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Inklings Issue 5.23
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i n k l i n g s
Inkspot's newsletter for Writers on the Net
http://www.inkspot.com
Issue 5.23 * Over 45,000 subscribers! * Nov. 24, 1999
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<http://www.inkspot.com/inklings/issues/ink0523.html>
This issue features a column by Mark Fowler (ASK THE LAWYER) about
permission to quote, and tips on collaboration by Moira Allen.
This issue sponsored by:
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XLIBRIS exists to help authors publish. Promptly, permanently. You
retain control. We make it happen: your book in beautiful hard
cover and trade paperback editions, available on-demand, forever.
Call for a free information pack: 1-888-7XLIBRIS, email
info@xlibris.com or visit us online: http://www.xlibris.com/ink/
*****************************************************************
WRITERS UNIVERSITY -- "The most remarkable virtual campus for
writers anywhere on the Internet." Devoted entirely to the craft
of writing fiction. Online seminars, courses, minicourses,
software, books, library of online classics, screenplays,
sitcoms, more. 1-800-977-8679. http://www.writersuniversity.com
*****************************************************************
ISSN 1205-6413. Copyright 1995-1999 Debbie Ridpath Ohi. See end
of issue for copyright/contact info. http://www.inkspot.com
*****************************************************************
CONTENTS THIS ISSUE:
From The Editor's Desk
Fresh Ink and Market Information
Ask The Lawyer
Ten Questions To Ask Before You Collaborate
Writers' Classifieds
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FROM THE EDITOR'S DESK:
-----------------------
I'm pleased to announce that Jeff and I have moved into our new
office! We've already met a few of the neighbouring tenants.
Kimberly Stinson and Les Petriw from the National Book Network
(http://www.nbnbooks.com) next door dropped by with an
officewarming present: THE ART OF NAPPING AT WORK by Camille and
William Anthony (Larson Publications, 1999). :-) We've also
enjoyed getting to know Kyle Waxman from Camp Creations across
the hall (http://www.camp-creations.com); if you or your family
are interested in camps or outdoor programs, do check out his
site!
We'll be having our virtual officewarming party in early December;
I'll post details in the next issue of Inklings.
Congratulations to editorial assistant Tracy Cooper-Posey; her
CHRONICLES OF THE LOST YEARS -- A SHERLOCK HOLMES MYSTERY has
been nominated for this year's Arthur Ellis Award. Tracy has
generously donated a copy of her book to the Writer's Wish List
Giveaway (see below).
Writer's Wish List Giveaway
---------------------------
New prizes added to the Inkspot end-of-the-year Writer's Wish
List Giveaway include: Canadian Writer's Calendar, _Tales Of Grandpa
Cat_ (by columnist Lee Wardlaw), _How To Grow A Novel: The Most
Common Mistakes Writers Make And How To Overcome Them_ (by
Sol Stein), Character Naming Software, _Flesh & Blood_ (by
Karen Wiesner), _Poet Power!: The Practical Poet's Complete Guide
To Getting Published_ (by Tom Williams), _Chronicles Of The
Lost Years: A Sherlock Holmes Mystery_ (by editorial assistant
Tracy Cooper-Posey). For a full list of prizes and details on
how to enter (no entry fee), please see URL below.
http://www.inkspot.com/admin/giveaway1999.html
Global Writers' Ink
--------------------
The next issue of Global Writers' Ink focuses on translation,
offering tips on how to work with a translator to ensure that
your writing is equally effective in another language, and how
(and why) to include a "glossary" with your translation project.
For more information and international marketing resources for
writers, please see http://www.inkspot.com/global/.
- Debbie
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FRESH INK
---------
PRIZE GIVEAWAYS: I'D RATHER BE WRITING
----------------------------------------------------------
By Marcia Golub (Writer's Digest Books, 1999). "A guide to
finding more time, getting organized, completing more projects
and having fun." Dozens of practical ideas for everything from
story structure to networking to home organization.
Deadline: Dec.5th, 1999. For more info about this book and how
to enter, see: http://www.inkspot.com/admin/giveaway.html
RECENT PRIZEWINNERS:
MINDMANAGER software - Philip Chen
Through Rose-Colored Glasses
----------------------------
New Q&A; column by M.J. Rose now online. M.J. Rose recently
made literary history when her self-published novel was chosen as
a featured alternate selection for both the Doubleday Book Club
and the Literary Guild. See her Inklings interview from Oct.13th.
http://www.inkspot.com/feature/mjrose/
Interview:
http://www.inkspot.com/inklings/issues/ink0520.html
Interview with Maya Bohnhoff
----------------------------
Speculative fiction author offers her views on the writing life.
http://www.inkspot.com/feature/bohnhoff.html
Jobs Page
---------
Newspaper careers resource. Includes job board lists, articles,
internships, other useful resources.
http://www.freep.com/jobspage/
Writing Employment Center
-------------------------
Frequently updated. Job postings, job-hunting tips, articles and
many other resources. Highly recommended.
http://www.poewar.com/jobs.htm
New greeting card publication
-----------------------------
Monthly online publication for greeting card writers. Editor
Terri See Spear currently works at Gibson Greetings. Subscription
fee.
http://www.greetingcardwriter.com
Mystery Writer's Resource Center
--------------------------------
New section of About.com. Maintained by Cathy Gallagher.
Articles, advice column, resource links for mystery writers.
http://mysterybooks.about.com/arts/mysterybooks/library/
write/blwrc_menu.htm
(no space between /library and /write)
** Please send suggestions for Fresh Ink to freshink@inkspot.com
*****************************************************************
GOTHAM WRITERS' WORKSHOP: Creative writing classes in Fiction,
Nonfiction, Screenwriting, Poetry, Children's Books, more.10-wk &
1-day classes in NYC and online for adults and teens. For free
catalog, call 212-WRITERS or visit http://www.WritingClasses.com
*****************************************************************
Advertise here! Send e-mail to sales@inkspot.com for details.
*****************************************************************
MARKET INFORMATION
------------------
Please get current, detailed guidelines before submitting to
publications if possible. Don't submit to email addresses unless
specifically stated. Include a SASE for surface mail replies.
More market info at: http://www.inkspot.com/market/.
**-----------------------------------------------------**
"FNASR": First North American Serial Rights, "SASE":
self-addressed, stamped envelope, "simsubs": simultaneous
submissions, "mss": manuscript, "RT": response time, "GL":
guidelines.
Markets Editor: Sal Towse (ST). Research assistants: Shane Stacks
(SS), Margaret Shauers (MS), Kathie Meyer (KM), Jan Edwards (JE).
DEADBOLT
--------
Deadbolt. PMB #345, 448 N. Cedar Bluff Rd., Knoxville, TN, 37923.
Editor: Jim Lay. Small-press, print magazine dedicated to
publishing dark fiction from new and established authors. FREQ:
Quarterly. NEEDS: Character-driven stories with a dark element.
LENGTH: 3.5K-4K wds. GL: Submit ms in standard format, include
cover sheet with quick bio and (if applicable) email address.
SASE or email address must be included for response (SASE
necessary for return of ms). Submissions accepted via postal mail
*only.* Multiple submissions okay, no simsubs or previously
published material accepted. RIGHTS: FNASR. PAYS: 1/4 cent/wd,
plus 1 cc. RT: 4-6 weeks. TIP(S): "Ideally, we'd like to see
stories reminiscent of those in Stephen King's NIGHT SHIFT or
Robert R. McCammon's BLUE WORLD. Give us believable characters
confronted by dark or supernatural forces. Not enthusiastic about
overworked themes such as vampires. Also not impressed by
excessive gore unless it's necessary to the story in some way. We
highly recommend that contributors purchase a copy of DEADBOLT.
Not only will it give you an idea of what we're looking for,
you'll also be supporting a paying market for writers just like
yourself." SAMPLE COPY: $5, available through editorial address.
(SS)
URL: http://www.deadboltpress.com/
GL: http://home.att.net/~jimdouglaslay/guidelin.htm
E-Mail: jimlay@deadboltpress.com
DRAMATICS MAGAZINE
------------------
Dramatics Magazine, 2343 Auburn Avenue, Cincinnati, OH
45219-2815, PH: 513-421-3900. Fax: 513-421-7077 PUBLISHER:
International Thespian Society/Educational Theatre Association.
EDITOR: Don Corathers. AUDIENCE: Dramatics is an educational
theatre magazine published since 1929 by the International
Thespian Society, a non-profit organization dedicated to the
advancement of secondary school theatre. Primary readers are high
school theatre students and teachers. CIRC: 42,000 FREQ: Monthly
except June, July and August. NEEDS: four to eight articles for
each issue, 800-4,000 wds in length. Articles are accepted on any
area of the performing arts, including film and dance. A typical
issue might include an interview with someone who has made a
significant contribution to the theatre, an article describing
some innovative approach to blocking, costume design, or set
construction, a survey of leading theatre schools describing what
they look for in students, and a photo spread, with copy, on some
ground-breaking performer or theatre group. Short news items,
book reviews, and humor pieces (if they're funny) are also part
of the mix. We print at least five one-act plays per year. We do
not reprint plays, and plays should be performable in high
schools. RIGHTS: First publications rights (unless other
arrangements are made with the author). One-time, non-exclusive
rights for plays. PAY: On acceptance, honoraria of $25-$400.
Payment based on the quality of work, amount of editing or
rewriting needed, length, and inclusion of photos or graphics.
Contributors also receive five free copies of the issue in which
their piece appears and may obtain additional copies at a minimal
charge. SUBMISSIONS: We prefer to see finished manuscripts but
will respond to query letters. SAMPLE COPY: Send 9x12 SASE (5 oz.
first class postage, currently $1.21). RT: 6 wks (or notifies
authors if a longer period is needed to review). TIPS: Best
advice to potential contributors: check out a sample copy and get
to know the magazine before you pitch us. "The test we apply, in
deciding whether to accept an article, is whether it would engage
an above-average high school theatre student and deepen his or
her understanding and appreciation of the performing arts."
(JL,SS)
URL: http://www.etassoc.org/dram-mag.htm
Guidelines URL: http://www.etassoc.org/dram-mag.htm
E-mail:dcorathers@etassoc.org
ALSIRAT
-------
Alsirat. Editor, Joel GAzix-SAX. (949)635-9211. Alsirat is an
online anthology of fear and transcendence for horror fans. FREQ:
Updated monthly. CIRC: 10,000 hits/month. NEEDS: Our principal
focus is horror. What you write should scare you and our readers.
No gratuitous violence, racial and sexual stereotyping, no
erotica. The editor will look with favor on submissions which
tell a good story and evoke vivid imagery and characterizations.
Stories should run 2000-5000 wds max., and should be sent in
ASCII format. Poetry should be sent in batches of five-ten poems.
PAYS: $25 on publication for each story or group of poems
purchased for the right to feature the story in the anthology for
three months. Plans to purchase one story/poem cycle each month.
RIGHTS: Writer retains copyright but allows editor to accrue
advertising revenues. E-mail submissions. Responds in 1-6 months.
For examples of the type stories and poems published, please view
Web site. TIPS: Vampire stories usually bore me. Occasionally I
publish a good fantasy story or a great, non-horror story about
the fear that comes from living in the modern world. The biggest
problem with the stories I get is that they contain a lot of
gratuitous violence and blood. I would urge people to write a
good story like "The Haunting" where the monster is unrevealed,
but its presence is unmistakable. I dislike violence pornography
where the monsters only eat the evil people. New writers are also
invited to take part in our ongoing interactive stories. (JL)
URL: http://www.alsirat.com
GL: http://www.alsirat.com/alsirat/index.html
E-mail: gazissax@best.com
BYLINE MAGAZINE
----------------
ByLine Magazine, PO Box 130596, Edmond, OK 73013-0001, Ph:
405-348-5591. PUBLISHER/EDITOR: Marcia Preston. Monthly magazine
featuring short fiction and instruction for writers. CIRC: 3,000
NEEDS: General short fiction, mainstream, literary or
genre--2,000-4,000 wds--no explicit sex or violence. Good
writing is the main criterion. Nonfiction- Instructive or
motivational articles that could be of genuine help to writers,
especially how-to-write or how-to-sell to specific market areas.
Length should be 1,500-1,800 wds. We also solicit interviews with
editors of freelance-friendly publications for our Inside
Information feature. Endpiece--strong, thoughtful essays of 700
wds relating to writing. May be humorous, motivational or
philosophical. Departments--read magazine for examples.
Poetry--must deal with the subject of writing, prefer free verse.
Poems about writer's block, "the muse", and inspiration that
comes in the middle of the night have been overdone. PAY: $100 on
acceptance for fiction. $75 on acceptance for all features. $35
on acceptance for End Piece. $15 to $40 on acceptance for
departments. $10 on acceptance for poetry. RIGHTS: FNASR only.
RT: 4-6 wks. SUBMISSIONS: No e-mail submissions, but e-mail
queries are okay. TIPS: Our readers are writers. Ask yourself (as
a writer) what kinds of stories/information you'd like to
read--or would have liked to know about years ago, if someone had
told you--and think about framing an article around that idea.
Avoid the obvious topics (like writer's block and rejection
slips); everybody else thought of those, too. Be specific. Here
are some recent article examples: How to Write How-To Articles;
Writing Life Stories; The Actor's Method for Writing Fiction,
etc. For fiction, just write a darned good story. We get nearly
200 short stories per month and buy the one we like best. (JL)
URL: http://www.bylinemag.com
GL: http://www.bylinemag.com/guide.htm
E-mail: bylinemp@aol.com
THE CHATTAHOOCHEE REVIEW
------------------------
The Chattahoochee Review, 2101 Womack Road, Dunwoody, Georgia
30338-4497. Phone: (770) 551-3019. Editor: Lawrence Hetrick;
Managing Editor: Jo Ann Yeager Adkins. Poetry Editors: Collie
Owens and J. Stephen Beauchamp. Fiction Editors: Jack Riggs and
Kate Roddy. Literary Journal (founded 1980) published by Georgia
Perimeter College. FREQ: Quarterly. CIRC: 1300. SIZE: 140 pp, 6"
x 9". AUDIENCE: "general readers who require and delight in
literary qualities in a variety of genres and subject matter."
NEEDS: poetry, literary fiction, creative nonfiction, interviews,
reviews and photography and graphic arts. See Guidelines on Web
site for detailed requirements for each genre. LENGTH: Short
Fiction up to 6,000 wds, poetry submissions should include 3 to 5
poems. RTS: FNASR. PAY: On publication. Fiction: $20/page;
Poetry: $50 each; Nonfiction and Interviews: $15/page;
Reviews: $50.00 each; Review Essays: $100 each; Graphic Work:
$25 each. Pages indicated are Chattahoochee Review pages. Each
contributor receives two copies of the issue in which his/her work
appears and a one-year subscription to The Chattahoochee Review.
RT: 2-4 months. SUBMISSIONS: Electronic submissions are not
accepted. Send mss with a SASE to: The Chattahoochee Review,
Georgia Perimeter College, 2101 Womack Road, Dunwoody, Georgia
30338. SASE must be included for return or reply. Works should
be previously unpublished in North America, typed on one side of
each page with author clearly identified. Clear photocopies are
acceptable. Cover letters encouraged, but not required.
Simultaneous submissions are discouraged, but will be considered
and should be labeled as such. ADDITIONAL INFORMATION: It is
recommended that writers read a sample copy before submitting.
Sample copies and back issues are available from the editorial
office for $6. (JE)
URL: http://www.dc.peachnet.edu/~twadley/cr/index.htm
GL: http://www.gpc.peachnet.edu/~twadley/cr/guide.htm
WORKING WRITERS NEWSLETTER
--------------------------
Working Writers Newsletter. (201)262-3277. Editor: Brian Konradt.
Bi-weekly e-mail newsletter that covers the creative and business
side of freelance writing to help freelancers break into new
writing markets, increase writing output, secure more clients and
work, sharpen skills, and run a successful freelance business.
CIRC: 1,200 NEEDS: Nonfiction articles--how-to, new product,
technical, business profiles, interviews. 100-700 wds. Buys 4-6
articles/ month. RIGHTS: First Rights, and non-exclusive rights
to reprint the work in archival issues of Working Writers which
are made available in their entirety at the website. Also accepts
reprint rights. PAY: $0.05/wd on acceptance. SUBMISSIONS: Accepts
queries only via e-mail. Query with writing experience and
published works. Briefly explain what your topic is and in what
way your article is going to help writers. Submit one to three
article ideas to Brian Konradt, editor. RT: Usually within one
week. TIPS: We want articles that wrestle with changes and trends
occurring in the marketplace, and solution-savvy articles that
help writers establish a freelance writing business, how to get
clients, where to find freelance work, how to write various types
of copy, how to market and self-promote, and more importantly,
how to earn money with your writing, etc. (JL)
URL: http://www.freelancewriting.com
Guidelines URL: http://www.freelancewriting.com/wwn/wwnguide.html
E-mail: freelancewriting@abac.com
Market reminders: CHICKEN SOUP
------------------------------
CHICKEN SOUP FOR THE VETERAN'S SOUL: Submissions are due by 31
Dec 1999 (but we will welcome stories after this date for a
sequel book that is being planned.). Standard rate is $US300 on
publication for non-exclusive rights (which means you are free to
publish your story elsewhere) for each story that ends up being
published in the book. However, for professional writers, rates
can be negotiated on an individual basis. $50 to the first
contributor of a previously published item.
Snail: 607 W. Broadway Ave. Fairfield, IA 52556-3200
Attn: Sid Slagter.
URL: http://www.vetstories.com/
GL: http://www.vetstories.com/guidelines/guidelines.html
E-mail: remember@vetstories.com
http://www.inkspot.com/inklings/issues/ink0516.html
CHICKEN SOUP FOR THE OUTDOOR SOUL: Submissions are due by
February 29th, 2000. Standard rate is $US300 on publication for
non-exclusive rights (which means you are free to publish your
story elsewhere) for each story that ends up being published in
the book. However, for professional writers, rates can be
negotiated on an individual basis.
Snail: P.O. Box 69774. Los Angeles, CA. U.S.A. 90069
Attention: Steve Zikman
Email: submissions@outdoorsoul.com
http://www.inkspot.com/inklings/issues/ink0513.html
CHICKEN SOUP FOR THE GARDENER'S SOUL: Submissions are due by
March 1, 2000, but the sooner, the better. Standard rate is
$US300 on publication for non-exclusive rights (which means you
are free to publish your story elsewhere) for each story that
ends up being published in the book. However, for professional
writers, rates can be negotiated on an individual basis.
Snail: PO Box 1694, Kodiak, AK
Attn: Marion Owen.
URL: http://www.gardeners-soul.com
GL: http://www.gardeners-soul.com
E-mail: marion@ptialaska.net
http://www.inkspot.com/inklings/issues/ink0519.html
Please send market news to Sal Towse, towse@inkspot.com.
*****************************************************************
Ask The Experts
---------------
*** Please put "inklings question" in the subject header. ***
Judith Bowen (ROMANCE WRITER) JudithBowen@poboxes.com
David Breeden (POET) dbreeden@schreiner.edu
Charles Deemer (SCREENWRITER) charlesd@inkspot.com
Mark Fowler (LAWYER) askthelaywer@inkspot.com
Ken Jenks (ELECTRONIC PUBLISHER) MindsEye@tale.com
Ginger Knowlton (AGENT) agent@inkspot.com
Michelle Sagara (SF/FANTASY WRITER) Michelle.Sagara@sff.net
Lee Wardlaw (CHILDREN'S BOOK WRITER) lee@inkspot.com
Marcia Yudkin (FREELANCE WRITER) yudkin@inkspot.com
Columnists may be unable to reply privately to every message,
but will answer selected questions in future issues of Inklings.
Please keep your question BRIEF and send it to *one* columnist.
*****************************************************************
ASK THE LAWYER
-----------------------------------------------------------------
by Mark Fowler <askthelawyer@inkspot.com>
Q: Permission to quote?
-----------------------
Do I need permission to quote literary works that are in the
public domain? If so, who do I get that permission from?
A: No. By definition, a work that is genuinely in the public
domain may be copied in whole or in part without seeking or
obtaining anyones permission. It is the publics property. For
example, you could reprint the entirety of _Walden_ (long since in
the public domain) without permission and without paying
royalties to Thoreaus heirs or anyone else. However, you should
keep in mind the following potential pitfalls when you are
relying on the fact that a work is in the public domain: (1)
Make sure that the work you are copying really is in the public
domain. In this regard, remember the duration of copyright
protection in the United States has recently been extended by the
improbably named Sonny Bono Copyright Term Extension Act. A
useful chart summarizing the duration of U.S. copyrights may be
found at www.lib.rochester.edu/copyright/durcopy.htm. (2) A work
that is in the public domain in one country may still be
protected by copyright in other countries. (3) An author who
edits or translates a public domain work may acquire a
protectible copyright interest in his original expression even
though the underlying work has lost its protection. For
instance, you could freely republish the entire Greek original of
_The Odyssey_, but Robert Fagles recent English translation will
remain protected by copyright throughout most of the 21st
Century. You cannot quote from Fagless work without permission,
except to the limited extent permitted by the doctrine of "fair
use." Similarly, the present-day editor of an anthology of 19th
Century American poetry may have a protectible copyright in her
original selection, coordination, and arrangement of the poems
(e.g., The Best 100 Poems of the 19th Century) that prohibits you
from copying the anthology as a whole -- or any substantial
portion thereof -- even though each individual poem is in the
public domain.
**------------------------------------------------**
This column is by Mark A. Fowler of Satterlee Stephens Burke &
Burke LLP (http://www.ssbb.com).
PLEASE NOTE: This column is intended solely to provide general
information about matters of concern to writers, not specific
legal services or advice. On some issues, there are significant
differences between the laws of the United States and the laws of
Canada (and significant variations from state to state or from
province to province.) If legal assistance is required, the
reader should consult an experienced attorney who can review and
assess all of the facts and circumstances relevant to the
reader's situation.
Copyright (c) 1999 Mark A. Fowler.
*****************************************************************
TEN QUESTIONS TO ASK BEFORE YOU COLLABORATE
-----------------------------------------------------------------
by Moira Allen <moira@inkspot.com>
Book collaborations begin with the best intentions. Someone you
know has an idea or area of expertise that, paired with your
writing skills, should lead to a surefire success. You're the
best of friends, so surely you can work well together. What
could possibly go wrong? The answer is: Plenty. While many
collaborations proceed without a hitch, others fail disastrously.
Good intentions alone can't sustain a partnership through the
lengthy process of completing a book, and when those intentions
fail, you may lose not only the work you've invested in a
project, but the friendship that began it. To collaborate
successfully, you need a plan -- and the answers to the following
important questions:
1) Who will contribute what?
----------------------------
In nonfiction projects, it's common for one partner to contribute
ideas or expertise, while the other handles the actual writing.
While this seems straightforward, you'll also need to agree upon
how much information the non-writing partner should contribute,
how much control the writing partner has over what information is
included in the book, and how much control the non-writing
partner has over how that information is presented.
In fiction projects, both partners often share the task of
writing. Again, you'll need to reach an understanding about who
should be responsible for what -- which sections will you write
and which sections will you leave to your partner? Will each
write an "even share" of the novel? Will one partner focus on a
particular aspect of the writing (such as action sequences) while
the other concentrates on dialogue and character development?
How will you ensure that your sections mesh, your styles match,
and your work share remains equitable?
2) How will you determine the relative value of each partner's
contribution?
--------------------------------------------------------------
Most collaborations begin with the intention of a 50-50 split.
Often, however, those intentions break down when one partner
perceives that s/he is providing the "lion's share" of the work.
If a 50-50 split begins to appear less equitable than you'd
thought, consider developing another method of "valuing" each
partner's share of the work, such as a time-based percentage.
3) When will each partner be responsible for "delivering" their
share of the work?
---------------------------------------------------------------
Many collaborations fail (and many friendships end) when one
partner fails to provide his/her share of the work in a timely
manner. Different people have different work habits and different
obligations, and as any writer knows, it can be difficult to
sustain momentum through even the most exciting project. It's
vital to establish timelines for each person's share of the work,
and to live up to those timelines.
4) Who will have the final say over issues of style?
----------------------------------------------------
If one partner is doing most of the writing, will that partner
have sole discretion over the organization and presentation of
the material? If not, how much control will the "information"
partner have over these issues? If you are both writing sections
of the book, how will you resolve differences in style or
"voice"? Who will be responsible for a final "edit" of the book?
Arguments over style and grammar can turn a project into a
nightmare.
5) Who will handle the business side of the project?
----------------------------------------------------
While you may both be involved in market research and make joint
decisions about where to submit your work for publication, one
person will probably end up doing most of the "paperwork" --
writing query letters, printing manuscript copies, following up.
Make sure you've factored these tasks into your work-share
agreement.
6) How will you share expenses?
-------------------------------
Again, a 50-50 split is common -- but you must also determine a
method of determining and reimbursing expenses. It's probably
unrealistic to wait until the book has been sold and you've
received an advance -- so be sure you're ready to reimburse one
another for out-of-pocket expenses incurred along the way.
You'll also need to decide how to handle project expenses on your
taxes.
7) How will you share the credit?
---------------------------------
Some collaborations crash and burn over the issue of whose name
should be listed first on the cover. You'll also need to decide
whether your partnership should be defined as "and," "with," or
"as told to." Some fiction collaborators solve this problem by
inventing a "single-author" pseudonym. Another solution is to
list your names alphabetically.
9) What are your rights if your partner chooses to "opt out"?
-------------------------------------------------------------
In many cases, a collaboration ends when one partner loses
interest or is unable to complete his/her share of the work
because of other obligations. Sometimes the end comes abruptly;
sometimes the collaboration suffers a slow, withering death.
Sometimes the partner formally withdraws from the project, but
often the project ends simply because a partner simply ceases to
contribute.
The dissolution of your partnership can be an emotional time, and
therefore not the best time to try to reach an agreement
regarding the project's future or the remaining partner's ongoing
role in the project. It's far better to decide in advance what
will happen to the project if either partner chooses to leave the
collaboration. Who will own the rights to the project? Will the
remaining partner have the right to proceed alone -- or perhaps
even to take on a new partner? Will the withdrawing partner
still own a "share" of the project based on work already
contributed? Will that partner still have a right to control
what happens to the work, or even block its publication? Will
the withdrawing partner still receive credit (e.g., part of the
byline)? Ask these questions now, while you're still on friendly
terms, and you may prevent a great deal of pain and heartache in
the future.
10) What happens if one partner dies?
-------------------------------------
While this may be the last thing you want to think about, it's an
important issue. If one partner dies, will the other become
"sole owner" of the project? Or would you prefer to ensure that
your rights (and profits) are inherited by your heirs? Don't
assume that you both have the same preferences in this regard;
discuss how rights and proceeds will be handled in the event of
either partner's death.
Get it in writing
-----------------
At the very least, you and your partner should discuss these
issues, and any others that might arise in the course of your
collaboration. Talk to any victim of a failed collaboration,
however, and you'll hear the same cry: "If only we had had a
contract!"
Unfortunately, many people consider it an "insult" to ask a
friend to sign a formal contract. Nothing could be farther from
the truth. A contract simply is a way of acknowledging that what
you are about to undertake is not only a mutually enjoyable
project, but a business arrangement with long-term ramifications.
Developing a contract in advance is the best possible way to
protect both partners from future misunderstandings.
Circumstances, interests, and enthusiasms may change for both of
you; a contract can prevent those changes from turning into major
conflicts.
There is an additional benefit to spelling out the terms of your
collaboration in a formal contract: By doing so, you and your
partner become answerable to the contract, rather than to each
other. Such a contract can act as a powerful vehicle of
enforcement, reducing each partner's need to "nag" the other for
compliance. As such, it can help protect not only your work, but
your relationship.
A collaboration can be a wonderful experience, and produce a far
better book than either you or your partner might have produced
alone. To ensure that this experience goes smoothly, why not
make a simple agreement your first piece of "collaborative
writing"?
For more information:
---------------------
"Collaboration between and among co-authors," by Michael Lennie
http://taa.winona.msus.edu/TAA/COLUMNS/lennie/collaboration.html
**---------------------------------------------------**
Moira Allen is the Associate Editor of Inklings and Editor of
Inkspot's "Global Writers' Ink" (http://www.inkspot.com/global).
She is also the author of "Writing.com: Creative Internet
Strategies to Advance Your Writing Career," recently issued by
Allworth Press. For more writing tips, visit Allen's website at
http://www.tipsforwriters.com, or her "Freelancing 101" column at
http://www.inkspot.com/moira.
Copyright (c)1999 Moira Allen.
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