When it comes to publishing, Rusch has seen it all. She’s the former editor of The Magazine of Fantasy and Science Fiction. She has published books both traditionally and indie. She’s run a small press. She’s sold short stories to magazines. So it’s fair to say she’s seen just about every kind of contract and has negotiated them from both sides of the desk.
Who better to warn you about what’s in them? Whether you’re an indie author trying to sell foreign rights, a traditionally published author asking what’s next or a newbie just starting your publishing journey, you need three things: a good IP lawyer, the ability to walk away from a bad contract, and a copy of this book.
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.
CLOSING THE DEAL ON YOUR TERMS can be found here.
Rating: 5 stars
This book is best for: intermediate and advanced writers
I recommend this book
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