| Maybe we're NOT the
book partners for you. Then again, maybe we
are. How can you know? Far be it
from us to try to talk ourselves out of a
job, but because we are
in the business of helping people realize
their dreams of writing a book, we want to
ensure that those dreams are, in fact,
realizable. Towards that end, we owe you an
honest discussion about what we can and
cannot do for you. We hope that after reading
the information that follows, you will have a
better perspective on your own book.
Herewith...
SEVEN POINTS TO
REMEMBER IF YOU'RE REALLY
SERIOUS ABOUT YOUR BOOK
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1.
Know your market.
Are
you reasonably certain you've written
something your intended audience will want to
read? This point may seem self-evident, but
most writers have difficulty being objective
about their own work. So how can you know if
you have a diamond or a dud? Part of our job,
if you hire us, is to determine precisely
that, but there is much you can do on your
own before you even call us.
If
you haven't already done so, take a look at
our Author
Questionnaire. This questionnaire
is an "obstacle course" that we
give all of our prospective clients before we
even begin. Whether you are ready to hire a
collaborator or not, and whether or not you
hire us, answering the questions will help
you get very clear on your goals for your
book. And by the way, you don't need to
return the questionnaire to us... it's for
your own personal benefit.
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2.
Decide whether or not you want to use a
literary collaborator.
Writing
is lonely work, but that doesn't mean you
shouldn't seek help when you need it. While
there's no magic formula to guarantee that
your book will be a bestseller, a good
collaborator, be it an editor or a
ghostwriter, can spell the difference between
a fair work and a superb one.
Before
we go any further, let's clarify what we mean
by "literary collaborator." We want
to make it very clear that, for the purposes
of describing our services on this web site,
we are not using the word
"collaborator" as a legal term
implying that we necessarily retain
percentage of ownership or any other rights
for the work we help you create. Nor are we
implying that we take credit as co-authors.
You may or may not choose to enter into such
an agreement with us; that's up to you. In
this context, the word
"collaborator" simply means that we
work with you, doing whatever is necessary to
help bring your book to life.
This may involve editing, rewriting, adding a
few chapters here and there, or ghostwriting.
(If you're planning to self-publish, it may
also mean designing and laying out your book,
doing the cover design, and handling the
printing process if you wish -- or, if you're
going to approach a trade publisher, it can
mean preparing the manuscript and book
proposal.)
That
said, let's talk about what a collaborator
can do for you. For the purpose of the next
few paragraphs, we'll just concentrate on the
writing stage of the book, rather than the
production stage. A skillful collaborator can
make your manuscript better in many ways. He
or she can provide objectivity on all levels
-- from the smallest details (e.g.,
inconsistencies or logical fallacies you may
not have noticed), to the "big
picture" (will your book be satisfactory
to your intended audience?).
Equally
important, a good editor can tighten your
writing while preserving your style. Some of
the best writers in the world have a real
problem with cutting their own material. As a
result, their manuscripts are cluttered with
superfluous passages that slow the action or
obscure the message. To delete these passages
is unthinkable to them, somewhat akin to
doing away with their children. A skillful
editor or ghostwriter can dispassionately
snip away the fluff, and, though it may sting
for a moment, the manuscript is the better
for it.
Besides
all this, it's just plain good practice to
have another set of eyes besides your own
look at your work. We humans have what is
called "fuzzy logic," where we
project what we expect upon what we actually
perceive, often obscuring what is actually
there. For example, if you're reading an
anthology of Poe's work, and come across the
line, "Once upon a midnght
dreary...," you could easily overlook
the fact that "midnight" is
misspelled. You knew what the words were
supposed to be, so you skimmed over them. We
all do it, especially when reading our own
works.
Perhaps
the best reason for hiring a collaborator is
that since the literary market place is so
highly competitive, your work should be in as
polished a form as possible before you
contact an agent or publisher.
Even
if you choose to complete your book by
yourself, you need to have at least one
professional look at your work before
publication. At the very least, have someone
besides yourself do basic proofreading, but
if you can, have your manuscript
professionally evaluated too.
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3.
Expect to pay up front for the services of
your literary collaborator.
While
most literary collaborators truly love books,
their work is of necessity more than a labor
of love. Many first-time authors seek out an
editor or ghostwriter who will work on
speculation -- that is, one who will accept
their project on the speculative chance of a
sale, with payment to the collaborator when
and if the piece sells.
The
plain truth, however, is that no matter how
worthy your book is, you will be hard pressed
to find a collaborator who will work a deal
like this. This doesn't mean your prospective
editor or ghostwriter is a heartless
mercenary; he or she simply cannot afford to
take such a gamble (unless, of course, you're
Stephen King, Anne Rice, Deepak Chopra,
Doctor Phil, etc.). Just as you wouldn't
expect a plastic surgeon to enhance your
attractiveness and hold the bill until you
get a modeling contract, a collaborator
should not be expected to invest time in your
book and hold an invoice until it is
published.
Which
may raise the question: What sort of fees can
you expect from Schmidt Kaye & Company?
That's
a good question, and understandably, it is
one of the first ones we're asked by
prospective clients. Of course it wouldn't be
fair, either to you or to us, to quote a fee
without seeing the work first. Each project
is unique. We can, however, give you a
general idea of our fee structure.
For
the majority of editing or rewriting jobs, as
well as book design work, we almost always
charge a flat fee instead of an hourly rate;
we've done it both ways and found that the
flat fee is easier on everybody, and
certainly more economical for the client. Our
fees can run anywhere from $500.00 US for a
complete manuscript reading and critique (a
fee that is deductible from the total if you
hire us to complete the project), up to the
mid five-figure range if we actually do the
writing and research (or the bulk thereof).
We generally do not charge a reading fee for
reviewing a manuscript for the purpose of
submitting a bid for editing or rewriting.
Our
ghostwriting fees begin at $25,000.00 US,
which is in the middle range of the market.
If the book is extraordinarily long and/or
requires a substantial amount of extra
research, the price goes up. Travel expenses,
if applicable, are extra, but we generally do
not charge for supplies, postage, etc.
The
average editing job is in the mid- to high
four-figure range, depending upon the length
of the work and the level of editing. Unlike
many editors, we do not offer a strict
"hierarchy" of editing levels
(e.g., "light" to "heavy"
copy editing, "medium" to
"heavy" content editing, etc.).
Where does "light" end and
"medium" begin? We’ve never
been able to figure that one out. If a
manuscript is essentially well written and
well organized, but just needs copy editing
(for grammar, punctuation, spelling, general
flow, etc.) and minimal content editing, we
normally charge $10.00 per standard formatted
manuscript page. A manuscript page is an 8
1/2 x 11 sheet, double-spaced, set in
12-point Times Roman or an equivalent font,
with a 1.25-inch margin on all four sides.
This amounts to roughly 250 words per page,
so another way to figure it is $10.00 per 250
words. Very often, however, more substantial
editing is needed, in which case the price
rises accordingly. If the book needs
substantial editing or even a rewrite, the
fee is generally in the high four- to low
five-figure range. However, we always do the
minimum amount we feel is necessary; we don't
try to create work where none is needed.
If
the author is planning to self-publish, we
quite often negotiate to include book layout
and design, as well as cover design, in the
package. Book design alone, depending upon
length of manuscript, amount of graphics, and
whether or not we do the cover design,
generally runs in the low to mid four-figure
range. Basic layout begins at $10.00 per
page. Our average fee for cover design is
$1,500.00, which includes not only graphics
and type but also scanning and placement of
author photo if needed; writing of all back
cover copy; and generation of barcode. We can
also coordinate the production of your book,
saving you from the hard lessons so many
novice authors are forced to learn. Normally
production coordination is charged on an
hourly basis if that is all we do for you,
but we do it at no additional charge for
layout and cover design clients.
As
much as we sympathize with the plight of a
struggling author, it is our policy to not
work on speculation.
For
more details about our fees, click here.
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4.
If you hire a collaborator, do your part to
make the process flow smoothly.
The
contract you sign with your collaborator
should include, among other items, a time
frame for completion of the project. Timely
completion, however, depends upon you as much
as on your collaborator. It's up to your
collaborator to present drafts of the work to
you on schedule, but it's up to you to be
punctual with your feedback.
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5.
If you use a collaborator, choose one who
will take your work as seriously as you do -
but beware those who make outrageous promises
about your book's success.
Helping
someone create a book is, in a sense, a very
intimate process. That's why it is important
that you hire a collaborator whom you feel
you can trust completely. Trust involves more
than simply having your editor or ghostwriter
sign a confidentiality contract. You want
somebody who loves books, certainly, but you
also want someone whom you feel is as
committed to the quality and ultimate success
of your book as you are.
Take
editors, for example (please!). A good editor
will have your best interests at heart and
will only make necessary changes.
Unfortunately, however, some editors attempt
to change your work to reflect their own
style. Just as an author needs to attempt to
be objective about his or her work, make sure
the editor you choose isn't going to drag you
into a battle of egos. Life's too short for
that, and your book will suffer for it.
Of
course, it can be difficult to know right off
if you're going to "click" with the
prospective collaborator, particularly if
you're conducting business long-distance. But
you should be able to get a fairly good idea
of what your prospective partner is about
through preliminary correspondence and / or
conversations. (And don't hesitate to ask for
references.)
One
additional caveat: There's a huge difference
between a collaborator who believes in your
work and gives you positive reinforcement,
and one who guarantees that he or she can
make your book successful. Anyone
who promises your book will be a raging
bestseller if you utilize their services is
either trying to scam you or is sorely
misguided. In our experience, the scam
scenario is the more likely one.
The
Internet is full of unhappy tales involving
vanity presses (who generally can be spotted
by their perennial pleas for manuscripts from
new authors). These so-called publishers lure
first-time authors into shelling out
thousands of dollars for what turns out to be
the package deal from Hell. In many cases,
part of the lure is a guarantee of the book's
success if the author will just agree to pay
for an edit job, which will be performed by a
company the publisher just happens to know
about. So what happens? You guessed it: the
vanity press and Editorz-R-Us get the money,
and the author, if s/he gets anything at all,
ends up with boxes full of shoddy product
that are headed straight for Mom and Dad's
basement.
The
lesson here is twofold: Be skeptical of
companies that beg for manuscripts
(publishing, alas, is still a buyer's
market), and, more to the point, steer clear
of companies or individuals who guarantee
that your book will be successful if only you
throw your money their way. Even the big
trade publishers know that the level of a
book's success is a virtual crap-shoot. All
anybody can (and should) promise is that they
can make your book the best it can be,
eliminating the critical flaws that ensure
failure.
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6.
Whether you hire a collaborator or not, show
your work to other readers long before it
goes to press -- but choose people who can
give you useful criticism.
Your
mother adores it, your ex-spouse loathes it,
your Aunt Edna thinks you'll have a Pulitzer
Prize contender on your hands if you'll just
delete the scene with the poodle and the
microwave oven... But how can you know for
sure if your book will pass muster with
readers outside your circle of family and
friends? It's important to show it to others
before it goes to press, but you should pick
your readers for their ability to share
constructive criticism, not for their
willingness to flatter your ego.
An
associate of ours, author and marketing
expert Joe Vitale, routinely distributes
drafts of his book manuscripts to a cadre of
12 readers who are, indeed, among his friends
and associates, but who aren't afraid to give
him honest feedback. These associates
willingly perform this task for free, and in
return they get to see their names in a
prominent place on the Acknowledgments page
of the book. While 12 may or may not be the
right number for you, the point is that you
do need to have someone else read your book
before you release it to the public.
One
point to keep in mind, however, is the old
saying that "A camel is a horse,
designed by committee." Wait until you
feel your manuscript is finished before
sending it out for critique, and don't
consider changing anything until you've
gotten all your feedback. Even then, weigh
the feedback you get against your own
instinct. Then, make the changes YOU feel are
necessary. You can't, and shouldn't try to,
please everybody. The finished product should
be one with which you are comfortable.
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7.
Consider whether you want to self-publish or
approach a trade publisher.
As
with most dilemmas in life, either choice --
self-publishing or traditional publishing --
is a trade-off. With self-publication, you're
in the driver's seat every step of the way --
controlling each detail from the cover design
of your book to the promotional campaign. The
catch is, you also have to pay as you go, and
it can get pretty expensive.
Furthermore,
without the clout of a publisher and/or major
distributor, you may face challenges getting
your book into bookstores (particularly the
big chains), and it may be an uphill battle
to get them to display it to advantage once
it gets there. And bookstores are notoriously
slow in paying. (We frequently advise clients
to seek out alternative markets where payment
for books sold is more timely, and where you,
as the author, are in more of a
"sellers' market.")
Moreover,
it can be tough to get reviews in major
publications, as many book reviewers still
retain a prejudice against self-publishers;
they have a tendency to confuse
self-publishing with vanity publishing.
With
a trade publisher, on the other hand, there's
always the chance of a nice advance. The
publisher will take care of all the
distribution details, and will probably also
send advance copies to all the major
reviewers. All of this, however, is
contingent upon your book being picked up by
a publisher in the first place, which can be
a long and frustrating process. Furthermore,
those six- and seven-figure advances you've
heard about aren't all that common, and
besides, you'll rarely get the entire advance
up front (one-third at the outset is
standard).
Oh,
and one more point: If you are picked up by a
trade publisher, you should be prepared to
follow their editing and promotion dictates
to the letter, lest they cancel your
contract, and even demand that you return
your advance. Unless you are the
aforementioned Stephen King, you'll need to
leave any control issues you may have at the
door.
Despite
the inherent frustrations of both types of
publishing, there are many stories with happy
endings. It's even possible to have the best
of both worlds -- to self-publish your book
and be so successful that you'll get a
contract with a major publisher. More and
more publishers are looking to the
"indies," the small independent
publishers, for their next hot title.
A
modern legend is James Redfield, whose book The
Celestine Prophecy was an
underground bestseller in its initial
self-published edition. Redfield ended up
with an $800,000 advance from a major
publisher. Granted, those huge dollar amounts
are rare, but the possibility is there.
Countless authors have enjoyed success on a
more modest scale.
Whether
you're planning to self-publish, are intent
on approaching a traditional publisher, or
really aren't sure which direction you want
to take, Schmidt Kaye & Company can help
you. We can polish your manuscript for a
publisher, and help you with your proposal
and query letters. Or, if you're
self-publishing, we can take the manuscript a
step further and do the page layout and cover
design, as well as create promotional
material such as brochures, news releases,
and web sites.
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