Have you registered yet? Here are the top 11 reasons why you need to attend TAA’s 28th Annual Textbook & Academic Authoring Conference, June 19-20, in Las Vegas:
As Director for Teaching, Learning, and Assessment in the Office of Academic Innovation at Portland State University (PSU), Janelle Voegele provides strategic direction for educational development programming and campus activities that explore and promote excellence in teaching and learning, encourage practices that respond to changing college environments, and support multiple dimensions of faculty life and work. Janelle has a doctorate in Educational Leadership and has won two student-nominated teaching awards while at PSU.
We’ve all been there. You have the perfect photo . . . verse . . . song lyrics . . . vignette . . . you name it . . . to open your book or a chapter within it. Having labored long and hard to locate just the thing, you are now certain that nothing else will do. There’s only one problem. It’s not yours and either you can’t determine who owns the rights, or you can’t figure out how to reach them, or they’re dead or out of business, or they won’t answer you. [Read more…]
The Authors Registry is a not-for-profit organization that distributes secondary royalties from foreign organizations to U.S. authors. The Registry was founded in 1995 by a consortium of U.S. authors’ organizations: The Authors Guild, The American Society of Journalists & Authors, the Dramatists Guild, and the Association of Authors’ Representatives. To date, the Authors Registry has distributed over $22.5 million in royalties to over 10,000 authors living in the United States.
“Each year, hundreds of new authors are added to our lists and we attempt to locate and contact them to help them receive these royalties. We have great success rates, but sometimes these royalties go unclaimed,” said Terry King, Operations Manager at the Authors Registry.
The payments come from foreign and domestic organizations that collect secondary royalties for the use of authors’ works. They are collected from organizations such as the Authors’ Licensing and Collecting Society, part of an extended collective licensing system in the U.K., and LIRA, the organization with the authority to collect and disperse fees for public library lending rights in the Netherlands.
To ensure that you receive any of these secondary royalties due to you, register with the Authors Registry by completing their Collection Authorization form here. You can also contact Terry King at 212-563-5904 and email@example.com or visit them on the web at www.authorsregistry.org.
TAA’s 2014 Conference on Textbook & Academic Writing in Baltimore, MD, June 20-21, will include a new track on “Self-Publishing”. The track will feature a workshop designed for both novice and veteran authors who want to experience a hands-on approach to marketing their book to readers and buyers. Attendees will learn how to raise money to get a book printed and marketed, what to look for in hiring an editor, and how to find a publisher for a manuscript. [Read more…]
Join TAA today to gain access to the key resources you need to succeed as a textbook writer and academic author. TAA membership is open to individuals, colleges, universities, organizations and industry professionals.
As a TAA member, you have access to a host of benefits designed to maximize your authoring success, including an online member community, live webinars and more than 100+ presentations on demand, a templates & samples resource library, writing grants, and a print newsletter.
Watch this video to learn more about how TAA can benefit you.
One of the things that can affect your tax returns is the income that you report from writing in the form of royalties, advances, etc. Many of you will have literary agents and those agents will report to you what you’ve earned at the end of a year on a 1099. While the IRS says that agencies are supposed to report to their clients the gross income amount that was received, most agencies report on the net basis, and the IRS doesn’t seem to be aware of, or care about that. But as an author, you really need to know on what basis your agent is reporting income because it could potentially affect your tax return. [Read more…]
Finding a successor for your textbook(s) can be a daunting, arduous task. At TAA’s June 2013 conference veteran authors Robert Christopherson, Michael Sullivan, and Karen Morris presented a session sharing strategies for finding a successor and successfully transitioning the future editions of your texts.
The following is an overview of that presentation, highlighting ten tips to facilitate successor author transitions —“passing the torch.”
1) If you already have a successful coauthor arrangement, making the transition from the coauthor to your successor is a logical choice. Make sure all contract stipulations regarding succession are thoroughly discussed and agreed to before entering into the succession process.
2) Use your ancillary and lab manual, or test bank authors, as a proving ground for potential coauthors. The benefit of this strategy is that you already have vetted these authors both in terms of their writing and collaboration styles. [Read more…]
Q: “I am in the process of negotiating my second contract to write a test bank. The first contract was for a flat fee. I wrote a total of 490 multiple choice, true/false and fill in questions for a 14 chapter criminal justice book. The book was going into its 3rd edition and I think it is a big seller. [Read more…]
Jason Wrench, Associate Professor in Communication and Media at the State University of New York at New Paltz, share some advantages and disadvantages of working with multiple publishers.
You learn what you like and don’t like about the publishing process. First and foremost, one of the biggest advantages to having multiple publishers is you learn what works for you and what doesn’t. Some publishers are a lot more hands-on during the writing process, while others are almost completely hands-off until the entire manuscript is finished. I’ve always been someone really good at keeping deadlines, so I don’t need an editor to help me with that, but I really do like getting the feedback along the way. I’ve experienced both, and have found that I would rather alter how I’m writing a book to meet expectations along the way than have to rewrite the book after I’ve finished. [Read more…]