If you’ve poked around my site or been a subscriber for a while,
you might remember that in November 2011, I received an offer of publication
from a regional publisher, with a 2013 anticipated release….Like any
publishing offer, it was a long time coming.
Three years and two weeks after I started the novel. Two years
after I submitted it to the same publishing house the first time (obviously
they rejected it, and with good reason). Eighteen months after an editor at
the publishing company told me not to bother resubmitting the revised,
newly-award-winning manuscript. Almost nine months after I went ahead and did
it anyway.
I got the good news at a writers’ retreat and I was so excited
to share with my friends there. After seeing other friends have contracts
fall through, I’d always vowed that I wouldn’t make any announcements until
after the contract was signed. But the contract would be months in coming….
While we waited on that contract, they assigned me an editor,
who happened to be someone I’ve wanted to work with for a long time. They
asked me for the “final” submitted version of my manuscript (although editing
was at least a year away). They requested an author photo, then a release
from my amazing photographer. They needed tax documents. I got it all turned
in.
Finally, the contract came in the mail. I held my breath as I
opened that big white envelope and read through those pages with my
publisher’s name and mine. And I cried.
But they weren’t tears of joy.
…With a friend’s recommendation, I consulted with a lawyer who
specializes in contract disputes and intellectual property law. He spent looong billable hours reading the
contract and writing me an extremely thorough analysis. And, yeah,
it was as bad as I feared.
Worse.
The deal breaker
In the olden days (ten years ago), a book had a fairly short
lifespan: a few months to make or break its print run, languish on the
shelves a few more months, then the bargain bin, then it went out of print.
After a certain period of time “out of print,” the rights to the book
reverted to the author. Hundreds of authors who had trade published books
revert to them now have those same books for sale forever as ebooks.
Naturally, I was very worried about the possibility of a book
never being declared “out of print” because the publisher had an ebook
version on the “shelves.” I might never get the rights to my backlist back
unless the publisher was feeling very generous. (We actually did reach a
minor compromise on this issue, for shared rights.)
But my lawyer was more concerned with another issue, one that I
was anticipating, but didn’t think it would be as bad as the reality. The
contract demanded the right of first refusal on basically everything I might
write for the next 21 years. If I submitted any work anywhere else,
it would be deemed accepted by this publisher, and contractually obligated to
them first. There was no timeline in the original contract, meaning they
could spend three years sitting on my manuscript, before granting me one year
to try to find someone else to take it (after which the time frame and
rejection process would start over).
….
After consulting with my lawyer on how best to proceed with negotiations,
I did what I could….I offered options, options I knew other authors had
gotten added to their contracts with this company, and options I knew other
publishers used. I gave some, and they gave a little.
Ultimately, however, they wouldn’t budge on the most important
issue. They did tell me that if I had a book under contract with another
publishing house, they’d revise that ROFR clause (of necessity). I didn’t. My
contract with this publisher went on hold while I pursued publication for
another book. My editor left publishing for law school. I took my publication
year, 2013, off my blog and social media profiles. Then the publisher’s name.
The emotional side
Yes, I did cry when I read the contract the first time. But when
it came down to it, this was a business decision. There was no way I
could sign over control of my entire career for more than two decades.
Even if this was to be my one and only chance, if it came down to a choice
between never, ever publishing a book, or taking that contract as it stood, I
would rather never publish….
The end
I spent literally years holding out for a better contract. I
self-published that second novel I wrote since receiving the offer and the
novella and a sequel to each. Both novels were named finalists for the most
prestigious award in that regional market (being 2 out of 5 of the
finalists). Even after all that, I sent a final message to the publisher. I
told them I didn’t want to burn any bridges, but I would need to see changes
to these clauses of the contract.
They said no.
So I said no.
I did the unthinkable: I walked away from a publishing
contract. I rejected my publisher and published myself. I didn’t (and don’t)
need a publisher to turn out top caliber books or even get them to
bookstores. I didn’t have to sacrifice my control over my career, my vision
for my books or my artistic integrity. It was nice to have the external
validation of a publishing offer, but in the end, I didn’t need them to share
my stories, and the costs of using their services instead of contracting my
own far exceeded the benefits, especially when it came to my career….
An
award-winning author, Jordan McCollum can’t resist a story where good defeats
evil and true love conquers all. In her day job, she coerces people to do
things they don’t want to, elicits information and generally manipulates the
people she loves most—she’s a mom.
See more on this topic at
Jordan’s site, which is one of my favorite blogs to read.
Jordan holds a degree in American Studies and Linguistics from Brigham Young University. When she catches a spare minute, her hobbies include reading, knitting and music. She lives with her husband and four children in Utah.
Because she’s a true professional, Jordan refrained from naming
the publisher in this article, as her intent is not to punish the publisher,
but rather, to make a point: “Authors
need to be careful of contracts and guard their rights, and be willing to
walk away from a publisher who won’t do that.”
To save her secrets and
her country, CIA operative Talia Reynolds must sacrifice the man she loves. I, SPY, 2013 Whitney Award Finalist
CIA operative Talia
Reynolds's new boss is her ex-boyfriend. And that's just the beginning of her
problems. SPY FOR A SPY, 2013 Whitney Award Finalist
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Thursday, June 19, 2014
GUEST AUTHOR JORDAN McCOLLUM on WHY I REJECTED MY PUBLISHER
Thursday, June 12, 2014
ANALYZING PICTURE BOOKS—THE BEST BOOK TO READ
THE BEST BOOK TO READ was written by Debbie Bertram and Susan Bloom, published by Dragonfly Books, 2008, and illustrated by one of my favorites, Michael Garland. The book has approximately 420 words spread over fourteen out of twenty-five pages. Six pages have four lines of text, seven pages have five lines, and one page has six lines.
THE BEST BOOK TO READ
opens with a beautiful picture of a school bus dropping a line of children off
at the library, so it starts right where the story is to begin—at the library.
There is no time wasted showing a character anxious to go to the library.
The first line has two
short sentences, “Hooray,” and “It’s a trip to the library today.” Note the
rhyme in hooray and today. The next sentence ends in the word bus, which rhymes with the word used in
the last line on the page, two lines (but three short sentences) down.
On the third line, two
sentences end in rhyme. “We’ve been specially invited. Our class is excited.”
The next page also
utilizes rhyme, but not in the first sentence. The second line rhymes with the
fourth line, and the third line rhymes with the fifth.
The variation of rhyme
placement intrigued me, first annoyingly and then with appreciation. The words
on the second page follow a different rhyming pattern than that of the previous
page—no rhyme in the first line, but the second and fifth lines end in rhyme,
and the third and fourth lines end in rhyme.
Changing up the rhyme
placement in this book makes it read more like a story rather than sing-songy
verses, because we quickly see that we can’t stick to any specific pattern for
the rhymes.
I have to admit that
because rhymes on different pages fell in a sequence that didn’t follow a
previous sequence, I sometimes tripped on reading in any lyrical way at all.
But the story itself is
entertaining. Different pages show what different books are about, one on bugs,
one on baking cakes or desserts, one on magic tricks, and another on dinosaurs,
and some on other topics. This is a wonderful way to show a child that there is
truly a “best book” for every youngster, regardless of different likes.
Personally, I’d have to choose THE MAGIC TRICKS by Harry Huckster. I was
disappointed to look for this one on Amazon only to see that it doesn’t exist—the
titles are made up. I guess I would’ve figured that out had I been interested
in the book, MAKE IT YOURSELF, by Martha Muffins, or the book about dogs
written by Professor Barker. But I thought Harry Huckster might be a neat pen
or stage name by a real author and magician.
I don’t think this will
be a problem for children, because each book covers a different interest, and there
will be real books on the same topic that grandparents can check out for their
little darlings, perhaps some with just as beautiful of pictures.
Michael Garland’s
illustrations are animated in such a way as to give life to what’s going on in
some of the make-believe books shown, such as showing a boy magician holding a
hat with a rabbit jumping out of it. THE BEST BOOK TO READ will definitely
entice children to want to make a trip to the library, so, grandparents, I
suggest only reading it when you have the spare time to venture downtown.
Just as it would happen
in real life, a few children in the story want the same book. The authors
address the problem right away, mentioning that often libraries have more than
one copy of certain books.
There is also an
illustration showing children raising their hands, everyone who wants a library
card. I would’ve liked something either said or shown in the illustration about
the excitement the children feel when they hold that new card—shiny and smooth—for
the first time. I know my kids felt important having their very own library
cards.
Still, this is a good
picture book and one we can learn from. The neat thing is that children will
learn something too, and yet it doesn’t feel or read like any sort of lesson at
all.
The same authors wrote
THE BEST PLACE TO READ, which was published in 2003 by Dragonfly Books. This
first book also used the same illustrator, Michael Garland. The same style is used,
but this first book shows a main character traipsing through the house room by
room, looking for the best place to read. The table is sticky, springs poke
through Grandpa’s chair, and big sister’s stereo makes another room too noisy.
Finally, (and adorably), the child settles on Mom’s lap. What a nice and
realistic way to settle the dilemma.
Consider the rhyme
placement in your picture book and question yourself on the reason behind the decision.
Do you want the listener to focus mostly on the lyrical beat, or do you want
that focus shared more equally with story content and plot?
Happy writing!
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