If you're main objective for writing anything, especially books is to
get rich, you may want to rethink your strategy. There are really only
two good reasons to write 1) because you love to do so, 2) because you
have something interesting, important, funny, scary (you fill in the
word) that you want/need to share with the world. Then no matter what
you do, you will be rich, because you will be fulfilled. But monetary
riches may be slow to follow.
Do people get rich
writing? Of course, but not many. That's why you need another motivation
and a good understanding of the way the real world works. It usually
takes several years to get publishers interested in publishing a book
(even with an agent). JK Rowling of Harry Potter fame was rejected
numerous times over several years before interesting a publisher in
Harry Potter (and her first advance was a measly 1500 pounds). Likewise,
Wizard of Oz by L. Frank Baum was rejected over 100 times. Publishers
said no one would believe in a fairytale set in America!
Granted
both of the former examples are works of fiction, but writing
non-fiction doesn't have significantly better odds of getting published
any quicker than fiction. The only exception is if you have impeccable
timing and just happen to write something just as related current event
takes place. But even that is a very long shot.
I write
these things to inform and prepare hopeful writers. You will need more
than a little dose of determination to make a go of it. Here's the break
down:
It often takes 1-10 years of searching,
submitting, pitching, and repitching to get a publisher interested in
publishing a book. Once that happens the traditional length of time from
signing a publishing contract to seeing your book in a book store is 2
years.
While there are exceptions to the
rule, most publishers offer somewhere between 2k and 10k advances and
2-10 percent of royalties. There is no absolute standard, everybody does
it a little differently. It really depends on what you negotiate. But
keep in mind the days of 50k or 100k plus advances are gone for all but
the JK Rowlings and Stephen Kings are gone.
The best
advice I can give is to examine why you want to write. Then ask yourself
how truly committed you are to the project? If the answer is more than
anything, go for it. If it borders on I could take it or leave it,
writing a book is probably not for you.
Remember the
richest rewards of writing is in the enjoyment of the process and
knowing you shared your story. Everything else is icing on the cake.
Information and insight about writing books for yourself and others.
Monday, August 6, 2018
Submitting Fiction and Nonfiction
When it comes to submitting fiction and non-fiction to potential
publishers--the process isn't the same. This is very important because
publishers have something they call a slush pile. A slush pile is a
backlog of all submissions they receive. Many publishers get hundreds of
submissions a day--that's why it often takes so long for them to get
back to writers.
Though many don't like to admit it, the truth is that if your submission doesn't follow their guidelines (which vary from publisher to publisher and are usually available on their websites if they take unsolicited submissions) it gives them a good excuse to toss out your hard work without so much as a glance. So follow their guidelines to a 'T'. If they say email submission only, that's what they want. If they insist on snail mail only, give it to them. You are in no position to bargain. Publishers hearing that writers have the next great American novel or best-seller is kind of like jail inmates swearing they're innocent. Publishers hear it several times a day.
Rarely does any publisher want your full manuscript period. So don't give it to them. They won't give you an extra gold star for 'going above and beyond'.
If you are submitting fiction, most publishers will want a cover letter and somewhere between 10-50 pages. Sometimes they ask for the first three chapters, sometimes they just want a compelling scene and leave it up to you to choose what that will be.
If you are submitting non-fiction, most publishers will want a cover letter and proposal. (I will write more about this is a later blog.) Basically, a proposal breaks down the market for a publisher and helps them understand where your book might fit in. As part of that proposal, they want an outline of the book and a sample chapter or two.
Again, each publisher is different, so be sure to look up their guidelines and follow them precisely. And if their site says they don't take unsolicited submissions, don't waste your time submitting. They really mean it--and you will be wasting your time and perhaps postage submitting. Let it go and don't worry about it. There are plenty of publishers in the sea!
Though many don't like to admit it, the truth is that if your submission doesn't follow their guidelines (which vary from publisher to publisher and are usually available on their websites if they take unsolicited submissions) it gives them a good excuse to toss out your hard work without so much as a glance. So follow their guidelines to a 'T'. If they say email submission only, that's what they want. If they insist on snail mail only, give it to them. You are in no position to bargain. Publishers hearing that writers have the next great American novel or best-seller is kind of like jail inmates swearing they're innocent. Publishers hear it several times a day.
Rarely does any publisher want your full manuscript period. So don't give it to them. They won't give you an extra gold star for 'going above and beyond'.
If you are submitting fiction, most publishers will want a cover letter and somewhere between 10-50 pages. Sometimes they ask for the first three chapters, sometimes they just want a compelling scene and leave it up to you to choose what that will be.
If you are submitting non-fiction, most publishers will want a cover letter and proposal. (I will write more about this is a later blog.) Basically, a proposal breaks down the market for a publisher and helps them understand where your book might fit in. As part of that proposal, they want an outline of the book and a sample chapter or two.
Again, each publisher is different, so be sure to look up their guidelines and follow them precisely. And if their site says they don't take unsolicited submissions, don't waste your time submitting. They really mean it--and you will be wasting your time and perhaps postage submitting. Let it go and don't worry about it. There are plenty of publishers in the sea!
Rejection Letters
On the off chance that the publisher does say something nasty or
personal, don't get offended. This could actually be a really good sign.
Because most publishers don't take the time to write individual
rejection letters, it is extremely important to analyze a letter of this
nature. The fact that they took time to comment on your work means
something that could lead to much greater things.
Of course, there is always the chance that the publisher of such a letter is just a sick, twisted individual who wants to hurt you. If that's the case, it is extremely unprofessional of them to do so. But more likely, the criticism is directed at your work--not you personally. If that's the case, rejoice and read between the lines. If a publishers says something in their rejection letter like, 'I would have liked to hear more from Richard,' or 'I didn't feel Sarah came off as a real teenager,' or 'Crossing the Arctic on an elephant didn't seem realistic' etc. these are actually great cues for the writer to make the needed adjustments and resubmit to that publisher!
I know it may be a lot of work, but the end result may mean a contract. In my book, that's worth the work. No matter how wonderful you think you're book is, few writers ever get their work published in the first form they send to a publisher. Publishers like to tweak and analyze things. Literature is important to them, but never forget this is a business and so the bottom line is profit. Their job is to make sure the projects they pick sell.
For those who have yet to receive a personal rejection letter, take heart. Remember, every rejection letter you get takes you one step closer to being published. At least now you know who it won't be. Now it's just a matter of weeding out who it will be.
Of course, there is always the chance that the publisher of such a letter is just a sick, twisted individual who wants to hurt you. If that's the case, it is extremely unprofessional of them to do so. But more likely, the criticism is directed at your work--not you personally. If that's the case, rejoice and read between the lines. If a publishers says something in their rejection letter like, 'I would have liked to hear more from Richard,' or 'I didn't feel Sarah came off as a real teenager,' or 'Crossing the Arctic on an elephant didn't seem realistic' etc. these are actually great cues for the writer to make the needed adjustments and resubmit to that publisher!
I know it may be a lot of work, but the end result may mean a contract. In my book, that's worth the work. No matter how wonderful you think you're book is, few writers ever get their work published in the first form they send to a publisher. Publishers like to tweak and analyze things. Literature is important to them, but never forget this is a business and so the bottom line is profit. Their job is to make sure the projects they pick sell.
For those who have yet to receive a personal rejection letter, take heart. Remember, every rejection letter you get takes you one step closer to being published. At least now you know who it won't be. Now it's just a matter of weeding out who it will be.
Three Sets of Eyes
First, I'd like to offer an apology for no blogging last week. I was
off getting married to the editor of our local paper. Now I'll really
have to watch my writing! Come to think of it, that brings up a really
good point. This is absolutely key to submitting your written work
anywhere: NEVER PROOF YOUR OWN WRITING!
To clarify, that doesn't mean you shouldn't review it or do your absolute best, it just means you need to have at least one other person and two if possible, proofread the piece before it goes to a publisher, agent, the company newsletter etc. Why? Because no matter who you are you will never catch all your own mistakes. Writers are notoriously their own worst proof readers because they will read what they meant to write, not what's actually on the page. If you happen to work with someone else on a project, or even bounce a story off someone in great depth, they most likely will not be good proof readers for you either. You've most likely discussed the topic with them enough that they also know what you mean to say, not necessarily what you've written. It's also important to note that while proof reading software catches some mistakes, it is a far cry from human eyes. I liken it to spell check, helpful but by no means the final say.
When I was the executive editor of a publishing company, we had a rule: three sets of eyes on any page that goes to press. Even still, we sometimes had mistakes. Those mistakes were very costly to fix once our blue line proofs came back, to the tune of several thousand dollars. Likewise, if you're writing a book, you'll want your three sets of eyes on the manuscript before it hits the press or you too could face very costly mistakes. For self publishers correction cost upwards of $20 per page, while those trying to secure a deal with a publishing house may just get passed over because of it.
So how do you find that third set of eyes? Unless you have a friend who's an English major or teacher, you might strongly consider hiring someone. Do not enlist the help of friends or family members for this extremely important service. First, because many will be in awe of the very fact that you wrote something. In the early days, I tried out a couple of friends as my proofers, and more than once met with comments such as, " It was so good, I forgot to proof." While flattery is nice, this is not the place for it. I don't care if my proofer is the meanest person on the planet as long as they catch 99.9 percent of my mistakes. Go ahead and share your work with your friends if you want, but don't count on them to do a thorough job. Second, having friends and family proof often invites trouble you can do without. If they don't do a good job, they could potentially cost you a good job. If they do do a good job--there's the risk that they'll go proof crazy. Proof crazy is when an otherwise normal down to earth person gets drunk with proofing power. Instead of just catching errors, they start to make little snide comments, or they correct everything you write from emails to texts just to prove they know what they're doing. Either way, it can become seriously annoying and is very difficult to disentangle yourself from once you've set the precedent.
Where do you find a good proofer? The quick answer is the Internet. There are many agencies out there that specialize in proof reading. You just need to do a little research. But my go-to places are www.elance.com or www.guru.com. Both are freelancing websites where you can post projects and ask for bids. Then simply look through the bids and select your favorite. You can narrow your selection by checking the bidders' qualifications. Both sites have standardized tests bidders can take to prove their proofing skills, the results will be listed on the bidders' profile pages. You can also ask potential proofers to do a small sample proof. Make sure to keep the test proof to a page or less. You don't want to take up too much of their time if you're not going to compensate them for a test run. It's important to remember that while you want to make a good business deal, the lowest bid or the person who promises to return the project quickest may not be your best choice. See what kind of guarantee the proofer offers. Will they make additional corrections if needed? You'll be glad you asked and your proofer will be worth every penny.
To clarify, that doesn't mean you shouldn't review it or do your absolute best, it just means you need to have at least one other person and two if possible, proofread the piece before it goes to a publisher, agent, the company newsletter etc. Why? Because no matter who you are you will never catch all your own mistakes. Writers are notoriously their own worst proof readers because they will read what they meant to write, not what's actually on the page. If you happen to work with someone else on a project, or even bounce a story off someone in great depth, they most likely will not be good proof readers for you either. You've most likely discussed the topic with them enough that they also know what you mean to say, not necessarily what you've written. It's also important to note that while proof reading software catches some mistakes, it is a far cry from human eyes. I liken it to spell check, helpful but by no means the final say.
When I was the executive editor of a publishing company, we had a rule: three sets of eyes on any page that goes to press. Even still, we sometimes had mistakes. Those mistakes were very costly to fix once our blue line proofs came back, to the tune of several thousand dollars. Likewise, if you're writing a book, you'll want your three sets of eyes on the manuscript before it hits the press or you too could face very costly mistakes. For self publishers correction cost upwards of $20 per page, while those trying to secure a deal with a publishing house may just get passed over because of it.
So how do you find that third set of eyes? Unless you have a friend who's an English major or teacher, you might strongly consider hiring someone. Do not enlist the help of friends or family members for this extremely important service. First, because many will be in awe of the very fact that you wrote something. In the early days, I tried out a couple of friends as my proofers, and more than once met with comments such as, " It was so good, I forgot to proof." While flattery is nice, this is not the place for it. I don't care if my proofer is the meanest person on the planet as long as they catch 99.9 percent of my mistakes. Go ahead and share your work with your friends if you want, but don't count on them to do a thorough job. Second, having friends and family proof often invites trouble you can do without. If they don't do a good job, they could potentially cost you a good job. If they do do a good job--there's the risk that they'll go proof crazy. Proof crazy is when an otherwise normal down to earth person gets drunk with proofing power. Instead of just catching errors, they start to make little snide comments, or they correct everything you write from emails to texts just to prove they know what they're doing. Either way, it can become seriously annoying and is very difficult to disentangle yourself from once you've set the precedent.
Where do you find a good proofer? The quick answer is the Internet. There are many agencies out there that specialize in proof reading. You just need to do a little research. But my go-to places are www.elance.com or www.guru.com. Both are freelancing websites where you can post projects and ask for bids. Then simply look through the bids and select your favorite. You can narrow your selection by checking the bidders' qualifications. Both sites have standardized tests bidders can take to prove their proofing skills, the results will be listed on the bidders' profile pages. You can also ask potential proofers to do a small sample proof. Make sure to keep the test proof to a page or less. You don't want to take up too much of their time if you're not going to compensate them for a test run. It's important to remember that while you want to make a good business deal, the lowest bid or the person who promises to return the project quickest may not be your best choice. See what kind of guarantee the proofer offers. Will they make additional corrections if needed? You'll be glad you asked and your proofer will be worth every penny.
Drafts to Done
I often get asked how many drafts a writer needs to do when writing a
book. This is somewhat of a difficult question because writing is not
about quantity but quality. However, no serious writer gets it right in
just one take. You have to have the patience to review your work several
times. Some authors suggest 10 drafts or more. I'm not sure that's
really necessary, but it on your process and how you work.
When I'm writing for myself this is my process:
First draft: Just write to get it all down.
Second draft: Go back and smooth it out, add layers such as descriptions of people and places, personality traits, if it's in a real place maybe add names of landmarks, perhaps develop a subplot or side story, take a second look at dialogue, make it more believable or real.
Third draft: Let a writing group or trusted friend see a copy of the second draft and give constructive criticism. Remember that this is something you probably don't want your mom or significant other to do because the point of constructive criticism is not to hear 'that's nice dear," it's to get an objective viewpoint and make your work stronger. If your reviewer doesn't give you anything but praise, you haven't had an honest review. They don't need to be nasty or mean about it, but your reviewer should be willing to point out things that maybe weren't clear, dialogue that didn't make sense or sound real, or anything else that might occur to them. These people are not necessarily proof readers, but if they catch an error or two let them. Remember, don't get defensive, you are free to take or leave what they tell you. The point is to make your manuscript better. Then take the feedback and incorporate it into the book.
Fourth draft: Go over the book again with a critical eye. Make sure subplots are tied up as well as the main plot. Have you answered all hanging questions? Refine the dialogue again. Read it out loud to make sure it sounds real. Ask yourself if your characters would really react and act the way you've written them. Is the story believable? Editors have often told me the truth is no defense in writing. In other words, just because it happened in real life doesn't make it believable. Sometimes there are things that are just so crazy, that they are difficult for the reader to believe. In this case, you may have to do a little extra explaining to make something work. For example, if you're telling a story in which someone flies, they can't just start flapping their arms and take off. You must explain that they took a special potion or were genetically engineered to do it, or that just the way everyone on their planet is, etc.
Fifth draft: Run your manuscript past another reviewer or set of reviewers. Listen to their comments and make any needed changes. Let it sit for awhile just to give yourself some distance. Maybe a week or two, then come back, look it over again and fine tune it. Do a spell check, run it by your proofreaders. At this point, you may be ready to submit it. If not take more time to make needed changes.
When you finally become lucky enough to catch the eye of a publisher or agent, understand that while your manuscript is the best it can be at this point in time there will be more rounds of editing and drafts. The powers that be might want a new character added, or a few new scenes. Maybe they'll decide that it should be set at the beach instead of in the mountains. If it's non-fiction, they might want more explicit details in places or an extra scene to bridge a time gap. Sometime they want to change the title, which means key points in the book must be changed. You never know what they might want. Just be prepared to do additional drafts.
When I write for clients, I still use the same process. The only difference is they are not aware of it because I am not giving each draft back to them. My job is to make writing a book easy for them. They don't need to do the heavy lifting, so I don't bother them with every little detail. They don't need to see my first rough note marked up draft--which might not make a lot of sense to them anyway. Instead, they see things at the reviewer stages. When writing for others keep the process clean, simple and as streamlined as possible.
Finally, no matter if you're writing for yourself or another, always work from the same file. Don't pass multiple copies out to multiple reviewers or you will create a nightmare. You'll not only have to try to combine all the corrections, comments into one and inevitably miss something, but you'll drive yourself crazy thinking you've made a correction only to find out it's not there. It wastes valuable time and energy. So work from one copy and give each generation of the draft a distinct new name to avoid mix-ups.
When I'm writing for myself this is my process:
First draft: Just write to get it all down.
Second draft: Go back and smooth it out, add layers such as descriptions of people and places, personality traits, if it's in a real place maybe add names of landmarks, perhaps develop a subplot or side story, take a second look at dialogue, make it more believable or real.
Third draft: Let a writing group or trusted friend see a copy of the second draft and give constructive criticism. Remember that this is something you probably don't want your mom or significant other to do because the point of constructive criticism is not to hear 'that's nice dear," it's to get an objective viewpoint and make your work stronger. If your reviewer doesn't give you anything but praise, you haven't had an honest review. They don't need to be nasty or mean about it, but your reviewer should be willing to point out things that maybe weren't clear, dialogue that didn't make sense or sound real, or anything else that might occur to them. These people are not necessarily proof readers, but if they catch an error or two let them. Remember, don't get defensive, you are free to take or leave what they tell you. The point is to make your manuscript better. Then take the feedback and incorporate it into the book.
Fourth draft: Go over the book again with a critical eye. Make sure subplots are tied up as well as the main plot. Have you answered all hanging questions? Refine the dialogue again. Read it out loud to make sure it sounds real. Ask yourself if your characters would really react and act the way you've written them. Is the story believable? Editors have often told me the truth is no defense in writing. In other words, just because it happened in real life doesn't make it believable. Sometimes there are things that are just so crazy, that they are difficult for the reader to believe. In this case, you may have to do a little extra explaining to make something work. For example, if you're telling a story in which someone flies, they can't just start flapping their arms and take off. You must explain that they took a special potion or were genetically engineered to do it, or that just the way everyone on their planet is, etc.
Fifth draft: Run your manuscript past another reviewer or set of reviewers. Listen to their comments and make any needed changes. Let it sit for awhile just to give yourself some distance. Maybe a week or two, then come back, look it over again and fine tune it. Do a spell check, run it by your proofreaders. At this point, you may be ready to submit it. If not take more time to make needed changes.
When you finally become lucky enough to catch the eye of a publisher or agent, understand that while your manuscript is the best it can be at this point in time there will be more rounds of editing and drafts. The powers that be might want a new character added, or a few new scenes. Maybe they'll decide that it should be set at the beach instead of in the mountains. If it's non-fiction, they might want more explicit details in places or an extra scene to bridge a time gap. Sometime they want to change the title, which means key points in the book must be changed. You never know what they might want. Just be prepared to do additional drafts.
When I write for clients, I still use the same process. The only difference is they are not aware of it because I am not giving each draft back to them. My job is to make writing a book easy for them. They don't need to do the heavy lifting, so I don't bother them with every little detail. They don't need to see my first rough note marked up draft--which might not make a lot of sense to them anyway. Instead, they see things at the reviewer stages. When writing for others keep the process clean, simple and as streamlined as possible.
Finally, no matter if you're writing for yourself or another, always work from the same file. Don't pass multiple copies out to multiple reviewers or you will create a nightmare. You'll not only have to try to combine all the corrections, comments into one and inevitably miss something, but you'll drive yourself crazy thinking you've made a correction only to find out it's not there. It wastes valuable time and energy. So work from one copy and give each generation of the draft a distinct new name to avoid mix-ups.
Why Register Copyrights?
Technically speaking any time you write something it is copyrighted
the moment you finish. Many of you may have also heard of 'the poor
man's copyright' which consists of mailing a copy of the material you
wish to copyright to yourself. When the package from you arrives, simply
put it away for safekeeping without opening or breaking the seal.
Should be good enough right?
Well yes and no. It depends on what you want to use it for. Yes, it may prove that the work is yours and that you wrote it first. But when have you known an American law to be that easy and straight forward? That's why it really irks me that places like CreateSpace don't include automatically include a copyright in publishing packages. In fact, the site actually tells people copyrights are not that important and uses the explanation I cited above. That lures writers into a false sense of safety. (Mind you CreateSpace overall does a great job and is a good option for self publishers. Just make sure to take the extra step and copyright your work. The reason CreateSpace doesn't include copyrighting is to cut down on costs. More on this is a minute.)
Here's why you want to get a registered copyright:
First, legally copyrighted documents are good for the author's life plus 70 years. That means it will keep it safe for the majority of your children's lifetimes too. If you don't legally copyright something, the copyright dies with you.
A copyright gives you the exclusive right to reproduce or copy the work or change its form, like creating a sequel and revising or updating the work. Only you can display it in public; everyone else has to ask you first. You're the only person who can distribute the work for commercial purposes.
You can sell your right to control the copyrighted work, so for instance you could sell the movie rights and keep the right to create a sequel.
It also carries penalties if someone tries to steal your work. You can't sue for copyright infringement or get an order from a judge to make somebody stop using your work unless your work is registered.
If your work is copyrighted, you can claim damages even if you can't prove exactly how much you were damaged by the person who took your work. That person will also have to pay your attorney's fees!
Registration also lets the world know that you own the copyright. If your book takes off and say a movie is made or even if the book just does really well and you gain attention internationally, under the Berne Convention of 1886, international copyright laws must be honored. Twenty countries are members to the Convention, which employs the principle of "national treatment." That means that a country will recognize the copyrights given to citizens of another nation as if such works were copyrighted within that particular country. But if you have only your word that you copyrighted it, as opposed to a legal document from your country, they wouldn't honor it.
Copyrighting also puts a copy of your manuscript in the Library of Congress forever (or as long as the institution exists). That's pretty cool when you think about it. It means you're literally in the history of our country. 500 years from now, someone could be searching "the stacks" and come across your story!
So how do you copyright? It's actually a very simple process. Go to the US Copyright Office online http://www.copyright.gov/.
On the top right side of the first page you will see a big blue button that says electronic copyright office. Click on it, go inside and fill out the form. If you file online most copyrights will only cost $35. If you file a hard copy the price goes up considerably. Once you have copyrighted with the US Copyright Office your work is registered and you have a formal copyright. You will receive a confirmation within about 6-8 weeks.
One final note, if you plan to take your manuscript to a publisher, do not copyright it. They will handle the process. If you do, it shows how 'green' you are, and creates a lot of extra work for the publisher as the manuscript may go through several more drafts before publication. There's also the chance that ownership percentages and therefore who holds the copyright may change, based on your contract.
Copyrights for unpublished works aren't as important as they are for manuscripts that are published either by a publishing house or self publisher. That's because those are the works that are out in the public and therefore stand the greater chance of being reproduced without your consent.
Well yes and no. It depends on what you want to use it for. Yes, it may prove that the work is yours and that you wrote it first. But when have you known an American law to be that easy and straight forward? That's why it really irks me that places like CreateSpace don't include automatically include a copyright in publishing packages. In fact, the site actually tells people copyrights are not that important and uses the explanation I cited above. That lures writers into a false sense of safety. (Mind you CreateSpace overall does a great job and is a good option for self publishers. Just make sure to take the extra step and copyright your work. The reason CreateSpace doesn't include copyrighting is to cut down on costs. More on this is a minute.)
Here's why you want to get a registered copyright:
First, legally copyrighted documents are good for the author's life plus 70 years. That means it will keep it safe for the majority of your children's lifetimes too. If you don't legally copyright something, the copyright dies with you.
A copyright gives you the exclusive right to reproduce or copy the work or change its form, like creating a sequel and revising or updating the work. Only you can display it in public; everyone else has to ask you first. You're the only person who can distribute the work for commercial purposes.
You can sell your right to control the copyrighted work, so for instance you could sell the movie rights and keep the right to create a sequel.
It also carries penalties if someone tries to steal your work. You can't sue for copyright infringement or get an order from a judge to make somebody stop using your work unless your work is registered.
If your work is copyrighted, you can claim damages even if you can't prove exactly how much you were damaged by the person who took your work. That person will also have to pay your attorney's fees!
Registration also lets the world know that you own the copyright. If your book takes off and say a movie is made or even if the book just does really well and you gain attention internationally, under the Berne Convention of 1886, international copyright laws must be honored. Twenty countries are members to the Convention, which employs the principle of "national treatment." That means that a country will recognize the copyrights given to citizens of another nation as if such works were copyrighted within that particular country. But if you have only your word that you copyrighted it, as opposed to a legal document from your country, they wouldn't honor it.
Copyrighting also puts a copy of your manuscript in the Library of Congress forever (or as long as the institution exists). That's pretty cool when you think about it. It means you're literally in the history of our country. 500 years from now, someone could be searching "the stacks" and come across your story!
So how do you copyright? It's actually a very simple process. Go to the US Copyright Office online http://www.copyright.gov/.
On the top right side of the first page you will see a big blue button that says electronic copyright office. Click on it, go inside and fill out the form. If you file online most copyrights will only cost $35. If you file a hard copy the price goes up considerably. Once you have copyrighted with the US Copyright Office your work is registered and you have a formal copyright. You will receive a confirmation within about 6-8 weeks.
One final note, if you plan to take your manuscript to a publisher, do not copyright it. They will handle the process. If you do, it shows how 'green' you are, and creates a lot of extra work for the publisher as the manuscript may go through several more drafts before publication. There's also the chance that ownership percentages and therefore who holds the copyright may change, based on your contract.
Copyrights for unpublished works aren't as important as they are for manuscripts that are published either by a publishing house or self publisher. That's because those are the works that are out in the public and therefore stand the greater chance of being reproduced without your consent.
When to Copyright
It's time to set the record straight on when to copyright your work.
Many new writers are understandably protective of their manuscripts.
Like proud mama and papa bears they are prepared to defend their
literary babies to the death, and so go running off to the US Copyright
Office the minute the last word is typed. DON'T DO THIS or you will risk
looking like a loon to every professional in the business.
A copyright is only for a work that is completely and totally finished. That means it has already been written and rewritten within an inch of its life. You have had it proofed by at least one other set of eyes besides your own and hopefully two. You never, ever plan to revise it again--at least for a few years until it needs updating to stay current with the times. And you plan to publish it yourself.
If you plan to shop it around to publishers, they quite rightly may laugh you out of the office or into the electronic trash bin if you come to them with an already copyrighted work. That's because publishers seldom take a manuscript as is. They like to tweak things. Maybe they think a character should be older or a different sex. Maybe they want more humor or statistics. Maybe their market research shows that something in particular sells better and they want it incorporated into your manuscript. Publishers will also negotiate a contract, which includes ownership and therefore copyright rights. If you agree to give the company a portion of ownership, all that paperwork you filed will have to be un-filed and redone. In essence you just created more work for a publisher. Getting a contract is hard enough. You really don't want to do anything to jeopardize your chances or give yourself a reputation as hard to work with.
That leads to a final point. Many new clients come to me worried that their stories are going to be taken. They want to know how they can trust me or any other writer not to steal their ideas. Sometimes a friend or family member has cautioned them not to be too open with me for fear that I might take their work. Again, I understand their concern, however I have to smile. Such fears are the dead giveaways of a novice. Here's why: publishing books is a tough business and getting more difficult everyday. Very few people can snap their fingers and have a book published. It's a process that usually involves years of work, writing and rewriting, attracting the attention of an editor and publishing board. If I am going to work that hard at something, I'm going to champion one of my ideas, not someone else's. We don't need someone else's ideas because most writers are very creative. Coming up with an idea is not an issue. In fact, most writers have multiple projects in many stages. One more idea is of relatively little value to us.
Why then do I write for others? For a couple of reasons: first, I was originally a journalist. I got to go out every day and see and do different things. I enjoyed those adventures. Writing for others helps me to continue that process. I get to learn about the things that interest me, meet interesting people all over the world, and get paid to do it. Second, I get to help teach others about something love. Third, it helps as a supplementary income between my projects. I've never been the type to sit still, relax, and do nothing. Spending a week on the beach or at a spa would be extremely stressful to me!
So when do you copyright? At the very end when you plan to self publish. Otherwise leave it to the publishers. If you're still worried, do a 'poor man's' copyright. Snail mail yourself a complete finished copy of the work through the USPS. Make sure it gets a date stamp on it. When it arrives don't open it, stick it somewhere safe and hold on to it. The seal shouldn't be broken until a court or arbitration board asks to see it. That should be enough to establish ownership rights in the very rare chance someone tries to claim it as their own. And of course don't post the full manuscript anywhere on line or give copies to friends and family to keep.
A copyright is only for a work that is completely and totally finished. That means it has already been written and rewritten within an inch of its life. You have had it proofed by at least one other set of eyes besides your own and hopefully two. You never, ever plan to revise it again--at least for a few years until it needs updating to stay current with the times. And you plan to publish it yourself.
If you plan to shop it around to publishers, they quite rightly may laugh you out of the office or into the electronic trash bin if you come to them with an already copyrighted work. That's because publishers seldom take a manuscript as is. They like to tweak things. Maybe they think a character should be older or a different sex. Maybe they want more humor or statistics. Maybe their market research shows that something in particular sells better and they want it incorporated into your manuscript. Publishers will also negotiate a contract, which includes ownership and therefore copyright rights. If you agree to give the company a portion of ownership, all that paperwork you filed will have to be un-filed and redone. In essence you just created more work for a publisher. Getting a contract is hard enough. You really don't want to do anything to jeopardize your chances or give yourself a reputation as hard to work with.
That leads to a final point. Many new clients come to me worried that their stories are going to be taken. They want to know how they can trust me or any other writer not to steal their ideas. Sometimes a friend or family member has cautioned them not to be too open with me for fear that I might take their work. Again, I understand their concern, however I have to smile. Such fears are the dead giveaways of a novice. Here's why: publishing books is a tough business and getting more difficult everyday. Very few people can snap their fingers and have a book published. It's a process that usually involves years of work, writing and rewriting, attracting the attention of an editor and publishing board. If I am going to work that hard at something, I'm going to champion one of my ideas, not someone else's. We don't need someone else's ideas because most writers are very creative. Coming up with an idea is not an issue. In fact, most writers have multiple projects in many stages. One more idea is of relatively little value to us.
Why then do I write for others? For a couple of reasons: first, I was originally a journalist. I got to go out every day and see and do different things. I enjoyed those adventures. Writing for others helps me to continue that process. I get to learn about the things that interest me, meet interesting people all over the world, and get paid to do it. Second, I get to help teach others about something love. Third, it helps as a supplementary income between my projects. I've never been the type to sit still, relax, and do nothing. Spending a week on the beach or at a spa would be extremely stressful to me!
So when do you copyright? At the very end when you plan to self publish. Otherwise leave it to the publishers. If you're still worried, do a 'poor man's' copyright. Snail mail yourself a complete finished copy of the work through the USPS. Make sure it gets a date stamp on it. When it arrives don't open it, stick it somewhere safe and hold on to it. The seal shouldn't be broken until a court or arbitration board asks to see it. That should be enough to establish ownership rights in the very rare chance someone tries to claim it as their own. And of course don't post the full manuscript anywhere on line or give copies to friends and family to keep.
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