- Series: WMG Writer's Guides
- Paperback: 304 pages
- Publisher: WMG Publishing (December 1, 2016)
- Language: English
- ISBN-10: 156146774X
- ISBN-13: 978-1561467747
- Product Dimensions: 5.5 x 0.8 x 8.5 inches
- Shipping Weight: 12.6 ounces (View shipping rates and policies)
- Average Customer Review: 3 customer reviews
- Amazon Best Sellers Rank: #805,210 in Books (See Top 100 in Books)
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Closing the Deal...on Your Terms: Agents, Contracts, and Other Considerations (WMG Writer's Guides) (Volume 14) Paperback – December 1, 2016
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About the Author
New York Times bestselling author Kristine Kathryn Rusch writes in almost every genre. Generally, she uses her real name (Rusch) for most of her writing. Under that name, she publishes bestselling science fiction and fantasy, award-winning mysteries, acclaimed mainstream fiction, controversial nonfiction, and the occasional romance. Her novels have made bestseller lists around the world and her short fiction has appeared in eighteen best of the year collections. She has won more than twenty-five awards for her fiction, including the Hugo, Le Prix Imaginales, the Asimov’s Readers Choice award, and the Ellery Queen Mystery Magazine Readers Choice Award. Publications from The Chicago Tribune to Booklist have included her Kris Nelscott mystery novels in their top-ten-best mystery novels of the year. The Nelscott books have received nominations for almost every award in the mystery field, including the best novel Edgar Award, and the Shamus Award. She writes goofy romance novels as award-winner Kristine Grayson, romantic suspense as Kristine Dexter, and futuristic sf as Kris DeLake. She also edits. Beginning with work at the innovative publishing company, Pulphouse, followed by her award-winning tenure at The Magazine of Fantasy & Science Fiction, she took fifteen years off before returning to editing with the original anthology series Fiction River, published by WMG Publishing. She acts as series editor with her husband, writer Dean Wesley Smith, and edits at least two anthologies in the series per year on her own. To keep up with everything she does, go to kriswrites.com and sign up for her newsletter. To track her many pen names and series, see their individual websites (krisnelscott.com, kristinegrayson.com, retrievalartist.com, divingintothewreck.com). She lives and occasionally sleeps in Oregon.
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Top customer reviews
So Kristine wrote a book about it, based on her extensive background and her extensive research. Her motivation is, well frankly, to scare the writers who are often so emotionally charged at the chance of publishing, that they leave their logic at the door and fly by the seat of their pants. Perhaps her warnings will override the blind desire for fame and fortune at any price.
I read her posts on her web page while she wrote on this topic (kriswrites.com) and I have to say reading it in a book form is better. I can skip to sections when I need them, and her references are excellent sources for the future.
Whether you are Indie published, Traditional, or Hybrid, you'll find valuable information that can save you headaches, heartaches, and troubles for years to come. My hat is off to the author for a job well done.
Rusch knows what can happen when an inexperienced writer—giddy from finally being offered a book contract—signs it without negotiating it. CLOSING THE DEAL ON YOUR TERMS is no substitute for good legal advice, but it’s a great introduction to the kinds of “gotcha” clauses publishers are adding to contracts these days.
Most writers only look at money paid and when the manuscript is due. They don’t understand all the ways that they can—and will—be screwed over. For example, deep discount clauses allow publishers to make money on your books without giving any to you. Rights grabs mean that your publisher could turn your book into a movie or a game without consulting you. Options clauses can legally bind you to your publisher for many years and many books. And these are only the most obvious examples. Modern contracts are full of worse things, buried under confusing language and contradictory clauses.
An agent won’t save you from these terrible contracts. In most cases, an agent will urge you to sign them. Many agents are also presenting their own agency agreements (read: contracts) to authors, binding that author to the agent as well as the publishing house.
Because things have changed so radically in the last thirty years, Rusch discourages writers from dealing with publishers for any book-length fiction at this time. However, she understands that every career is different, and doesn’t tell writers what to do. In fact, she defends writers who want to sign any contract under the sun, as long as that writer knows exactly what she’s signing and why.
CLOSING THE DEAL ON YOUR TERMS isn’t an easy read. It’s not one of those great craft books that will energize your writing or an inspirational book that will make you feel good. Rusch herself became quite downhearted while writing it, as she realized just how bad things had gotten in publishing land. But she stuck it out and did us all a great service by writing a book that isn’t fun, but necessary.
CLOSING THE DEAL ON YOUR TERMS is probably not a book that any writer wants. However, it’s exactly the book that every writer needs.