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Old 01-12-2014, 09:33 AM   #16
latepaul
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I'd guess that negotiation comes later after someone has sold a number of books. What exactly would a novice writer have to negotiate with?
When someone offers you a contract to sign there's always an implied negotiation. Doesn't mean you're in a strong position but there's nothing stopping you sending it back with clauses struck or added. The worst that can happen is they'll reject your changes. If they rescind the offer simply because you had the temerity to try to discuss the terms do you really want to do business with them?
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Old 01-12-2014, 01:06 PM   #17
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From everything I've heard, writers do have some power, though most have very little leverage when it comes to negotiation.
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Old 01-12-2014, 04:54 PM   #18
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When someone offers you a contract to sign there's always an implied negotiation. Doesn't mean you're in a strong position but there's nothing stopping you sending it back with clauses struck or added. The worst that can happen is they'll reject your changes. If they rescind the offer simply because you had the temerity to try to discuss the terms do you really want to do business with them?
Some good points, but I meant that you (if you're a novice writer) aren't going to be negotiating very much. They aren't going to be very likely to give you a big advance or a lot of promotion just on your say so. I didn't mean there wasn't any room to try certainly.
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Old 01-12-2014, 05:59 PM   #19
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I think we're agreed then.

Maybe negotiation wasn't the right word but I just meant that the no-disclosure clause that we were discussing is probably there to strengthen the publishers hand (even more) because any prospective author won't know what they've offered other authors.
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Old 01-12-2014, 07:41 PM   #20
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I think we're agreed then.

Maybe negotiation wasn't the right word but I just meant that the no-disclosure clause that we were discussing is probably there to strengthen the publishers hand (even more) because any prospective author won't know what they've offered other authors.
Probably true. And it saves on headaches I imagine as well.Otherwise new author x could say "why can't I have this and this when you gave it to author y?" which would mean the publisher would find themselves trying to explain why author y is getting what author x wants as well, but for one reason or another can't have.
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Old 01-12-2014, 07:55 PM   #21
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It's not only the money, which is paltry, but it's the length of things. When I tried writing women's short stories, I targeted a national market. They then responded within six weeks of submission. Later, when I tried again, they responded, yes or no, within six moths. Publication time was even later, possibly up to a year. In the end, I published two stories with them. I was thrilled. I mean, I was a small-town writer, they were a national publication. And one story, in particular, got a fabulous two-page layout complete with art. But the publication date and the payday were more than a year in coming. Ugh.
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Old 01-12-2014, 07:59 PM   #22
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Yep, commercial publishing is very much a matter of the long game. The money does not come in fast by any standards.
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Old 01-12-2014, 08:23 PM   #23
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Yep, commercial publishing is very much a matter of the long game. The money does not come in fast by any standards.
I remember reading something that Stephen King said about that. He said that checks always seemed to come in just in time to pay the overdue phone bill or to cover the cost of the medicine for the baby's ear infection. Or other things like that. I'd say from what I've read in Writer's Market in the past that 6 months to a year is average. Of course some things like seasonal stories they want at least 6 months ahead of time anyway I understand.
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