Thursday 28 March 2013


I'm rebuilding my website at the moment - you can't visit yet, but I'll post a link when it's done and  here's a sneak preview.

My new website - under construction
It was building Mary Hoffman's new website that prompted me to do this revamp. I've not been very good at updating my website and the reason is that I did it in Dreamweaver and so it's just too much faff. I have to rebuild the pages and then upload them - which doesn't sound too hard, and it isn't, but it means I can only do it on the computer (the downstairs PC) that has Dreamweaver on it. Most of the sites I build for other writers can be updated online. So why not mine?

Well, the reason it hasn't been so far is that I don't like the design limitations. I really didn't want a website that followed the ubiquitous strip-down-the-middle-and-two-side-panels format, the Wordpress/ Blogger/Jimdo bla-bla format. But now I'm being realistic. No more Javascript and graphic text with mouse-over effects. No more different backgrounds on different pages. Goodbye to all that. I'm sure it will be fine. I've found a nice HTML5 web-building site that costs a bit more than the Wordpress-clones but gives me just enough control over design that I can bear it.

And if you haven't seen Mary's new site yet - take a look.

Mary Hoffman's website
Some other writers' websites I've built:
Honour and the Sword (for Louise Berridge)

Saturday 23 March 2013

Frivolous Gizoogling

I'm updating my website at the moment, and have got a bit sick of writing those little blurby bits about the books - especially as I don't want them to be too earnest and dull. I'm sure this is a commonn problem (if a first-world one) for lots of my writer friends.

So you'll need this:


You can use it to Gizoogle your books on Amazon and then snatch the copy from there.
Here's the Gizoogle version of 50 Amazing Things Kids Need to Know About Maths (or 50 Amazing Things Kidz Need ta Know Bout Maths).

And on the page, there is the perfect blurb for my web page:

"50 Aamzin Things Kidz Need ta Know Bout Maths will muthafuckin help you over yo' maths hurdlez once n' fo' all."


PS - Yo, biatches! Ma new lingo mathz now has cred:

 From MateMaite.

Tuesday 19 March 2013

How to speak publisher: F is for Foreign rights

It's book fair time. Bologna next week, and London next month. Those are the only book fairs I go to, but there are others, of course (and I haven't been to Bologna since they moved it out of the school holidays and so made attending impossible). I'm well aware of the view that authors going to a book fair is like taking pigs for a trip round an abattoir, but I'm not squeamish.Book fairs are not about writers, though. They're about rights. I know, the words sound the same - "I'm off to Bologna to buy some rights"/"I'm off to Bologna to buy some write[r]s". It's easy to see how writers got to think they are somehow involved.

Book fairs are about selling foreign rights. That means: you have sold your book to a publisher in your own country, and now someone is going to sell it to a publisher in another country. Since I'm in the UK, let's assume you've sold your book to a UK publisher, but it works in much the same way anywhere. Now it gets a bit complicated. Your contract might have sold the publisher rights in all languages and formats in the known and unknown universe. Or you might have sold only the UK/English language rights. In the first case, the publisher owns the foreign rights. In the second case, you do. Of course, if you sold the copyright in a flat-fee deal, you don't have the foreign rights even if they were not mentioned in the contract. (Actually, I'm going to start buying up Martian rights. And maybe exoplanetary rights. No one's doing that. And I'll retain those in all future contracts.)

So what are foreign rights? Put simply, the right to sell your book in foreign places. Not sell as in bookshops, but sell as in republish (and then, we hope, sell in bookshops). Obviously, foreign rights often involve translating the book into a foreign language. Not many people in the Ukraine are going to read your book in English, but if you sell Ukranian rights and the book is translated into Ukranian, you might find yourself a lovely new market.

If your publisher handles the foreign rights for your book, your contract will tell you what share you get of any sales. Let's imagine my vampire publisher sells the rights in Vampire Dawn to the Ukraine (I have no idea whether they are planning to - this is just hypothetical. Hello, any Ukranian publishers.) They will seek out, by whatever means, a Ukranian publisher interested in buying in a series of short books about vampires. This is what they do at book fairs. Here we hope either the Ukranians speak good English or they have a good translator, as we don't want them buying what they think is a series of books about short vampires. The publisher says, "OK, you can have the vampires for £20,000." I get a proportion of that money - I can't remember what proportion, but probably about 40%, which would be £8,000. So foreign rights = money for nothing. The author has to do NOTHING to get money for foreign rights. Hooray!

If your publisher doesn't handle the foreign rights, your agent should be selling foreign rights. And that's what they do at book fairs. They look for Ukranians interested in short vampires, or whatever. Now, there's clearly an advantage to retaining the foreign rights, isn't there? If your publisher sells the foreign rights for £20,000 and you get £8,000, there's still £12,000 for the publisher. But if your agent sells foreign rights for £20,000 and you pay the agent 20% + VAT (it's often 20% for foreign), you get about £15,000. Hooray! Foreign rights =  even more money for nothing! Of course, for your agent it's also best if you have retained foreign rights. If they sell your rights to the Ukranian vampire-hunter, they get £3,000. If the publisher sells the rights, the agent gets 15% of your £8,000 (£1,200).

If your publisher doesn't handle foreign rights and you don't have an agent, guess who gets to sell the foreign rights? Yes, you. That's when you might want to go to a book fair with your selling hat on. NOT to interest some random editor in your latest unpublished tale about ponies or flying bunnies or bone-sucking monsters. Editors aren't even there, usually.

I have no experience of selling foreign rights, but here's an encouraging story about a guy who - obviously a selling genius - managed to sell foreign rights to something he calls a spiritual allegory about bees for $40,000. I know, I know - but people buy pot noodles and jumpers for their dogs. There's no accounting for what can be sold. If you sell your own foreign rights, you don't have to pay anyone else anything. So assuming you've tracked down that Ukranian publisher and secured £20,000, you get to keep all of it. You don't even have to pay VAT as it's outside the EU (isn't it? I think it is, but the EU keeps growing). Hooray. Ish. Foreign rights = money for something, which could be considerable effort.

Let's sum up the maths. Look away if you don't like numbers.

We will assume Ukranian rights are sold for £20,000.

Publisher sells rights, your share is 40%
If you have an agent, you get: 40% of £20,000 LESS 20% agent commission + VAT
= £6,080
If you don't have an agent, you get 40% of £20,000
= £ 8,000

Agent sells rights, you pay 20% commission
You get: £20,000 LESS 20% agent commission + VAT
= £15,200

You sell rights
You get: all of it
= £20,000

If, like me, you would rather gouge out your eyes with a plastic spoon than talk to a Ukranian rights buyer, the last option isn't going to happen. But having an agent who handles foreign rights is definitely a good idea - as long as they are good at it. It's not quite the no-brainer it appears to be, though. You need to take account of (a) how likely each potential seller is to sell the rights at all and (b) how much they are likely to get.

Your publisher is trying to sell lots of foreign rights. They can bundle things, do deals that involve more than one author, and give away lollipops (or champagne, or at least prosecco) on their stand. If they are good at selling rights, they might (a) succeed and (b) get a good deal. But they might also be less fussed about your particular books/deal as they have others to work with.

Your agent might or might not have a department for handling foreign rights (that's an advantage of a big agency), or links with agents overseas, or expertise in selling foreign rights. That's something you should look at when choosing an agent. They might stand less or more chance of selling the foreign rights than your publisher.

You, frankly, stand less chance of selling the rights yourself than either a publisher or agent. There are exceptions - you might be a real sales whizz and cut a wonderful deal. Good for you. But imagine you are the rights buyer of Vampire Press (Ukraine) and you can either fix a meeting with Ms Professional Publisher or Ms Top-Shot Agent or Ms Author. You have one slot left in your diary. Which will you go for? Either of the first two. Simply because if either of them shows you a series about short vampires and you don't like it, you can ask what else they have and they will have something else so your slot was not wasted. If you opt for the author and don't like the vampires, all you'll get is a lot of moaning and tears. And no lollipop/prosecco.

As an author, you are also less likely to sell the rights for as much as your publisher or agent could. Imagine thatt you sell the rights for £10,000 - you're still better off than you would be if your publisher sold the rights, but less well off than if your agent sold them. And I know plenty of authors would sell their foreign rights for a mess of pottage (or a lollipop and a glass of prosecco) just because they would be so delighted to have a deal. Don't - all right? Just don't. I'll buy you a lollipop and a glass of prosecco - save your rights.

During the interregnum, or interagentum, after I had left one agent and not signed with my current agent, I let publishers buy all foreign rights. I did this because I had no intention at all of hawking foreign rights around anywhere. I am not a salesperson. I am not good at it, and I can't be bothered. I would rather write another book. Now my secret agent Q is a bit cross about that. I hope I don't have another interagentum, but if I do I'll remember to hold on to foreign rights so that any future agent has something to sell at book fairs. It's a useful thing to consider if you are currently unagented but looking for an agent - if you can offer foreign rights to some successful books along with your current work, that might make you a more appealing prospect. Please, if any agents disagree, say so!

Selling foreign rights in a book already published is one thing. Looking for a co-edition partner is another. (Oh, I should have done co-edition under C. Oops. A co-edition is when the book is published in another language/territory at the same time by a second publisher.) Publishers often need a co-edition deal before they can afford to go ahead with a book, especially if it is in full colour and therefore expensive to produce. And that's where I have to wave and step away from the screen, as three of my potential contracts at the moment are hanging on co-edition deals. I'm off to do samples for the London Book Fair so that foreign publishers flock to sign up and those books go ahead. Any publishers interested in space? philosophy? retellings? Head to LBF, form an orderly queue, I'll tell you the stand numbers later. Lollipops and prosecco will be on offer.


Friday 8 March 2013

New look - for a while

Stroppy is having a spring clean. This design won't last, but I stupidly started a re-design an hour before I had to get a bus to Oxford. Oops. This is it for now.

Thursday 7 March 2013

Don't publish crap

All publicity is good publicity, right?
Some publicity is bad publicity. And, what's worse, some authors bring it on themselves.

In the last couple of weeks I have seen several serioulsy ill-judged bits of self-promotion or exposure that must surely do more harm than good. I'm not going to name names, obviously, but here are things that really are best - and are very easily - avoided.

1. Don't put up badly written blog posts full of grammatical errors, spelling errors, and with no coherent thread. Especially don't put up posts about how you don't have any commissions, your career is failing, you have fallen out with your publisher (then dissing said publisher), you have no ideas or all your ideas are crap. A blog post is a public statement. Your publishers, potential future publishers, agent, readers, potential future readers and any enemies you have might all read it. There are several people whose books I will never buy because their blog posts are so badly written. No doubt there are publishers who won't work with authors because of what they have written on their blogs. *waves to the MD of a major publishing house who said to me "I'm not working with anyone who calls themselves Stroppy Author"*

2. Don't assume that every publisher has turned down your latest book because they can't afford to take a risk/don't have room in their list/can't see its brilliance. It might just not be very good. On the other hand, it might be good. But don't just shove it out on Kindle anyway, with a poorly designed cover, no editing or proofreading and no confirmation from anyone else that it is actually any good. There are people whose next book I won't consider buying because the book they self-published on Kindle is rubbish. No doubt there are publishers who won't consider their next book for the same reason, because you can be pretty sure that if you submit to a new publisher they will look on Amazon to see what you've self-published.

3. Don't put up a hideously amateur, home-made book trailer. You know the type. The author talks straight to camera, having apparently barely given a thought to what they are going to say (unless they scripted in all those ums and ers), their dog wanders across part way through, their phone rings, there is the buzz of a TV and children in the background, they hold up their book, talk about their 'writing journey' and maybe wave a plastic or furry prop or two. They don't edit out the mistakes. They don't even edit out the bit where they lean forwards, looming scarily out of the screen, to turn off the camera. There are books I will never buy because the trailer is so desperately off-putting. No doubt there are publishers... etc

Now, for the people who perversely like to read selectively and misinterpret everything to be provocative: I am not against blogging (dur). I am not against self-publishing good books as long as it's done properly. I am not against people making their own video trailers as long as they do it properly. And of course there is an element of taste. But I'm not talking about taste, I'm talking about quality. It's not a matter of taste if a blog post is full of grammatical errors or your trailer is all blurry (where it shouldn't be).

A bad blog post is worse than no blog post. Self-publishing a book that's bad or not ready is damaging to your career. A bad book trailer is worse than no book trailer. 
Act like a professional.