What sorts of strategies do you use to catapult you into your day’s writing? Do you do as Jerry Jenkins does and start the day with “a heavy edit and rewrite” of the “previous day’s work”? Maybe you do as Rachel Toor suggests: “leave off at a point where it will be easy to start again.” Rachel adds: “Some writers quit a session in the middle of a sentence; it’s always easier to continue than to begin.” Various other writers suggest using bullet points at the end of a writing session that point them in the direction they want the writing to go when they next return to it. Perhaps you have a completely different method altogether. If you do, I hope you will share it in the comments below this post. Happy writing!
The following advice came from a 2014 TAA Conference Roundtable Discussion led by Mike Kennamer and Steven Barkan, entitled, “What…
In her academic writing blog, “Explorations of Style”, Rachael Cayley offers three key principles for strong academic writing: 1) using…
Q: “I am currently writing on my own but considering taking on a coauthor. What are some different ways that…
The first thing you should write before entering into a co-authoring relationship is a collaboration agreement, said Stephen Gillen, an attorney with Wood, Herron & Evans, L.L.P.
“Do it before you write the manuscript, before you sign the publisher’s contract, before you write the sample chapters, before you write the outline, and before you write the proposal,” he said. “Do it first. If it’s too late to do it first, do it NOW! If you think you don’t need one, you’re wrong. By the time you realize you do, it’s probably too late.”
Collaborating with a co-author on producing a textbook can have many benefits, said Steve Gillen, an attorney with Wood Herron & Evans. “It can diffuse the burden of a large project; allow you to draw on each other’s strengths; create a broader appeal for the work; and give you access to a sounding board for ideas,” he said. “On the other hand, the most bitter troubles and disputes occur between co-authors. Of all disputes, those between collaborators are the worst–they almost never have a happy ending.”
One source of trouble is in the way the Copyright Act deals with co-authorship, said Gillen. “The default positions stated in the Copyright Act with regard to co-authorship are often not those that you would provide yourself,” he said. They include:
Q: “My coauthor on several different titles is transitioning toward retirement. I will soon be starting a revision without his active participation. We have a succession agreement on the royalty split in future editions, so that’s (hopefully) not an issue. However two questions have risen to top of the swirl of concerns that I have as I face this transition: 1) Is this a good opportunity to renegotiate my authoring contract? I suspect that my publisher will want to simply change the authoring designations as an addendum to the current contract. Should I insist on a new contract? Should I avoid that if they insist on a new contract?; 2) Assuming that I should renegotiate, how likely is it that I’ll be able to break them out of their boilerplate?”
A: Stephen E. Gillen, Attorney, Wood Herron & Evans:
“Taking on 100 percent of the writing responsibility is essentially a new deal necessitating some change in the terms of the relationship (royalty share, to name but one important term). There is no magic to how this change in the relationship is memorialized. It can be by amendment or addendum or by substituting a new contract. What is important is that, however it is memorialized, you capture all of the relevant changes.
Q: “What is a reasonable royalty rate for an author whose name will remain on a (successful) textbook, but who wants to stop doing the revisions? What sort of language in the revisions clause can protect your heirs?”
A: Zick Rubin, Attorney, Archstone Law Group P. C.:
“This is a very important item. Here is a formula that is sometimes proposed by authors and that is sometimes acceptable to publishers for a successful textbook: 75 percent of the royalties (i.e., the contractual rate) in the first edition in which the author does not take part, 50 percent of the royalties for the second such edition, and 25 percent of the royalties for the third and subsequent such editions.
Q: “I would like to phase out of my textbooks and take on co-authors to keep them going. What is…