charming and seemed genuinely interested in talking to each person who approached her (despite the grumblings from the man two spots behind me in line). She's a fairly new writer, and I always like to try to meet those in particular because: 1) they tend to have shorter lines, 2) I like to support new writers in the hopes that the karma will repay itself someday when I'm sitting on the other side of that table, and 3) they tend to be very open about discussing their work. It makes for a very enjoyable and informative conversation. And, you never know, she might be very successful someday and those kinds of connections never hurt.

Panelists: Gay Haldeman, Rebecca Moesta, Keith R.A. DeCandido, Eleanor Wood, Kevin J. Anderson

The "mousetraps" in almost every book contract. Hold onto whatever rights you can (not applicable to media tie-in books). Ideally, get an agent to negotiate the contract for you. Even if you don't have an agent when you get the contract, find one afterward. It's actually easier to get an agent if you already have a contract.

Agents are looking at it as a long-term relationship, not just for the first book. Hire an agent rather than a lawyer. Lawyers tend to complicate things and are more expensive. Even if you don't have an agent when offered the contract, reply by saying, "Thank you. I will have my agent contact you." Otherwise, by agreeing to anything, you limit what your agent can do.

Once you receive your first contract, you are now the sole proprietor of a small business and you need to act accordingly.

An advance is "an advance against royalties" that you might receive once your book is being sold. The advance is not necessarily paid in one lump sum, but might be spread out over the various milestones of the publication process. Don't spend it all at once because bills still need to be paid and taxes taken out (and your agent gets their 15%). Taxes should be paid quarterly.

Most accountants prefer not to let you deduct writing expenses until you have made a sale. In the past, you could show a loss for a maximum of three years. (It seems as though there has been a change that for artists, the term can be indefinite.) Significant fluctuations in income can trigger an audit from the IRS.

Incorporating helps in terms of finances and credit because you are no longer just a writer, but an employee of a company with a regular paycheck.

Publishers will dedicate more money to a book they believe will sell, but "more" is relative. That does not guarantee better sales for a writer.

When you receive your advance, don't change your lifestyle—make it last. Unless you have multiple projects with a steady stream of royalty and advance checks coming in, you can't count on when the next one will come in.

It's possible that because of the length of time the process can take, you might finish and be ready to deliver a book before the contract is signed. This is dangerous unless you are established and also feel the publisher will pay you.

The contract will/should specify when the rights revert back to the author. It is usually when the book goes out of print. When that happens, the author should make a formal request just to be sure. (Some publishers, like Bantam, have "print on demand" imprints that allow them to claim that books are never out of print.)

Some writers do not plan for the "next book". If a book is well-received, a publisher might ask, "Can you deliver the next one in six months?" (Say, "Yes", even if you don't know.)

Royalty statements from publishers tend to be confusing and not particularly helpful. You can ask for a more detailed accounting of sales and returns, but it might not help.

Romance writers are required to do their own publicity. Don't ask a science fiction writer on how to do it—they ask romance writers and then use their ideas!

You are responsible for your own career. Your publisher isn't; your agent isn't. You are. It's not as important to anyone else other than you.

The best promotion you can do for your book is to write the next book. A good web site can help you; a bad one can hurt you. Don't spend any more time than necessary on things that are not the writing.