Round up all those stampeding ideas

Do ideas flood your brain like a herd gone wild? Do you flail around, physically and metaphorically, trying to corral them and drive them into the barn? Are you going mad trying to figure out how to use them all?

I am almost constantly barraged by ideas for essays, stories, poems, novel slivers, quirky descriptions, and metaphoric pearls. Ideas surface everywhere: as I edit clients’ manuscripts, wash dishes, huff through workouts, wait on line, watch people, meditate, fall asleep, and even during tactful small talk at business dinners.

All the deluging ideas used to make me groan. Sometimes I’d even feel envious of writers who complained about their sparse fits of inspiration. I’d grouse internally that my ideas never seemed to stop. How would I ever get to them all, much less organize them or make something of them? Most would end up in a mass of ragged notes or on scraps stuffed under the scanner.

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Acronym Scrabble: Understanding your royalty statements

Publishers love acronyms. They take up less space in their software programs and they are convenient to use in daily conversations. Royalty statements are not easy to interpret. When publishers use abbreviations, it can add to the already confusing task of understanding your statements.  To help authors better understand and navigate their statements, here we outline some of the most common abbreviations and terminology.

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What you need to know about ‘cross-collateralization’

It has an intimidating name. Indeed, it takes more letters to spell it than to put it into effect. But what is it and why is it bad for authors?

Most every book publishing contract will include a provision that obligates the publisher to periodically account to the author for the publisher’s sales of the author’s work. The language will probably look something like this:

Payments to the Authors will be made semiannually, on or before the last day of March and September of each year for royalties due for the preceding half-year ending the last day of December and June, respectively. If the balance due an Author for any royalty period is less than $50, no payment will be due until the next royalty period at the end of which the cumulative balance has reached $50. Any offsets (including but not limited to any advances or grant) against royalties or sums owed by an Author to the Publisher under this or any other agreement between the Author and the Publisher may be deducted from any payments due the Author under this or any other agreement between the Author and the Publisher.

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Will aggregated textbook products shift more risk to authors?

In a post on October 20, I described decisions made by the Southern District of New York in a lawsuit between authors and Cengage. The authors had alleged breach of contract as well as bad faith dealings by Cengage in regard to their products Cengage Unlimited and MindTap. Read about it here.

This is more of a thought piece—generated in part by an aspect of the authors’ allegations—about what would constitute goodfaith in a publisher’s interactions with authors. I ask this not as a legal matter, about which I am not qualified to opine, but as an ethical one.

The authors’ allegations stem from an uncontested aspect of both the MindTap and Cengage Unlimited royalty allocation models. In both products, Cengage counts a portion of each sale as non-royalty-bearing income. In the case of MindTap, that non-royalty-bearing portion is called ‘ancillary materials’ encompassing “tests, studies guides, exercises”. For Cengage Unlimited, this portion is called ‘courseware’ but apparently includes the same ancillary materials as MindTap.

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Building content dexterity into your textbook

Recently my mentor, Paul Martinelli, was talking about creating and delivering content for various audiences and in a variety of ways. As part of his lesson, he said, “Content dexterity is key. You need to be able to speak on your subject for 3 seconds, 3 minutes, 3 hours, or 3 days”. Having taught many 3-hour class sessions in more than 20 years of teaching experience, that time period certainly is comfortable for me, but what about the others?

As textbook authors, we often write the book around the expectation of class sessions. We envision the classroom audience, the common structure of classroom time where our book will be used, and the depth and breadth of coverage of concepts necessary to meet the curriculum standards of the course. We then have a tendency to structure chapters and units around those constraints.

But I question whether that approach is effective in our current educational environment. Below I offer some ways that you might want to consider building content dexterity into your next textbook.

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