rolanni: (Default)

The Box from LL Bean arrived.  The slippers are already on my feet, and the fleece-lined flannel shirt?  Baby, this garment is never coming off of my body.

Today's regular mail brought royalties -- that's statements and checks -- for electronic sales made through Baen.com.  So, yay! money in the mail.

Yesterday, we turned in "Block Party," the requested seasonal story in support of Neogenesis.  This one was something of a challenge, because the request was for "seasonal," and one naturally doesn't like to disappoint one's editor.  However, neither Liadens nor Surebleakeans can possibly celebrate "Christmas;" nor were we persuaded that they would celebrate any of the other winter holidays native to our own Earth.  What that meant was that we had to figure out the "notes" for a seasonal story, and try to construct an in-world story that hit those notesNot really sure we did it right, but our editor promises a quick reading.

Today, it's back to the salt mines Fifth of Five.  But first?  Lunch, and perhaps even a nap.

Everybody have a good day.

Today's blog post brought to you by two bands:  The Zombies, who did the original in 1965; and Santana, who covered it in 1977:  "She's Not There."

rolanni: (1995)

Oh, let's see. . .

On Friday, Steve took his car, Argent, the 2002 silver Forester, to the shop to "get a sticker" as we say here in Maine.  Except, Argent did not get a sticker this year, and the reason is two words: Salt Rot, which has eaten through the underside of the chassis and perhaps the gas tank itself.  Steve will be taking Argent for a second opinion next week, but right now it's looking like Argent's days are numbered, indeed.

Yesterday, we went down south to look at houses.  Six houses, three-and-a-half hours.  I was Completely Exhausted by the end of it, and in awe of our real estate agent's patience and fortitude.  Also, we did not find our dream house.

We did come home to find money in the mail:  royalty checks from our essay in Dragonwriter:  A Tribute to Anne McCaffrey and Pern. My half will cover the purchase of a new corn broom; Steve says he's using his to buy a lobster dinner.

I may have been remiss in mentioning that the galleys for A Liaden Universe® Constellation, Volume 3 arrived on Friday.  I proofed the first story this morning.

Tomorrow morning, Chapter Two of Shan and Priscilla Ride Again will be posted to Splinter Universe.  If you haven't been following along, two outtake chapters, the prologue, and Chapter One, are all awaiting you.  You can start here.

If you haven't seen this posted elsewhere:  Cheyenne Wright is the colorist for Girl Genius since Volume Five, and his work really brings the art to life.  Cheyenne and his family have also been mired in the Compleat Stupidity that has been 2015 thus far, and he is reaching out for help. If you're so motivated, and you're able, please do what you can.  Here's the link.

Tomorrow, I have an appointment with the radiology department of my local hospital, so I may be somewhat scarce.

Work is still going forth on Alliance of Equals.

. . .and that catches us all up.

Except for Trooper.

Here, have a picture of Trooper.




Isn't he elegant?


Isn't he elegant?


rolanni: (Caution: Writing Ahead)

The on-signing check for the Audible edition of The Tomorrow Log arrived in the mail, and, between agency fees and taxes, we get to keep (just barely) more than half of it!  Go, us!

"The Wolf's Bride" currently stands at 6,239 words.  Possibly, I can bring it in under 10,000 words -- a novelette rather than a novella.  It's possible that I may finish it today.  I would really like to finish it today, especially considering that it's an extra, a favor to the character, and can't be turned loose to be read anywhere until after Carousel Seas is published (nope, no pub date yet; watch the skies).

It was cool enough this morning that Mozart sought out his floofiest blanket, under my desk, and is presently snoring like a German Shepard.  Fall could start now, for all of me, but I see that we're in for a couple days of warmish weather in the near future.  *sighs*

I've ordered in paper books -- a collection of some of Bat Masterson's columns about local colorful folk, all of them gunfighters; a biography of Doc Holliday, and another, of Billy the Kid.

I'm also looking to download some fiction to my tablet, since Steve and I will be on the road for a few days.  So!  Who's read a good book lately?

rolanni: (blueyes)
So, woke up this morning and felt better than I had at a similar time yesterday, so I gathered myself up and went to the day-job. V. blustery, cold, and bright day. Parked close, took elevator to the attic, thanked my colleague in English for keeping an eye on things yesterday, and picked up the Important Work from my mailbox. Sorted, entered, and filed Important Work, thought about moving on to Less Important Work, weighed that against how did I feel now? and decided Monday was soon enough.

Probably shouldn't have gone in at all. No, definitely shouldn't've gone in at all. Rest is hard.

Arrived home to the happy news that the Ghost Ship D&A had landed in our mailbox. Yay, D&A money! And the meter flicks over with a solid thunk -- annual writing income tops gainful employment, and...*does arithmetic*. . .that's the game. The day-job cannot catch up by the end of the year.

Having celebrated these delightful facts with a sugar cookie, I'm for the couch, a coon cat, and a book.
rolanni: (Phoenix from Little Shinies)

For those following the on-going discussion of Nurture vs. Nature Hobby vs. Honest Labor (also here), I report that the last of the outstanding checks arrived yesterday, my half of which was enough to flip the score from Honest Labor by a modest lead to Hobby by a slightly-more-modest lead.  The check that just arrived would itself  have covered six weeks of the day-job’s summer take-home.

This will flip again — the day-job has four months of full-time pay to deliver (assuming inertia and the continuing failure of a reputable  film company to offer an option).  The Hobby, on the other hand, has another royalty payment period fast approaching, and, assuming we get Ghost Ship delivered anytime this millenium, there could be some D&A money coming in before the end of the year.

Yesterday, we met Steve’s brother and wife in Augusta (where they had broken this year’s edition of the annual journey to Bar Harbor) for breakfast and family catch-up, then took a lovely and leisurely drive down Route 9 to look at a house that will not, I’m afraid, Do. On the wending way back home, we stopped at a wine tasting, and at B&N, arriving home too late to do anything about those nice checks, had pizza and wine for dinner.  It was a very pleasant day.

This morning, Hexapuma has already been the vet for his third and hopefully final shot to deal with the eosinophilic plaque, Steve has fixed my printer, and I’ve got some writing to do.

See y’all later.




Originally published at Sharon Lee, Writer. You can comment here or there.
rolanni: (what it's like)
So, I'm noodling along through Scout's Progress, though not nearly as quickly as I had hoped today because the day-job wanted me to, like, work -- what's with that, exactly? -- and! I find a section where Daav and Er Thom are walking in the garden, talking, and there is a word -- a foreign word! -- properly italicized in their conversation.

What word? you ask breathlessly.

Moxie.




I'm for the couch, red pen, paperclips and galleys in hand.
rolanni: (Default)
In the interests of keeping all of this in one place, follows a guest column by Steve Miller/[livejournal.com profile] kinzel, in answer to a point raised by Dave Freer in the discussion of Part One.



Dave Freer alluded to one of several issues that make the entire publishing process more complex -- and hence more fraught -- than the basic description given above. Explaining why this situation (still) exists would take a capable economic historian and some rope extreme patience; so we'll try to describe this threat to common sense known as "reserve against returns."

Please understand that the following is distilled from years of talking with bookstore owners, people in the distribution system, publishers, agents, other writers,
but may not exactly represent the system as it exists today, but only as we've heard it described here at the Cat Farm and Confusion Factory -- yes, YMMV -- your mileage may vary.

The publishing industry is not a normal retail delivery system, as much as some would like to hide this fact. The current retail book distribution system, born in the aftermath of the Great Depression and formalized during and after WW II, is predicated on filling bookstore pockets and shelves with merchandise. Books and magazines, to be precise.
Now, what distributors do is take stock from publishers, put it in warehouses, and then send it to needy bookstores. The bookstores then put books on shelves, while the process of paying the publisher begins -- which is to say, the 30/60/90/120 day delay starts. Eventually bookstores pay the distributors and the distributors pay the publishers, after which point the publisher knows how many books have been sold and so can pay the author royalties. This means that royalties follow the sale by quite a distance, timewise. But! That's not all!

You see, the publisher knows 1) not all the books sent to the distributor will sell, and 2) books that have been in the store a certain amount of time (more on this time later)
may be returned for credit. Right -- neither the bookstore nor the distributors are necessarily buying the books for good, instead in many cases there is an on-going crazy
dance of books, cash, and credit in which no one can quite be sure what's where, and wherein unsold books act as a currency. The publisher thus uses a contracted "reserve against returns" as a way to protect themselves against sending the author too much additional cash too soon -- or at all.

The reserve percentage in some cases is clearly spelled out in the contract, and at other times is simply noted as "reasonable reserves against returns." As understood here, this means a publisher could ship 15,000 books to distributors and sell 10,000 of them, but -- given a creaky and delay-ridden system -- could potentially "reserve"payment on a significant number of them (say 50%) until some reporting period in the future. So a book sold, let us say on July 1 of year xx00 could be reported in the April report of year xx01 but not paid to the author until the April report of year 02 when that reserve expires. Given that 50% reserve, then, on an $8 book we can see: $8 X 8%= .$64 x 5000 = $3200 delayed by almost 2 years.

Understand there's a tiered system in returns, with hardback books (and most trade paper books as well) fully returnable -- that means the physical book gets repacked and shipped back to the distributor -- and sometimes all the way back to the publisher. Mass market books don't have this luxury -- they are "returned" symbolically by destroying them, and returning just a cover.

Now, we mention the currency of books, and that's because the distributor has no investment in which books get sold: they just want to be paid. And with a returns system that counts book covers stripped off of books the same as returned books, means that those returns can be used to offset sales made by a publisher to keep cash in-house -- at the distributor. Also, a bookstore might use such a system in order to maximize cash for holiday season buying of high profit plushies and seasonal specials, or to balance a bill owed to a distributor.

Of such accountancy are things like "virgin stripping" born. Virgin stripping is, alas, not nearly as much fun as it may sound. We know bookstore folk who have been reduced to tears (as well as authors!) by this act. In virgin stripping a truck appears at a bookstore and boxes -- cases of books -- are disgorged. Then, the designated bookstorian does an inventory to determine that the right number of boxes are there, and proceeds to open the cases -- perhaps dumping them on the loading dock outside, or in the properly concealed back room cement floor, and tears the covers off the books before they ever see light of shelf. The covers are then shipped back up the so-called supply chain. Imagine the joy of the poor author who works part-time in a bookstore to make ends meet who is faced with virgin stripping their own first novel so that the bookstore owner can get in a full load of Easter candy.

Oh right. One of the bullet points on the Lee and Miller joint resume is: owned a bookstore featuring genre fiction.
rolanni: (Sharon with 10 Liaden Universe Books)
Pursuant to yesterday's post pointing to this article and to those folks who have been weighing in on various discussions of the Amazon and Macmillan kerfuffle with the opinion that all writers are rich (and are trying to keep ebook prices high to protect their 500-acre estates).

We're going to have to do math, here. Sorry; I'll try to keep it simple and straightforward.

When an author goes to contract for a book, they receive what is known as an advance against royalties. The shorthand for this is "advance," and some people therefore forget that it's a loan against future earnings. Authors by contract receive a certain percentage of cover price on each sale as a "royalty." Before any royalties are paid to the author, the book must first pay back the money given in advance of its publication (aka "earn out").

So, using Carousel Tides -- because that novel is mine, all mine, and I didn't tell Steve I was going to do this, much less get his agreement -- as an example, this is what the math looks like:

Advance against royalties: $12,000
Pretty good, huh? Actually, it is. Most new writers can expect a much lower advance -- around $7500 for a first fantasy. Expect, wait! You don't think you're going to get that whole big lump of cash all at once, do you? No, no. We're going to break it into pieces. Happily, Baen only breaks their advance payments in half (I've heard of advances being broken down into as many as four pieces. Take into account that publishers as a race pay late, and this becomes...challenging... to any writer trying to live within budget).

Back to particulars: Sometime relatively soon after signing the contract, a check arrives:

on-signing: $6,000
less agent commission 15%: ($ 900)
less taxes 33%: ($1,683)
grocery, rent, and cat food: $3,417


Carousel Tides was submitted, and accepted, as a complete manuscript. However, there were editorial changes required. When the changes were complete, I sent in the corrected manuscript, a necessary step in triggering the second advance payment, called "delivery-and-acceptance" or, in shorthand, D&A money.

Some while after the revised manuscript is turned in, the editor accepts it (note: delivery alone does not trigger the second payment; delivery and acceptance are the trigger, and acceptance, depending on your editor's workload...could take a while.)

So, eventually, your script is accepted, your editor orders the check, and we do the same math:

D&A $6,000
less agent commission 15%: ($ 900)
less taxes 33%: ($1,683)
grocery, rent, and cat food: $3,417


Now, because Carousel Tides was an on-spec book, I didn't have to write it between signing and D&A; I only had to revise it -- with the happy outcome that I got paid both halves of my advance in the same year.

Which is to say that I saw an influx of $6,834 in the ol' house general account.

Not exactly going to Vegas on that.

But wait, you say -- you're not fooling me -- you got royalty payments during that year, too!

Oh, did I?

Now, in point of fact, I did in mid-2009-- as one-half of Lee-and-Miller -- receive royalties on books sold through June '08. Ebook royalties, exclusively. Duainfey, our first dead tree book with Baen, was published in September '08; the second half of the 2009 royalty statements were delayed, and only reached us after the first of 2010. For the curious, Duainfey has not yet earned out

So, here we have my half of the Lee-and-Miller royalties:

sales through June 2008: $4800
less agent commission 15%: ($ 720)
less taxes 33%: ($1346) [rounding down the forty cents]
grocery, rent, cat food: $2733 [ditto sixty cents]


If all I had done in 2009 was sold and delivered my novel, and collected royalties on past sales, I would have achieved for my own use a grand total of $9,567.

Geez, even the day-job pays better than that.

Also, regarding Carousel Tides -- it was, as I said, an on-spec book. That means I wrote it believing that, Once It Was Written, They Would Come (aka, "because I wanted to"). And that means that it was on submission to various publishers for 18 months before it was placed with Baen.

That math being: It took a year to write the book, 1.5 years before a sale. Two-and-a-half years before it began earning.


OK. That's probably confusing enough for one post. In a while, I'll try to break down the various author-tasks associated with getting a novel published.
rolanni: (booksflying1.1)
...this is kinda interesting, and actually Explains Something that had been bugging me for a while, now. Short form, Jasmine-Jade Enterprises, which is the company behind Ellora's Cave, is suing Borders for "churning" -- i.e. ordering more books than they reasonably expect to sell in the hopes of making Big Bucks on the returns.

Indie Publisher Suing Borders for $1,000,000

May 2025

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