How to close your most profitable contracts
After you have read this exclusive insider report you will know everything you need to know about contracts with publishing companies. One does not usually talk about this subject; this is usually “confidential.” But after you are in the know, there is no longer the chance for you to sign a contract that turns out to be bad for you!
You will know answers to these questions:
○ How much money publishing companies usually pay
○ How you can change royalty contracts to your advantage
○ What the most prominent traps are in relation to publishing contracts
○ How to make sure you keep the most important rights (film, TV, publishing in other languages, etc.)
○ What a standard publishing contract looks like and where the little legal booby traps are
○ What the advantages and disadvantages of hardcover and paperback editions are
○ Which 20 insider information secrets guarantee that you are really in the know and give you an advantage in relation to the publication laws
After studying this report you will have absolute certainty regarding contracts. You will know how much money you can ask for, and you will know how you can earn excellent money right from the beginning.
Read a few pages …
Again and again, the beginning author asks what he should demand for a manuscript. What price is appropriate? The following 20 points will help you to close good contracts to your advantage.
INSIDER-INFO 1:
Basically in the USA, the possibility of making any kind of contract exists. The author can close any deal with the publisher he wants or the publisher with the author; there are no legally correct contracts that have to be done only one certain way. In other words, you can establish any business imaginable, good or bad.
INSIDER-INFO 2:
Nothing is more stupid for an unpublished author than to gamble too high in the beginning. Usually publishing companies have a specified budget that they can spend on a book. Those budgets are dependent on:
- the size (and thus the financial power) of a publishing company (the bigger the financial power, the more you can expect)
- the volume of the book (600 pages are better paid than 200 pages)
- the amount of research which goes into the writing of the book (a publishing company wanting a book that has to be researched for years has to pay more)
- the edition in which a book will appear (for special types of editions there is more money available than for others types of editions)
- the current financial policies of the publishing company.
Because it is usually hard enough to find a publishing company for a manuscript, it is unwise to violate the (usually unwritten) financial policies of a publishing company and to demand sums, which are unrealistic. But what is realistic?
INSIDER-INFO 3:
The smart party of a deal always acts this way: he arranges for the other party to make the first offer. If you originate your price and your ideas of royalties first, you show your cards and you perhaps lose a chance. So just listen! Listen to the budget ideas of your future contract-partner. Then perhaps you can revise those ideas upward.
With that you avoid disqualifying yourself as a dilettante and you avoid perhaps losing the whole business because of unrealistic ideas. On the other hand perhaps, your future contract-partner’s offer may be higher than you thought.
If your contract-partner is the first one to give his offer, you may earn cash money, possibly by doing nothing more than keeping your month shut and NOT being the first one to talk.
INSIDER-INFO 4:
If your future contract-partner doesn’t want to be the first one to offer, you should research what that company usually pays. How? Ask some other authors or insist first on the data up front.
INSIDER-INFO 5:
Your value for your contract-partner is determined by only one simple fact: does he believe he will sell your book very successfully or not? You can raise your own value, for example, by giving him a promotional battle plan that you will work on when your book is out.
That is to say, convince your future contract-partner that you will be giving fifty lectures on the subject that your book deals with, for example. Convince him that you have good press connections that guarantee at least thirty newspaper articles. Tell your publisher about the associations and groups you belong to and you are active in, and tell him that your book will probably sell well in those associations and groups.
Define exactly, for your future contract-partner, at which target markets your book is aimed. It is dilettante to say that “everybody” will read your book. The more exact target market you can define, the more professional you appear.
Additionally, if you can show him means and ways to truly reach those target markets - ideally with your own effort - your value automatically increases.
Every “document” that proves your words are true and not only wishful thinking contributes to the decision of your contract-partners and, again, increases your value.
INSIDER-INFO 6:
Despite the facts that “everything” is possible and that one can’t give advice to everyone, the following fact is true: one differentiates in the publishing business between advanced payments and royalties.
Basically there are three variations:
A. You get a high advanced payment and you abandon all future royalties.
B. You don’t get any advanced payment and you get only royalties
C. You get advanced payment as well as royalties.
Variation A is the worst solution, especially if your books sell well later. The royalties are the spice in this business.
Every author and every publisher flirts with the thought of creating a bestseller. If you abandon all future royalties you can lose big time.
Variation B is also not ideal, because the publisher puts all the risk on to your shoulder.
Variation C is the most fair and common variation, and should be pursued.
INSIDER-INFO 7:
There is one exception to the above rule…
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