Paid at Last

Is it a coincidence that the same day the blog below appeared, complaining of an account gone 12 weeks unpaid, that I received an email from the account in question, saying sorry for the delay but the check was on its way? It arrived in the next day's mail. All settled now.

This teaches me: Don't give up!

Stiffed at Last

Since 2000 people have asked me to edit their manuscripts, both people I knew and those I didn't, and unless it was clearly a long and massive job, I did not bother to ask for money up front.

Then I was asked to spend half an hour on a manuscript sample I found so sorely in need of editing, formatting, and fact-checking that correcting the first two and a half pages took up the whole thirty minutes. I returned the heavily annotated manuscript with with an invoice for half an hour's work. I have now billed the author every week for 12 weeks, adding, "It is not too late to pay me." It is the first time I've been stiffed, fortunately for only a small amount, but there's the principle of the thing. (The manuscript was about principles, and how "these are the times that try men's souls.")

New rule: Strangers pay up front for a minimum of one hour's work. Make that your rule too!

Degrade Yourself at Odesk.com

Speaking of mental health, did I ever go nuts when Odesk.com emailed to ask why I hadn't worked for them. Odesk.com features calls for articles and other material by freelance writers; you bid on the jobs. You get paid -- maybe -- and if so Odesk gets a 10 percent commission. Like everyone else I could use some more work, and registered. Lots of contract jobs were available: write someone's resume, write ad copy, ghost somebody's little handbook on vitamins, write series of 750-word articles on auto care, and so on.

What sent me reeling is the compensation offered -- and accepted. Check these out:

I need 50 articles to be rewritten on Halloween niche. Each article has be 450 words and at least 80% unique. I will pay $1 per rewritten article. Please bid with a sample. Thanks

High end copywriting requiring high quality work; Must be english BA or MA graduates; Must attach short word files of writing files or will be disqualified immediately; Individuals only, no company affiliation. If affiliated, will be disqualified immediately. -Candidates for this job so far have bid a titanic $3.34 an hour.

The series of articles on auto care had a total budget of $70.

Not all of the posts are quite this extreme, but a lot of them come pretty close.

So, why haven't I worked for Odesk? The "O" must be short for "online sweatshop" -- and it's not the only one. An underclass of writers. That's just what we need....

More About Miss Mousy U.S.A.

I held the above title for 15 years. My frazzled, untrimmed hair, saggy Land's End calf-length full black skirt (with elasticized waist), downcast eyes and lack of affect (some people thought I didn't have any feelings) I hoped signaled that I was a rebel artist, giving the world back as good as it gave. It gave very little. Not entirely because of my mousiness, but I realize now, looking back, that my appearance said:

• My employer doesn't pay me enough, and although I don't have the nerve to change my situation, let me serve as a reminder that the poor are always with you.
• I'm depressed and it's partly your fault.
• To hell with bodies. Minds are what count.
• I can see your inner beauty, so why aren't you astute enough to see mine?
  
• I'm punishing the capitalist patriarchy for its unattainable feminine ideals.
• I'm lonely -- but uninterested in commoners like you.
  
• I'm at one with the wretched of the earth.
  
• I've been abused; want to hear about it?
• What, fuss about looks and manners while our planet is dying?
  
• I'm above everything you think is important.
• Please notice my awful suffering and help me.
  

Then, bit by bit, I began to re-connect with other writers and play the cards the world dealt me. The things that restored my self-respect were 1) fellow writers, 2) self-publishing, and 3) money. That's why I'm always urging fellow writers to join groups, self-publish, and ask for money when they work.

Good News for Old Writers

Refreshing: A group of 150 TV writers age 40 and over sued Disney, Fox, NBC, Paramount, talent agents -- more or less their whole industry -- for age discrimination. Execs had "graylisted" them, wanting only younger writers, assuming only younger ones had the schtuff to attract the coveted younger audience. The gray ones didn't take this lying down. After eight years in court they got a settlement of $70 million. I read this in AARP Magazine; click here to see the article.

For an energizing 3-minute YouTube rant called "Pay the Writer," by screenwriter Harlan Ellison, click here. I watch it often to remind myself that writers should get paid for writing.

I like it when writers get mad and pull together. Remember, they can't hire hot young interns for everything!

Magical Thinking About Agents

The creatures from the Magic Kingdom of Art, specifically writers, want to attract creatures from the Kingdom of Business called "agents." A great gulf separates the two. Because agents are few and remote and do not care to bridge the gulf, and because we writers are so creative and so broke, we have myths about them. Thus almost everything writers believe about getting an agent is a misunderstanding.

Getting an agent is not "the next step." Just out of school? Just completed your first book? The real next step is to develop grit and a professional attitude, because for the next several years you will have to learn how to act as your own agent, pitching and querying, knowing your market, and selling your own work, and maybe self-publishing it. When you have a track record and your work commands five figures, then getting an agent is "the next step."

"It's almost impossible to publish a novel without having an agent" is untrue. Three times in the past year I have seen first novelists, writers I personally know, get published because they looked for years for publishers, not disdaining small publishers, and they had manuscripts good enough. The hard truth is that most of the time if you can't get a manuscript published it's because it's not yet ready for publication.

Or, you may write very good manuscripts indeed. But agents want manuscripts that appeal to large, established sectors of the book-buying public, and not "writers" as we know them, but writing machines who can crank out similar manuscripts every 18 months or so, if not faster. They get paid only when you do. They don't want to get paid only once.

"I want an agent so someone else will take care of the business stuff so that I can write" is a rosy illusion indeed. An agent has many clients, is not at your beck and call, and is not necessarily accountable to you. What you are really asking for is an accountant.

"A starter agent" is not necessarily a boon. Researching the only agent who asked to represent us, my writing group discovered that he was a newbie, the largest part of his career having been spent in Europe coaching kids' soccer. We decided it was not good business to accept his offer. Later, however, he did develop a track record. We contacted him again, but by then he did not want us. I am so glad we didn't sign on with such a fickle creature.

Pounds of Flesh, Etc.

I had some of my own books on consignment in a bookstore. It was not worth it. I had paid half the cover price for my own stock of books. The bookstore bumped the price up by $1.00 (using a sticker) and gave me 40 percent of what they got for it. I was losing money with every book purchased!

I think of this because a friend with a first novel coming out in April says his publisher will not stock his book on Amazon.com. Barnes & Noble and so on will have it available online, but not Amazon. com. Publisher said Amazon takes too big of a percentage. Guess what? Everybody takes too big of a percentage. Amazon takes, I believe, 50 percent -- if they're working through a publisher. I'm not. I'm selling my books as one of those used-book, also-ran, independent type of dealers. The important thing is that my books can be found on Amazon, because that's where everyone looks first for a book.

I told the author his book HAD to be on Amazon and if the publisher would not put it there he would have to. Whether that's fair, right, monopolistic, sickening, highway robbery, etc. -- we writers allowed others to put us up against the wall like this, and we are the only ones who can fight our way out. In my book contract I had it put in that the publisher MUST make it available through Amazon.com.

Looking Out for #0

Friend just got a nonfiction-book contract with a good publisher. Her first. Before signing, she wanted me to see if the contract was fair. I said if not, she could negotiate. I found her contract pretty much standard-issue: "author gets 7% royalty of net sales,"--meaning "publisher gets 93 percent of net sales," and publishers know because we're writers and desperate we don't expect a lot better -- maybe 10%, or 12%, tops -- but --

There was NOTHING in the contract about an ADVANCE!

"What kind of advance have they offered you?" I asked.

What? Why, it hadn't even crossed her mind that her publishers should pay her anything but her 7% royalties.

I said, "You must ask for an advance. You will get little if anything in royalties. Nobody gets royalties now. The advance is the only money you're likely to see from this book, now or for a very long time."

How much should she ask for? I said, how about $3000? She was stunned. She could really ask a publisher to pay her a whole $3000 in exchange for an 80,000 word manuscript?

Are writers the only professionals who take a 93-7 split as normal? And what other professionals are so well conditioned to perpetual peonage that when they sell a manuscript, negotiating on a price for it doesn't even cross their minds?

Electronic Rights Means More Money for Authors

It sure do, honey. Check out NYT story on how upset Simon& Schuster is that one of their biggest authors (Stephen R. Covey, Seven Habits of Highly Effective People (1989) & sequelae) has sold his electronic book rights to a company that'll give him 50 percent when people buy electronic versions of his books. You think Amazon.com taking 50 percent is outrageous? Well, Simon & Schuster would have taken 75 percent.

"Ever since electronic books emerged as a major growth market, New York’s largest publishing houses have worried that big-name authors might sign deals directly with e-book retailers or other new ventures, bypassing traditional publishers entirely." (Poor publishers; now they suffer they way WE did when THEY bypassed fairness to writers!)

I specifically claimed all electronic rights to the text of Meet Me just for that reason; and when you sign book contracts -- be a highly effective person and do the same!

The Hopelessness of Copyright

Just returned from a panel discussion with law professor, university counsel, expert on Internet, and technical-research librarian: In short, for writers, copyright is hopeless. Because writers aren't organized like musicians, and won't be soon, the Internet (and Google's book-scanning, and office photocopying, and Amazon.com's cut of the take on your e-book, and so on) has made a morass of the laws surrounding published material and dimmed the rewards you may have expected as a writer. There are laws but few feel bound by them.

So, for best results: Write your book. Publish it yourself and own all rights. If you like, release portions of it electronically and LICENSE the material -- meaning anybody can read it or listen to it, but nobody is allowed make money from it -- with a creativecommons.org license. Take your payment in good will and prestige. Then use those to make money not from your writing but from readings, or leading classes, or becoming a small-press publisher, or serving on discussion panels, or editing, or advising, or -- get a day job.

After the panel I thought, "This sounds so hopeless," but it suddenly occured to me that this is exactly what has happened to me, and what I do.

Don't Know the First Thing About Marketing

Now you've got a book (or chapbook) -- what do you do? I presume you want people to buy and read it. Here are the steps I'm taking with my book Meet Me: Writers in St. Louis, due to be published next month. Even if your book is already published, these will help.

The Postcard: You can design and send a postcard announcing the availability of your book at ANY time in the marketing process. I'm doing it pre-publication.

1. People, libraries, and stores have to know your book is available. I designed (using a template) and bought, online, from 123print.com, 250 postcards announcing my book and a little of what it's about; pages and price; plus the ISBN and the publisher's contact information for pre-orders. Beautiful, full-color glossy postcards. 100 postcard stamps cost me $28. No, the postcards don't match the book cover, which isn't designed yet (!). I want people to anticipate the book more than I want the card to "match" the cover. That would be the ideal, but it won't happen this time; I won't wait. (Writer, never waste your time waiting for something to happen that's out of your power.) Some postcards I will hand out or post wherever writers gather.

I AM holding back the postcards until I test the publisher's online pre-ordering system. Nothing worse than publicity for a book that is not available!

Remember: You can design and send a postcard announcing the availability of your book at ANY time in the marketing process. The only requirement is the book has to be obtainable.

What, I, the WRITER, paid for this? You bet! If you want to sell your book, these days YOU, the writer, promote it.

Pay the Writer -- What For?

Organization wants to set up literary contest. Doesn't know how. E-mails me. Can I tell them: how to set it up? Who the judges should be? What they should be paid? Should the contest be in poetry, fiction, drama, and creative nonfiction categories, or is all four too much? What prizes should be given? Should they be monetary? How do we winnow the entries? Advertise the contest? What should be its rules and guidelines? What's a realistic timeline for submissions? Should there be an awards ceremony?

I replied (and so should you): I will be glad to consult on this matter at my usual fee.

What Your Skills are Worth

Copyediting: $26/hr
Manuscript evaluations: $46-$51/hr
Teaching/leading a workshop: $75/hr
Writing queries: $78/hr; $200 per project
Online research: $65/hr
"Generating content": $84/hr

Info is the "average" from the 2006 Writers' Market. You'd be making more today!

Go out and charge likewise!

What Are You Worth Per Hour?

Maybe you can’t make a living wage from your fiction or poems or essays. But you CAN make money using the array of skills you employ when you do creative writing. Here are some of your skills. Not everyone can say they have them! How good are you at each of these, and how experienced? Do you know what they are worth? Can you set a price on them? That’s the first step toward getting paid.

-copyediting $_____ per hour

-evaluation of manuscripts/critical feedback $____per hour

-teaching or leading a workshop $____ per hour

-writing queries, proposals, or synopses $____per hour

-researching potential publication venues $____per hour

-navigating and gathering information from websites helpful to writers, such as litmags.org or duotrope.com, and preparing to impart this information to those who want it $____per hour

-generating “content”: writing articles for publication or the web $____per hour

Those are just some of the skills you are probably undervaluing! More later, plus actual figures you SHOULD be charging.

Thanks to Becky Ellis of the blog cherrypiepress.blogspot.com for finding litmags.org.

Scribd.com

Scribd.com is where writers post their work for readers to download and get 80 percent of any sales. It's an alternative to Amazon.com which takes 50 percent. I've priced my poetry book, Fierce Consent, at Scribd's suggested retail of $5, in PDF format. And I'll see if my experience at Scribd.com is at all different than, or more trafficked than, lulu.com. I'm always looking for ways for writers to get more from what they do.

Read the NYT article about Scribd here.

"I Have Wasted My Life"

"I'm sorry you haven't had a happy life," my mother said. She was comparing me with my sisters, all homeowners, settled, and wonderful: blond brick, gas fireplace. Then she's got the writer, for godsakes, a-comin' by with red-rimmed eyes again.

"That's not exactly true," I said. "You mean that I haven't had a normal life.

"How could I have had a normal life? I was born with a talent. I assume that meant I should use it. So I use it. Anyone or anything that tries to stop me or get in my way, I'm gone."

"That's the problem," Mom said.

I don't argue with Mom, or try to explain things. So I let her think she stung me a little. That's the price I pay for having caused her so much worry.

Thank God that writers sent quotations down through the ages to help us. There's that shocking line by poet James Wright: "I have wasted my life." What shocked people was that the line expresses not anguish, but joy. Writers understand this perfectly.

What Finally Drove Me to Enter a Poetry Contest

I'll admit up front that I want two things from contests. One is money. My car skidded and is in the shop. (On me, not a scratch. God protects writers.) But when the repairs totaled $4000 I asked myself, where else does a poet have a chance of getting money? So I'm a-going for the green. Knowing very well the odds are long: estimate is between 800 and 1200 to 1. BUT NOWADAYS THAT'S ABOUT THE SAME AS THE ODDS OF GETTING A JOB. (P.S.I already have a second job.)

Next, I want honorable mentions, something nice to put on apps for writers' colonies, grants and the like. We all know good work is not enough. Publication is not enough. Someone from the outside has to declare you special. A fiction writer I knew turned "second place" and "finalist for the Umpteenth Named-After-Famous Writer Award" into a resume so awesome people in a neighboring state were talking about her in hushed tones two years later. Of course it takes a fiction writer to do that.

Collateral benefit: getting the work revised, updated, and in order. Somebody stop me, please, if I try this again.

Skirmishes in the Money Wars

I got three offers, two of them with figures attached. Of both, I asked for more money, pointing out my well-known reliability, track record and 30 years of experience. Asking for more felt very risky -- remember, I'm a writer and am supposed to be grateful for anything at all. But I know budgets are always more flexible than managers say, that an initial offer is always a lowball, and that it's a game. I have often meditated on this motto I saw framed in a real-estate office:

"In business, you don't get what you deserve; you get what you negotiate."

Result: One offer withdrawn; they just didn't have more money. One offer on hold.

The third offer, a contract job. I was asked to make an estimate. I did -- noting the source and therefore asking for 25 percent less than the market price. And I asked for a percentage of the money up front, like a normal contractor. Never heard from them again.

In fighting for us writers to get paid what we are worth, I ain't winning but neither am I caving and kissin' people's feet. Now hear this, everybody: Pay the writer.

More Money

Writer friend and I were discussing how hard it is to ask for the right amount of money for a job. Especially if the amount of money initially offered is ridiculously low or degrading (recent request for material custom-written for some business's blog offered $10/hr. I could do better at Ponderosa.). How far should we go in naming our price? She said an older friend had advised her:

"Ask until your toes curl."

Good advice!