Issue #11
November, 2005

Dear Romance Writer,

I've always loved the month of November, as it heralds the beginning of the hectic holiday season. Since I was a child, this time of year has held a special place in my heart. And this year, Thanksgiving had even more meaning, because we are still in recovery mode here in South Florida ... dealing with the aftermath of Hurricane Wilma. Yet there is so much to be thankful for. Putting aside inconveniences like lost electricity and phone service, the absence of cable, and stores virtually depleted of food, we are alive and well. Homes can be rebuilt, trees and shrubbery replanted.

Soon AWAI's headquarters will receive a new roof and it will be back to business as usual. So where am I writing this to you from? I'm temporarily headquartered in a charming little building that houses "The Sovereign Society." The Society is a membership-based organization that teaches strategies on protecting your assets. See www.sovereignsociety.com for more information about what this organization does.

And there is more good news. Drum roll, please! Writing for Love & Money member Ronda Del Boccio has sold her first romance short story to Wax Romantic. Please visit www.waxromantic.com to read Ronda's sensual story. Congratulations, Ronda. We are very proud of you.

In signing off, I wish you and yours a very happy holiday season. Chat with you all next month.

Romantically Yours,

Marcia

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TOOLS OF THE TRADE

Below you will find Part 2 of the Bob Bly article we began last month. Bob, a legend in his own right, is a master copywriter, an experienced direct marketer, and the author of over 60 books. His "Selling Yourself" program has been enormously successful. See www.bly.com for more information about the man and his services.

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WHAT TO DO WHEN YOUR BOOK DIES, Part 2
by Robert W. Bly

When your book goes out of print ...

Sooner or later, despite your best efforts, your book will go out of print. Either the publisher will notify you, or royalty statements will indicate that the book isn't being sold anymore. If you've protected yourself by including the contract clauses I suggested last month, in Part 1 of this article, you're in good shape.

Not sure what your contracts say? Go to your files and check all contracts for your existing books. There's a good chance your contracts contain these clauses. If you don't have a clause reverting the rights of your out-of-print book to you, the going will be tougher, but not impossible. Some publishers - especially financially sound ones - will be reasonable and give you the rights. Others - usually small ones going out of business - may not respond to your request at all.

Here's what to do: Send a letter to the publisher requesting that all rights revert to you. If your contract contains a reversion clause, say so.

Consider buying the remaining inventory of books and the printing plates or films, but at a reasonable price. Include a sentence in your letter that indicates your interest without making you seem too eager. For example: "If you are interested in selling the remaining inventory and the plates, I may be a customer."

If all is well, the publisher should respond by offering you the remaining inventory at a reasonable price. (We'll discuss pricing later.) You should get the books, the films or plates (if available), and a letter stating that all rights have officially reverted to you.

When the publisher goes out of business ...

A far more serious problem arises when the book goes out of print because the publisher is going out of business. You might think that, because the book is out of print, the rights automatically revert to you. But beware. "There appears to be a general misconception in the publishing industry that if a publisher fails to remit royalties or becomes the subject of either voluntary or involuntary court supervised liquidation proceedings, authors' contractual rights revert to the authors," stated Dodd, Mead in a letter to me concerning my books. "We believe that the rights under the authors' contracts do not revert to him. In fact, in such recent proceedings as the Stein and Day bankruptcy case, authors' contracts were sold to the highest bidder. Therefore, you should not rely on any automatic right of reversion."

Dodd, Mead sent me a notice offering to sell me the rights to my two books, Secrets of a Freelance Writer and The Copywriter's Handbook, for $2,500 apiece - $5,000 total.

My immediate reaction was to have my attorney threaten a lawsuit, which was a mistake. A company hounded by creditors isn't afraid of one more complaint. My lawyer got out of it, and my agent took over. The final deal was that Dodd, Mead granted me all rights to both books in exchange for a payment of $2,000 ($1,000 per book) plus forgiveness of back royalties (which I never would have seen anyway). I could have gotten it cheaper - I believe that those Dodd, Mead authors who negotiated early, instead of fighting as I did, paid somewhere around $250 per book for rights.

Conclusion? If the publisher offers to sell you the rights, respond immediately with a much lower figure and begin negotiations. The authors who act first can get back the rights at the lowest price. Later, when the publisher realizes how badly it needs cash, it becomes more demanding and less open to negotiation.

Determine whether to accept the publisher's final offer based on what the book means to you - personally, emotionally, and financially, as well as its sales potential. My children's book, Ronald's Dumb Computer, is financially unimportant to me, and I never bothered to pursue the rights. But The Copywriter's Handbook is an ongoing promotional tool for me - and a major source of new consulting business - so getting back the rights was well worth the $1,000 I paid.

My story has a happy ending. My editor at Dodd, Mead moved to another publishing house. She got in touch with me and expressed interest in republishing Secrets of a Freelance Writer and The Copywriter's Handbook if I could get the rights back. My advance from the new publisher more than covered what I paid out to Dodd, Mead to recover the rights, and new editions of both books are now in bookstores.

Buying the inventory

When Dodd, Mead offered to sell me the rights to my books, it also asked if I wanted to purchase the remaining inventory. While most book contracts offer the remainders to the author at manufacturing cost, Dodd, Mead wanted cost plus $1 per book. This was $3.16 per book for 629 hardcover copies of The Copywriter's Handbook with a cover price of $17.95, and $3.91 per book for 406 paperback copies of Secrets of a Freelance Writer with a cover price of $9.95. This meant I'd write Dodd, Mead an additional check for $3,575.10 in exchange for 1,035 books with a retail value of $15,330.25 - assuming I could sell them.

In my case, I wasn't especially worried about being able to sell the books. I use The Copywriter's Handbook as a premium, giving it to clients and prospects for my consulting and copywriting services. In addition, I receive several calls each week from people wanting to know where they can get a copy. As for Secrets of a Freelance Writer, I knew from running a test ad in Writer's Digest that I could sell the book profitably as a mail-order item.

However, by the time I decided to buy the books, Dodd, Mead's inventory was frozen for legal reasons. Eventually, I bought the books at an even lower price from a remainder house (a distributor that buys and sells inventories of out-of-print books).

Note:
Make an offer and get the books shipped to you right away.
Otherwise, you may never get them.

This assumes, of course, that you want the inventory. You may not.

Storing hundreds or thousands of books presents problems in itself. The best place is the garage, attic, basement, or spare bedroom. But you may not want to live with the clutter. The alternatives - a warehouse or other storage facilities - are not inexpensive. I got a quotation from a "fulfillment house," which would not only store the books but also handle incoming mail orders and ship books to customers for me. Storage alone for the 2,000 books was in the range of $50-$100 per month - which would quickly eat into my profits. So I keep my books in my basement.

Selling the inventory is a challenge. But, being a writer, you may be able to find creative and profitable ways to do it. Many authors sell their books by mail.

The selling method you use determines the maximum you can afford to pay for your out-of-print books. If you sell them at seminars, for example, where selling costs are low, you can pay up to 50% of the retail price and still make a handsome profit - because your only advertising cost is holding up a copy of the book from the podium.

But if you want to sell the book through mail-order advertising, you need a higher profit margin to cover the cost of advertising (classified is best), mailing sales literature, and shipping books to customers. The most you can afford to pay is 25% of the retail price, and you really should be looking to pay 10%-20% of retail or less.

For most trade paperbacks, this comes to $1-$3 per copy. When selling the books via mail-order, add $2 to the retail price for shipping and handling. This helps relieve some of the burden of your high selling costs.

Keeping the book in print

Assuming you are successful at selling your books, the inventory will soon be gone. Then what?

If the rights belong to you, you have two choices. You can sell the book to another publisher. Or ... you can publish it yourself.

The author who wants to self-publish his out-of-print book has a big advantage over other self-publishers: Namely, the book has already been designed and set into type - eliminating thousands of dollars in typesetting and composition costs.

Ideally, your printer should print from the publisher's original plates or films. But, in most instances, the printer can produce an acceptable finished product using existing copies of the published book as his camera-ready artwork. For this, he will need two clean copies in good condition.

How many copies should you print? Most self-publishing experts I talked to recommended a first-print run of 3,000 copies. Printing fewer copies drives up the cost per copy, while printing more could leave you with a warehouse full of books if it doesn't sell.

For a 128-page trade paperback, trim size 5 1/2 x 8 1/2 inches, a book production house quoted me a price of $6,488.09 for 3,000 copies, or $2.16 per book. I could probably have gotten a lower price going directly to a printer and handling the production details myself. Be sure to go to a printer specializing in books.

Self-publishing offers you the advantage of control - control over jacket design, pricing, marketing, and distribution. You might want to get into the book-selling business this way.

I didn't. And where would I store 3,000 books? So, instead, I chose to resell the rights to the publisher where my Dodd, Mead editor now worked.

Will you be able to resell your book to another publisher?

It may be difficult.

Publishers are more interested in something new than in something old. Unless your book was a big seller, most editors won't get excited about it. But if you query several publishers, you may find one looking to fill a slot in its catalog with a book just like yours. Or maybe an editor who praised the book in the past would be happy to acquire it now. If your original editor has moved to another publishing house, he or she would be your best bet for a resale.

What kind of advance can you expect?

Probably 50% or less of the advance you would get for the book if it were new. On the other hand, it's easy money. Unless your book must be revised and updated, there's almost no work involved for you.

If there's one piece of advice to follow above all else, it's to act quickly.

Those authors who take immediate action and persist until the deal is made suffer least and profit most when their books go out of print.

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HAPPENINGS:

Saturday, January 21, 2006
Writing the Breakout Novel
The Fairmont Palliser
133-9th Ave. SW, Calgary, Alberta

February 3 - 4, 2006
Heart of the West Conference
Holiday Inn Downtown, Salt Lake City, Utah
Fee $125-$135
Featured: Sherrilyn Kenyon, Christine Feehan, Brenda Novak.
Contact: m.lusk@comcast.net or jopmitch@comcast.net

February 3 - 5, 2006
Spacecoast Authors of Romance
DoubleTree Oceanfront, Cocoa Beach, Florida
"Tighten Up That Sagging Middle"
Fee $165
Keynote: Rachel Gibson

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INTERVIEW WITH LEIGH GREENWOOD

Now, here is our long-awaited interview with Leigh Greenwood (a.k.a. Harold Lowry).

Leigh Greenwood is the pseudonym used by popular romance author Harold Lowry. We had the opportunity to interview Harold, the first male romance writer to hold the illustrious position of President of Romance Writers of America. Harold has often said he was inspired by his wife to write romance. To date, he has penned over 30 novels Please log on to www.leigh-greenwood.com for more about this inspiring novelist.

RY: Harold, I am so pleased that you agreed to do this interview. Our members bombarded us with e-mails asking to hear from you. And now ... here you are! Can you tell our readership what it is about the romance genre that captured your interest?

HL: I love romance and I love happy endings. From my late teens into my early thirties, I read several hundred books by the world's greatest authors. Most of them dealt with human emotions, most often love, but most were tragedies and ended unhappily. By the time I was 40, I realized I was surrounded by unhappy endings. I was looking for books where people solved their problems successfully. By that time, I was also married and raising my family, a very happy time in my life. So I was turning into a romantic. About that time, I discovered the books of Georgette Heyer. They were beautifully written, had great characters, were humorous, and had happy endings. I also liked the historical settings. By the time I'd read everything she'd ever written, I was a confirmed romance reader. It was just another step to writing my own stories.

RY: To be successful in this field, do you think men need to write under a pseudonym?

HL: Before I try to answer that question, we need to clarify what you mean by successful. Do you mean getting books published ... or making a living as a writer? Most romance writers can't support themselves by their writing. They write because they love it and because a spouse provides the financial support the family depends on. There's an enormous difference between a published author (the way most of us define success in this field) and an author who is self-supporting. I would never have been able to give up teaching to write if my wife hadn't gone to work to provide the health benefits which were essential because we had three small children at the time.

Setting aside all financial considerations, I don't think men have to have a pseudonym to be successful. A brilliant writer/storyteller is going to succeed even if he calls himself Lassie. Look at Louis L'Amour. What kind of name is that for a western writer? Yet, he's the most successful of all time. However, most of us aren't so unique or so brilliant we can create our own market. That being the case, we have to depend on the romance readership in general. And, in general, women like to read books written by other women. It's much the same as men wanting to read action/adventure books written by men.

RY: Why the name Leigh Greenwood? Does it have a special significance for you?

HL: I knew from the beginning I would need a pseudonym. I had no problem with that - but I was determined not to be called "Jennifer" or "Evelyn." I wanted a name that could be associated with a man or a woman. I chose six such names and matched them with surnames that sounded good. Leigh Greenwood just happened to be at the top of the list I sent to my editor. She said the first one was fine - so I've been Leigh Greenwood ever since.

RY: Tell our members about your experiences as President of Romance Writers of America. How did most react when they found out you were a man?

HL: No one was surprised that I was I man. I had been a member of RWA for 15 years and had served on the Board for four years before I was elected President. I had attended all but three national conferences during those years, and had been a speaker at more than a dozen regional conferences. My picture was on the ballot and I had published over 30 books. Plus, I'm three inches over six feet. That means I'm almost impossible to miss in a group of women. Being a man and quite visible (literally and figuratively) meant that most people knew who I was.

Some RWA members were dismayed that the membership would elect a man. While there was precedent for a man being a chapter president and on the national Board (myself in both cases), no man had ever run for President. I think it's a testimony to the broadmindedness of RWA that an organization of 99% women would choose a man to be their president.

RY: In general, how do people react when they find out Leigh Greenwood is Harold Lowry?

HL: They're surprised. There are only a few men who write romance, but I've been around so long (my first book came out in 1987) most people know I'm a man. My picture now appears in all my books, so it's no longer a surprise to anyone.

RY: It is said that it's difficult for a man to write from the female point of view - yet women have written romances from the male POV for years. Care to comment?

HL: I've never agreed with the belief that women can write from the male POV but men can't write from the female POV. I know women are thought to be more sensitive than men, but that's certainly not true in all cases. We can all name a few women who're terribly insensitive ... just as we can name a few men who're extraordinarily sensitive. Now that it's becoming more acceptable for men to show sensitivity without being considered unmasculine (just as it's more acceptable for women to show aggressiveness without being considered unfeminine), I believe this opinion will change.

I have to add one caveat. I've read hundreds, maybe thousands, of romances. Women tend to portray men the way they would like them to be, not as they are. I'm sure men do the same with women in male genre fiction. I've gotten lots of letters from readers who're surprised I'm a man, because they think I've portrayed my female characters so accurately. I've also gotten lots of letters thanking me for portraying men more realistically. Fortunately for writers, not all readers want the same thing. That allows us to use our differing strengths to be successful.

RY: What types of jobs did you hold prior to becoming a romance writer? Were any of these positions instrumental in what you write?

HL: I am a musician by profession. I taught music appreciation, music history, and choir in high schools for 17 years. I was an organist/choir director for 34 years, before I retired 11 years ago. I think the fact that I've been a voracious reader since childhood contributed more to my writing than anything else.

RY: Where do you get your inspiration?

HL: I don't know. I got the ideas for the series Seven Brides and the Cowboys from movies, but the individual books had nothing to do with the movies. Usually, I get an idea for a situation and a story grows out of that. I begin my books with only a thin outline. I know the turning points, but most of the character development and all of the secondary characters come to me as I write.

RY: Are there words of advice you would give to the men involved in our Writing for Love & Money program? 15% of those enrolled are men.

HL: Don't give up. Very few writers are able to make a living with their writing. We do it because we love to write ... because we can't not write. It's more important than the money. It's something we have to do for ourselves. It fulfills a need to be creative. It gives us a way to show what we think is important about life. It makes use feel more rounded, more whole. I know that sounds a bit romantic, but creating something out of nothing is a very special ability. It ought to be cherished and nurtured.

RY: What does Leigh have on the front burner now? What's next for Harold?

HL: Finishing The Cowboys and hopefully finishing The Night Riders. Harold has taken up going on excursions with Outward Bound. I've been backpacking in the mountains of California and Montana and canyoneering in Utah. Next is canoeing in the boundary waters of Minnesota. I've discovered that being over 60 to no barrier to strenuous outdoor activity. I feel younger than I have in years.

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WHO'S ACQUIRING:

Harlequin Books:

Harlequin Everlasting

The launch date is September 2006. Word count is 75,000 words. Submissions are welcomed from published and unpublished authors. The novels should follow the life and relationships of one couple over years or an entire lifetime. Focus is on the characters' lives. See writing guidelines at www.eharlequin.com series. Submissions should be sent to:

Harlequin Everlasting
c/o Paula Eykelhof
Harlequin Books
225 Duncan Mill Road
Don Mills, Ontario
M3B 3K9 Canada

Spice

Spice is Harlequin's single title imprint. The focus is on erotic fiction for the modern woman looking for a good read. Looking to acquire bold, pushing the envelope, high quality editorial. Word length is 90,000 - 150,000 words. Submissions should be sent to:

Spice
c/o Susan Pezzack
Harlequin Books
225 Duncan Mill Road
Don Mills, Ontario
M3B 3K9 Canada

Mills & Boon Tender Romance

High focus on the relationship. Stories should be character driven and capture the excited and exhilarated feeling of falling in love. Word count is 50,000- 55,000 words. The launch date is September 2006. Submissions should be sent to:

Senior Editor: Bryony Green
Office: London
Eton House
18-24 Paradise Road
Richmond
Surrey
TW9 1sR
United Kingdom

Avalon Books - Actively seeking romantic comedy and historicals (Medieval times to World War 1)

Kensington Publishing - Seeking erotic romances for a new line being launched in January of 2006. Submissions should be sent to John Sconamiglio, Audrey LaFehr, or Hilary Sares. Various lengths considered.

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COMING NEXT MONTH:

A surprise holiday interview ... stay tuned.