The Benefits of Copyright Registration

In the United States, copyright protection for creative works attaches to qualifying works (like novels) automatically at the time of the work’s creation. Formal registration is not required to create a copyright in an author’s work – however, registration does provide important benefits. For that reason, authors should ensure their creative works are properly copyrighted, preferably within three months after initial publication. The issue of copyright registration should be addressed in every publishing contract. Authors should know whether the contract obligates the publisher to register copyright, and if not, the author should arrange for registration of the work himself (or herself). When is a work

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How to Conquer the Fear of Pitching Your Novel

Many authors find pitching scary, whether they’re talking to editors and agents or to readers. Sometimes, this fear (or nerves, if you prefer) is responsible for the pitch running far too long and becoming convoluted. Often, authors think they need to read the pitch off a card or “cheat sheet,” to keep themselves from forgetting critical elements. Nervousness, the “need to read” and stress-induced over-complication of pitches are symptoms of the same problem, and today we’ll talk about how to overcome it. Tip #1: Write a Strong, SHORT, Pitch That Can Be Delivered in a Single Sentence.  If the pitch is too long, too complex,

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Crafting Elevator Pitches, Part 2

Last week, we took a look at the elements of a winning logline-style elevator pitch. Today, we’re looking more closely at how to apply them and craft the pitch itself. To recap, the elements you’re looking for are your novel’s protagonist, active antagonist, stakes, and high concept. And remember: the high concept might or might not make it into your pitch, but you need to keep it in mind. Remember, also, that a logline pitch is merely the start of a conversation with an editor, agent, or reader. For that reason, it shouldn’t be long – a single sentence, or a single

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Crafting the Perfect Elevator Pitch (Part 1)

An “elevator pitch” is a hook, high concept, and/or logline-style pitch for a novel (or other creative project) which a writer presents to an editor, agent, or other unsuspecting victim who ends up trapped in an elevator (or other awkward social situation) with the author. Good pitches are short, distinctive, and make the listener want to know more. The pitch is the way you persuade someone to read your manuscript or novel. Authors need a solid pitch for every project (and series), whether the work is published, unpublished, or in progress. Also, the pitch must be deliverable in less than a minute,  preferably in a single breath–regardless of the genre or complexity of the work. A

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Tips for Effective “Elevator Pitches”

In the publishing world, an “elevator pitch” is the one-sentence (or at least under one minute) pitch an author offers an agent or editor in an attempt to prompt interest in the author’s book. I’ve heard a lot of these over the years, and helped many authors write them (in conference settings and otherwise). While the content of the pitch will vary, depending on the setting and the nature of the author’s work, there are some constants common to effective book pitches. For today, we’re focusing on the short “elevator pitch” designed to open a conversation. Many, though not all, of these

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How Do You Find a Literary Agent?

One of the most common questions I hear from unpublished authors is “How do I find a literary agent?” The question means different things in different contexts, of course. Sometimes the author wants to know about the query process; other times, they actually mean “how do I do the research?” Today, we’re looking at yet another variation on the theme: Where should authors look to learn who appropriate literary agents are, when investigating who to query? This might seem like a simple question to people who’ve been around a while, but many authors don’t know how to identify good agents to research. Let’s

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Communication in the Author-Agent Relationship

Many authors (present company included) have excellent verbal skills–at least on the page–but less native skill in business and interpersonal communication. Let’s face it: many of us write because we don’t express ourselves as well in person in the real world. Even for those with stellar skills, author-agent communications often involve a learning curve. Most debut authors have little experience working with a representative, and don’t know how to manage expectations. With that in mind, here are some tips for managing communications in the author-agent relationship. 1. When querying, follow the instructions on the agency website precisely.  Literary agents receive tens of thousands of

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What to Look For In a Literary Agency Contract

Today, we continue the #Publishing Law for Writers series on literary agents with a look at agency contracts. When a literary agent offers a writer representation, the agent should also give the author a contract that governs that relationship. In most (if not all) U.S. states, the law requires an agency relationship of this nature to be documented in writing. Even if the law did not require a written contract, both agent and author benefit from a contract. Contracts clarify the parties’ rights, duties, and obligations, and avoid ambiguity.  Sometimes, authors find contracts “scary” or “too formal”–but publishing is a business, and

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5 Things To Watch for in Publishing Option Clauses

Most publishing contracts include not only a grant of rights to publish the work the contract governs but also an “option clause” giving the publisher rights of first refusal to consider the author’s next work(s) of fiction. Carefully tailored option clauses are beneficial to authors as well as publishers, but authors need to ensure the option doesn’t overreach or bind them inappropriately. Appropriately-drafted option clauses have three important features: 1. The option governs the author’s next book length work in the same series or next book-length work in the same genre only. 2. The option gives the publisher a right to review the work and to

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What Do Literary Agents Do?

Before signing with an agent, many authors don’t realize just how much a literary agent does on behalf of his or her clients. Not all agents fill all of the roles we’ll discuss today–for example, some line edit client work and others do not. But then, not all authors want an agent to perform all of these functions, either. The key is finding an agent who offers the range of services you’re looking for, and who makes a good personal and business fit for your needs. Before you sign with an agent, talk with him or her about business practices and preferences,

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