Word Counts and Book Length

Word Counts and Book Length - Novella vs. Novel, etc.

From Lori Copeland, an easy to follow word count listing:

Novella
20-25,000 words
80-100 pages
10-12 pages per chapter

Short Contemporary
50,000-60,000 words
200-240 pages
18-20 pages per chapter

Long Contemporary
70,000-80,000 words
280-320 pages
18-20 pages per chapter

Short Historical /Mainstream
90-100,000 words
360-400 pages
18-20 pages per chapter

Long Historical/ Mainstream
108,000-120,000
432-480 pages
18-20 pages per chapter

From another source, posting at Wikipedia:

Epic: A work of 200,000 words or more.
Novel: A work of 60,000 words or more.
Novella: A work of at least 17,500 words but under 60,000 words.
Novelette: A work of at least 7,500 words but under 17,500 words.
Short story: A work of at least 2,000 words but under 7,500 words. (1,000 words minimum by some definitions)
Flash fiction: A work of less than 2,000 words. (1,000 by some definitions)


What's the distinction?

Novellas and Novels and Novelettes are not only good names for cats, but labels for various types of books. This article at Wikipedia provides a good starting point if you're interested in studying the distinctions between them and say, the short story.... and for a list of novella examples to peruse:

Animal Farm (1945) George Orwell
Anthem (1938) Ayn Rand
The Beast in the Jungle (1903) Henry James
Breakfast at Tiffany's (1958) Truman Capote
Cascade Point (1983) Timothy Zahn
Casino Royale (1953) by Ian Fleming
A Clockwork Orange (1962) Anthony Burgess
The Decameron (1353) Giovanni Boccaccio -- a collection of novellas; the novellas in it are generally recognized as the first novellas
Different Seasons (1982) Stephen King -- a collection of novellas
Four Past Midnight (1990) Stephen King -- a collection of novellas
Heart of Darkness (1902) Joseph Conrad
The Metamorphosis (1915) Franz Kafka
The Old Man and the Sea (1952) Ernest Hemingway
Oroonoko (1688) Aphra Behn
The Pearl (1945) John Stein****
Shopgirl (2001) Steve Martin
The Strange Case of Dr. Jekyll and Mr. Hyde (1886) Robert Louis Stevenson
The Turn of the Screw (1898) Henry James
The War of the Worlds (1898) H.G. Wells
Young Zaphod Plays it Safe (1986) Douglas Adams

Remaindering - Lee Goldberg's Real-Life Explanation

Lee Goldberg writes murder mysteries and the occasional TV script (bet you've seen one) as well as a good blog - which provided this great, short explanation of remaindering:

"Harley Jane Kozak's book DATING DEAD MEN has been remaindered...meaning the publisher is going to sell their stock of unsold copies to booksellers by the pound (so the formerly $24.95 books will end up in the bargain bin at Barnes & Noble for $4.98). When your books are scheduled to be remaindered, the publisher first offers you the opportunity to buy as many copies as you like for a buck or two. Harley writes:

" 'Anyhow, a few days later, when the actual Remainder Notice from Random House arrived in the mail, it turned out to be 2,740 books @ $1.43 a book. Meaning that the two thousand dollars I’d rounded it off to turned out to be . . . a tiny bit more. Okay, $3,918.20. Plus tax.
Which led to another not-so-fabulous dilemma.
Where does one put 2,740 books?'

"It's a hard offer to resist. I know, because I've fallen for it. I have hundreds and hundreds of copies of BEYOND THE BEYOND and MY GUN HAS BULLETS in my garage. Now, a decade after they were published, I have resorted to giving them away in bookbags at conventions and at signings for my new books -- using them, basically, like promotional bookmarks. Even so, I've hardly made a dent in my stockpile. My advice to Harley -- resist the urge. Buy a 100 of each and let the rest go to the remainder bins of America."

Marketing Plan Needs to Accompany Book Proposal

According to Terry Whalin, you need a marketing plan for your book -regardless of whether or not your work is fiction or non-fiction. Why? It's a business, and a part of accepting your work involves a risk analysis dealing with, yes, money.

He explains:

"Here’s the financial information that I didn’t understand (since I’ve never self-published): for every book (fiction or nonfiction), a publisher is going to spend $50,000 to $100,000 (real dollars) to take your manuscript and turn it into a finished book. These numbers are with a modest advance to the author (say $5,000) and zero marketing dollars. These costs are production, cover design, editorial work, etc. on your book. Publishers receive thousands of submissions from would-be authors. I’m the part-time Fiction Acquisitions Editor at Howard Publishing. I’m looking for six to eight full-length novels a year—and I’ve received over 250 submissions from individuals and literary agents. I’ve rejected some quality fiction because of the volume and limited spots. And that is just my story so imagine these numbers multiplied on other editor’s desks. And if you read Book Proposals That Sell, you will see that editors do a lot more than read manuscripts.

"Let’s pretend for a minute that you are the editor and have to wade through these volumes of material to find the books for your list. You have two manuscripts. BotIh manuscripts are excellent, fascinating stories. One manuscript has a marketing plan and the other doesn’t. As the editor, you will be held accountable for your choices (within the publishing house). It’s a business to sell books. Which manuscript will you choose to champion to the other editors, the publishing executives (sales, marketing, etc.)? Editors risk for their authors. Your challenge is to prove to be worthy (actually more than worthy) of this risk."

For his complete article on this topic, go here. To download a free audio version of Pyromarketing - a book by Greg Steilstra which Mr. Whalin enthusiastically recommends -- go here.

Remember, this is a free download for listening - you have to spend money for the visual. Part of Steilstra's own campaign - he's betting that the audio isn't a sufficient competitor to the visual that it will take away customers, and may even attract purchases of the hard copy.

Mystery Writer Joe Konrath Talks Money

Joe Konrath is the author of the Jacqueline "Jack" Daniels murder mystery series. He has a great website, and a great blog -- and he offers lots of great information on both.

For instance, recently in a blog posting describing his marketing to libraries campaign, he noted:

I earn 55 cents for each paperback sold, $3.44 for each hardcover, and between $5 and $8 for each audiobook.

How Librarians Choose the Books They Buy

According to writer Joe Konrath, "libraries do their ordering from catalogues supplied by the publisher, by catalogues supplied by the distributors (Ingram and Baker & Taylor,) and through reading reviews in Library Journal, Kirkus, PW, and Boolist, plus others. Patron requests and word-of-mouth also are a factor."

Konrath provides a detailed description of his marketing campaign targeting these librarians at his blog, A Newbie's Guide to Publishing, in his November 21, 2005, post. It's worth the read.

Inspirational Romance - Growing Readership Per Publishers' Weekly

Robin Lee Hatcher provides the following information about writing inspirational romance (read that to be Christian romance):

"According to Publishers Weekly (11/21/05), Romance novels have a 39.3% market share, General Fiction 12.9%, Mystery/Thriller 29.6%, Science Fiction 6.4%, and Other Fiction 11.8%. (In paperback mass market, romance has about a 55% share of the market.)

"CBA/Christian fiction falls, I believe, into that "Other Fiction" category.According to SIMBA Information (a Bowker company that is "widely recognized as the leading authority for market intelligence and forecasts in the media industry"), the Romance category was estimated at $1.7 billion in sales in 2004. IPSOS (another marketing research firm) reports that Inspirational Romance had $54.5 million in sales in 2004. While it represents only 3.2% of the total market, Inspirational Romance has grown 26% in the last five years compared to only 5.3% for the whole Romance category."

Robin Hatcher should know. She's an accomplished writer of over 56 books in both the Christian and secular arenas. As Robin explains,

"I cut my writing teeth in the historical romance market, publishing 27 general market historicals and three contemporary "category" romances before I followed my heart to write novels with Christian faith as an integral part of the story. As of this date, I've had 17 CBA releases with two more to follow in early 2006. Of those 19 CBA books, twelve would be categorized as romances (historical and contemporary). The other seven, more issues-related women's fiction, still have dashes of romance in them."

What is inspirational romance? A librarian at the Durham County library made a reading list of 24 novels she felt exemplified this sub-genre in November 2000. However, recent guidelines provided by publishers Steeple Hill and Barbour Publishing are more informative.

Accordingly, I've posted their inspiration lines below, with the publishers' descriptions of the various lines and jumps to the guidelines.

Steeple Hill

Steeple Hill Cafe - "This new sub-brand within the Steeple Hill Women's Fiction program will be dedicated to publishing inspirational fiction for the hip, modern woman of faith. This distinctively smart and spirited new line of books will depict the unique and varied situations women encounter as they learn important lessons about life, love and the power of faith. "

Steeple Hill Love Inspired - "The Love Inspired line is a series of contemporary, inspirational romances that feature Christian characters facing the many challenges of life and love in today's world. Each story should have an emotional, satisfying and mature romance; however, the characters should not make love unless they are married. These are "sweet" romances. Any physical interactions (i.e. kissing, hugging) should emphasize emotional tenderness rather than sexual desire."

Steeple Hill Love Inspired Suspense - " This new sub-brand within the Love Inspired line is a series of edge-of-the-seat, contemporary romantic suspense tales of intrigue and romance featuring Christian characters facing challenges to their faith…and to their lives.
Each story should have a compelling mystery or a suspenseful situation threatening the hero and the heroine combined with an emotional, satisfying and mature romance; however, the characters should not make love unless they are married."

Steeple Hill Women's Fiction - "This new Steeple Hill program will be dedicated to publishing inspirational Christian women's fiction that depicts the struggles the characters encounter as they learn important lessons about trust and the power of faith. We are looking for compelling and thoughtfully developed stories that promote strong family values and high moral standards. These complex stories are character driven. They should provide readers with an uplifting and satisfying ending, and they can be written in the first- or third-person narrative and can be single or multiple point of view."

Barbour

Heartsongs Presents -- "The main element of a Heartsongs Presents inspirational romance is the sweet love story. A very close second is the inspirational theme and content. All manuscripts in the Heartsongs Presents inspirational line should present a conservative, evangelical Christian worldview. "

Highly Successful Authors Put In Their Two Cents' Worth on the Money Question

Recently, two very successful authors helped us all by providing commentary on the business end of publishing. Yes, I've eventually get around to posting more about writing - but I need to learn about these realities if I am pursuing more than a hobby here. And I am. Assuming you are, too, dear reader -- you need to know this stuff, too. Sigh, I know, I know.

First: Tess Gerritsen - who writes a great blog, as well as a great book, discusses first books, and book deals.

Second: Sara Donati, who also writes under the name of Rosina Lippi, offers some plain truths on her great blog. You need to keep coming here, she offers publishing info and advice, regularly. And the organization is fantastic.

From Tess Gerritsen (for the full post, go HERE to the 11/08/05 entry):

"First, let's dispose of the "first book" question. Because the answer on that one is, it's a total crap shoot. First book advances are completely unpredictable and involve a lot of hocus pocus, because no one really knows the potential of a first-time author. Some first books get a pitiful advance of a thousand dollars. Then there's Elizabeth Kostova who earned a two million dollar payday for her first book, THE HISTORIAN. Which, incidentally, turned into a very good investment for her publisher, as the book will almost certainly recoup that astronomical advance. Obviously the range for first-book advances is all over the board, and depends on factors as diverse as who your agent is, whether you've got a compelling personal history, whether you're a hot looking stud....

".... It's no secret that publishing is a business, and the goal is to make money. Or at the very least, to break even. If you follow the announced deals in PUBLISHERS WEEKLY or the online website PUBLISHERS MARKETPLACE, you'll start to get an inkling of what multi-published authors are getting. But you can also guess, knowing typical royalty rates, what an author is probably worth in real dollars. With major publishers, hardcover royalties tend to run around 12 - 15% and paperback royalties tend to be around 6- 10% of cover price. So a writer who's sold 25,000 hardcover copies has earned $75,000 in royalties in hardcover sales alone, and his next book deal should certainly reflect that. His next advance should be, at a bare minimum, $75,000. (And we're not even talking about paperback earnings yet, which will be on top of that.) More likely, the next advance will take into account continued growth, and will probably reach well into six figures.

"But once you get into the stratosphere of NYT-bestselling authors, the numbers may no longer be anchored to real sales figures, but may soar much much higher. From my own observations of the business, authors who consistently place in the bottom third of the NYT list (Positions # 11 - 15) are worth at least a million dollars a book, North American rights. We're talking combined hard/soft deals here, since most publishers now retain paperback rights. If you consistently place #6-10, your deals go even higher, into multi-million dollar range. Once your books consistently place in the top third, the deals become wildly unpredictable, because now we're talking Harry Potter and Dan Brown territory. Eight-figure book deals are not out of the question."

From Sara Donati:

"The money an author makes from a given book usually comes in two ways. The advance is the upfront money, 5 or 10 or 200 thousand dollars, or, occasionally, more. The book is published, the book starts to earn (hopefully), but the author doesn't get any money until the advance is "earned out" -- that is, if author X is supposed to get (for example) 10% on a cover price of $20, and she received $10,000 as an advance, she won't get anymore money until 5,000 copies of the book have sold.

"If she takes the $10,000 advance on an unwritten book and can't write it? The money has to be repaid.

"If she gets an advance of $200,000 and the book only sells a total of 1,000 copies? She doesn't have to pay back the advance, but the publisher is unlikely to buy another book from her.

"...A publisher offers you a contract, and an advance. The amount of the advance doesn't have to do with how good the novel is, or how much they like it. A million dollars does not equal an A+. The advance is their best guess on how many copies of the book they can sell. No matter how much the acquiring editor loves your novel, the publishing house does not want to overpay you. End of story.

"...I hasten to add that I do know how much money I make a year in total, all royalties and advances, domestic and foreign. Since I've started publishing novels in 1999, my annual income has fluctuated between 400,000 and 170,000, with the average around 220,000. Something to remember: this will not last forever. Sooner or later, this well will dry up.

"The information about advances and pay outs becomes more important if there's a new contract being negotiated. Publisher X says: well, we'd like to offer you more but her last novel didn't pay out... or Agent X says: look, she's had four novels pay out within a year each, you've got to do better."

The Perspective of an Acquisitions Editor

The only acquisitions editor that's talking to writers out there on the web, at least that I can find, is Terry Whalin at The Writing Life. Since an acquisition editor is the key player in buying my book, I definitely want to hear what he has to say. And Mr. Whalin explains a lot ....

From this week's entries:

An itemization of the "big six" in publishing, along with their imprints (i.e., subsidiaries).

His perspective on agents, and how to find a good one.

A tremendous recommendation for the landmark book, On Writing Well by William Zinsser.

A discussion of the use of longer magazine articles as a springboard for a book proposal - with recommendations to look for these articles in O Magazine, Atlantic Monthly, and the New Yorker. The evolution of Janice Latus's article "All the Wrong Men," from magazine article in O to book proposal to Simon & Schuster's win of a resulting bidding war is referenced.

A lengthy discussion on how few books succeed - and how few proposals make it to book form, prior to that - that somehow leaves you less than depressed. In fact, if you're confident in your work and your vision, it's really rather encouraging.

And, yes, he's written a book, as well. It's called Book Proposals That Sell.

If you're writing for the love of writing, I don't suppose that this stuff means much to you. But my dream is more than that -- I want to see my work bound and shelved in a Barnes & Noble, as trite as that might be. And, that means I have to understand the publishing business, like it or not. Mr. Whalin's efforts to help me in that endeavor are very much appreciated. So much so, I thought I'd share them with you ....

Romance Royalties Revealed

I think it's smart to put any snobbery aside (you know who you are) and recognize that lots and lots of readers are out there, choosing romances -- because these books give them something. And I predict that sales of romances are going to continue to increase, maybe even skyrocket, as the economy gets tighter and tighter, and the media keeps up its Fear Campaign (It's Y2K, the end of the world! It's Global Warming, the end of the world! It's terrorist attacks, the end of the world! And, now, currently -- it's the avian flu, the end of the world! The sky is falling!)

So, let's talk numbers here. Romance writers are a helpful, friendly bunch (see PBW, for example). Two successful authors (read that: earns living by writing, no day job) have both shared the wealth, so to speak, in recent postings.

First, Brenda Hiatt keeps track of the bottom line over at her website, under the tagline "Show Me the Money!" And, as of the date of this posting, her survey showed:

Publishing House/# of titles included

Avalon.............................................................................................................17
Average advance (first book): $1000
Average advance (subsequent books): $1000
Advance range: $1000 - $1200
Standard royalty percentage: 10%
Average earn-out: $1200 Range: $1000 - $2100

Avon/HarperCollins ...........................................................................................55
Average advance (first book): $13,500
Average advance (subsequent books): $26,500
Advance range: $3500 - $100,000
Standard royalty percentage: 8%
Average earn-out: $26,000 Range: $7000 - $100,000

Baker/Revell.....................................................................................................3
Average advance: $10,000
Standard royalty percentage: 8% (of net)
Average earn-out: n/a

Bantam/Dell....................................................................................................10
Average advance (first book): $7500
Average advance (subsequent books): $13,500
Advance range: $7500 - $25,000
Standard royalty percentage: 8%
Average earn-out: n/a

Barbour & Co. (Heartsong Presents).......................................................................7
Average advance (first book): $2600
Average advance (subsequent books): $2700
Advance range: $2500 - $2800
Standard royalty percentage: 8%
Average earn-out: $2750 Range: $2500 - $3600

Barbour & Co. (Novellas).....................................................................................7
Average advance (first book): $1000
Average advance (subsequent books): $1000
Standard royalty percentage: 2.5%
Average earn-out: n/a

Berkley/Jove "line" books...................................................................................33
Average advance (first book): $4600
Average advance (subsequent books): $5875
Advance range: $3,200 - $8,500
Standard royalty percentage: 4% - 8%
Average earn-out: $6,500 Range: $3,200 - $10,000

Berkley/Jove (single title)..................................................................................7
Average advance (first book): $7000
Average advance (subsequent books): $12,500
Advance range: $6000 - $30,000
Standard royalty percentage: 6% - 8%
Average earn-out: n/a

BET..............................................................................................................6
Average advance (first book): $2500
Average advance (subsequent books): $7600
Advance range: $2500 - $15,000
Standard royalty percentage: 4% - 6%
Average earn-out: n/a

DiskUs...........................................................................................................18
Average advance: none standard royalty percentage: 40%
Average earn-out: $25 Range: $0 - $130

Dorchester/Leisure.........................................................................................42
Average advance (first book): $1950
Average advance (subsequent books): $9600
Advance range: $1000 - $60,000
Standard royalty percentage: 4% - 6%
Average earn-out: $7,500 Range: $2,000 - $15,000

Dutton/Signet/NAL (single title)...........................................................................14
Average advance (first book): $8750
Average advance (subsequent books): $37,000
Advance range: $7500 - $85,000
Standard royalty percentage: 8%
Average earn-out: n/a

Dutton/Signet (Regency)....................................................................................12
Average advance (first book): $3500
Average advance (subsequent books): $4000
Advance range: $3000 - $5000
Standard royalty percentage: 6%
Average earn-out: $6000 Range: $3000 - $7500

Ellora's Cave ..................................................................................................95
Average advance: none
Standard royalty percentage: 40% of net / 37.5% digital / 7.5% print
Average earn-out: $2340 Range: $350 - $9000

Ellora's Cave (anthologies/novellas)......................................................................19
Average advance: none
Standard royalty percentage: varies by number of authors
Average earn-out: $940 Range: $300 - $2300

Fiction Works....................................................................................................5
Average advance: none
Standard royalty percentage: 30%
Average earn-out: $150 Range: $0 - $350

Five Star/Thorndike (hardcover)...........................................................................6
Average advance: $1200
Standard royalty percentage: 10%
Average earn-out: $1275

Genesis...........................................................................................................6
Average advance (first book): $650
Average advance (subsequent books): $2000
Advance range: $500 - $2500
Standard royalty percentage: 6% ("of invoice")
Average earn-out: n/a

HardShell Word Factory.......................................................................................21
Average advance: none
Standard royalty percentage: 30%
Average earn-out: $185 Range: $25 - $475

Harlequin American..............................................................................................23
Average advance (first book): $4200
Average advance (subsequent books): $4800
Advance range: $4000 - $5500
Standard royalty percentage: 6%
Average earn-out: $10,000 Range: $7300 - $16,000

Harlequin Blaze......................................................................................................20
Average advance (first book): n/a
Average advance (subsequent books): $6200
Advance range: $4500 - $10,500
Standard royalty percentage: 6%
Average earn-out: $12,200

Harlequin Historical..............................................................................................42
Average advance (first book): $5000
Average advance (subsequent books): $6800
Advance range: $5000 - $15,000
Standard royalty percentage: 6%
Average earn-out: $13,700 Range: $6500 - $24,000

Harlequin Intrigue..................................................................................................24
Average advance (first book): $4000
Average advance (subsequent books): $6000
Advance range: $3500 - $7000
Standard royalty percentage: 6%
Average earn-out: $17,000 Range: $11,000 - $18,000


Harlequin Mills & Boon........................................................................................3
Average advance (first book): $2500
Average advance (subsequent books): $2500
Standard royalty percentage: 4-6%
Average earn-out: n/a

Harlequin Romance ...............................................................................................8
Average advance (first book): $2600
Average advance (subsequent books): $2800
Advance range: $2600 - $3000
Standard royalty percentage: 6%
Average earn-out: n/a

Harlequin Superromance......................................................................................43
Average advance (first book): $5000
Average advance (subsequent books): $5400
Advance range: $5000 - $6000
Standard royalty percentage: 6%
Average earn-out: $24,300 Range: $10,000 - $58,000

Harlequin Temptation...........................................................................................51
Average advance (first book): $4100
Average advance (subsequent books): $5000
Advance range: $4000 - $10,000
Standard royalty percentage: 6%
Average earn-out: $13,700 Range: $11,000 - $18,000

HQN...........................................................................................................................2
Average advance (first book): $8500
Average advance (subsequent books): $10,000
Standard royalty percentage: 6%
Average earn-out: n/a

Imajinn......................................................................................................................5
Average advance (first book): $25
Average advance (subsequent books): $85
Standard royalty percentage: 8 -10%
Average earn-out: $180

Kensington/Zebra..................................................................................................123
Average advance (first book): $3500
Average advance (subsequent books): $5500
Advance range: $1750 - $17,500
Standard royalty percentage: 6 - 8.5%
Average earn-out: $5200 Range: $2500 - $17,500

Kensington (novellas)............................................................................................14
Average advance: $4050
Advance range: $1000 - $9000
Standard royalty percentage: 2 - 2.5%
Average earn-out: n/a

Mira............................................................................................................................9
Average advance (first book): n/a
Average advance (subsequent books): $105,000
Advance range: $15,000 - $450,000
Standard royalty percentage: 8%
Average earn-out: n/a

New Concepts Publishing.......................................................................................13
Average advance: none
Standard royalty percentage: 9.5% - 40% elec. 4% - 11% print
Average earn-out: $340 Range: $50 - $1100

Pocket.........................................................................................................................14
Average advance (first book): $16,000
Average advance (subsequent books): $24,500
Advance range: $7000 - $50,000
Standard royalty percentage: 8%
Average earn-out: n/a

Red Dress Ink.............................................................................................................3
Average advance (first book): $12,000
Average advance (subsequent books): $15,000
Standard royalty percentage: 7 - 7.5%
Average earn-out: n/a

Renaissance E-books.................................................................................................4
Average advance: none
Standard royalty percentage: 27 - 40%
Average earn-out: $1300 Range: $400 - $4000

St. Martin's Press......................................................................................................23
Average advance (first book): $6300
Average advance (subsequent books): $14,700
Advance range: $4500 - $150,000
Standard royalty percentage: 8%
Average earn-out: $25,600 Range: $6800 - $51,000

Silhouette Bombshell................................................................................................11
Average advance (first book): $4000
Average advance (subsequent books): $8750
Standard royalty percentage: 6%
Average earn-out: n/a

Silhouette Desire.......................................................................................................13
Average advance (first book): $4000
Average advance (subsequent books): $9850
Advance range: $4000 - $15,000
Standard royalty percentage: 6%
Average earn-out: $21,100 Range: $17,000 - $28,000

Silhouette Intimate Moments..................................................................................14
Average advance (first book): n/a
Average advance (subsequent books): $5900
Advance range: $4000 - $7500
Standard royalty percentage: 6%
Average earn-out: $12,000 Range: $10,000 - $16,000

Silhouette Romance...............................................................................................56
Average advance (first book): $3750
Average advance (subsequent books): $4900
Advance range: $3,500 - $10,000
Standard royalty percentage: 6%
Average earn-out: $10,300 Range: $6,000 - $18,000

Silhouette Special Edition....................................................................................44
Average advance (first book): $4000
Average advance (subsequent books): $8200
Advance range: $4000 - $12,000
Standard royalty percentage: 6%
Average earn-out: $21,500 Range: $12,000 - $37,000

Steeple Hill (Love Inspired)..................................................................................61
Average advance (first book): $3400
Average advance (subsequent books): $4900
Advance range: $3000 - $7000
Standard royalty percentage: 6%
Average earn-out: $7700 Range: $5,000 - $18,000

Tor/Forge.................................................................................................................8
Average advance (first book): $13,300
Average advance (subsequent books): $17,250
Advance range: $8000 - $20,000
Standard royalty percentage: 8%
Average earn-out: n/a

Treble Heart Books.................................................................................................6
Average advance: none
Standard royalty percentage: 15 - 35% print, 40% elec.
Average earn-out: $65 Range: $5 - $110

Warner.....................................................................................................................19
Average advance (first book): $7150
Average advance (subsequent books): $12,200
Advance range: $5000 - $34,000
Standard royalty percentage: 8%
Average earn-out: n/a

Zebra Regency.........................................................................................................14
Average advance (first book): $2000
Average advance (subsequent books): $2850
Advance range: $2000 - $4000
Standard royalty percentage: 4% - 6%
Average earn-out: $2500 Range: $2000 - $4000

And, from Alison Kent, a candid explanation of her personal experience and a brief education on royalties at her blog:

"The only books I get royalties on straight from the home office are my five Temptations published between 1996 and 1999. I signed with my agent in 1998 while she was at Writers House. That means I still get a statement through them covering my first three Blazes and my two Bouquets written as Michaila Callan. Everything else comes through Spencerhill Associates, the agency Karen established when she left Writers House.

"Harlequin releases all reserves against returns by the fourth royalty statement on a book, meaning by that time - two years or so after a book’s release (aka 4 six-month periods) - a book has pretty much earned out all of its North American sales. Many foreign sales $$ have come in by then, too. If there is no activity for a period, then there is no statement issued. Reissues and foreign sales are what keep a book alive.

"The only statements I received in this packet were for my first and fifth Temptations as they were the only ones with any activity in this period (Jan 2005 - June 2005). I thought the differences in the earn-outs were interesting.

"FOUR MEN & A LADY, published in October 1999, has earned $13,109.88 to date - and I happen to know it was the #1 bestselling Temptation that month. That number includes North American (US and Canadian) sales, as well as sales in the UK, Australia, France, Switzerland, Belgium, Holland, Sweden, Finland, Norway, Germany, Italy, Greece, Spain, Brazil, Latin America, and Korea. This royalty period, believe it or not, I sold 795 copies in Spain for royalties of $34.15. *gg*

"CALL ME (7/96) is a different story. The royalties this period were for the reserves of the mail order reissue in May 2003 - 2850 copies for royalties of $346.12. The foreign sales on this book were to the UK, Australia, France, Switzerland, Belgium, Holland, Germany, Czech Republic, Italy, Greece, Argentina, Spain, Brazil, and Latin America. The book has earned a total of $21,495.09. (Note: It’s taken 9 years to earn that amount, while the advance on my fourth single title (not #’s 1 - 3!) was more than that.)

"I hate to be all about the $$$$, but when this is my only real income, I have to be. But what I wanted to point out was the decline in individual book income from 1996 to 1999 to the tune of $8300+. Yes, I know. Not all books will perform the same, except when those books are in a category line, they tend to be a lot closer than that! If authors across the board experienced the same, I have to say the signs for Temptation’s demise were there for quite awhile.

"Now I’m anxiously waiting for the money from both agencies to arrive, (and for Kensington royalties which I think arrive around year’s end)! Of course, I’m not expecting much this go round from HQ. This royalty period cut off in June, and KISS & MAKEUP wasn’t released until August. My last HQ publication was MOTHER, PLEASE! in May 2004. Next year should be better!"

The Razor's Edge and Truman Capote

Somerset Maugham's famous work The Razor's Edge has been made into a movie twice: first, with Tyrone Power in the lead; and later, with Bill Murray portraying the seeker, Larry Darrell. It's hard to say which version I prefer at this point.

Both made me think - and Bill Murray's version introduced me to the work of Maugham, for which I'm very grateful. Edge was one of those books of which I bought multiple copies to share with friends. I was seeking truth, my way of moving forward after a divorce left me lost and brokenhearted - and this book helped me. I wanted to share that.

A movie brought me to the book, to the author.
And, a movie has done that again, with Capote.

Not that I haven't read Truman Capote before now - I have. I think I own copies of most all his work - Other Voices, Other Rooms through Unanswered Prayers. (Why is it that Dominick Dunne always come to mind here?)

But the movie Capote introduced me to the writer - and his process - that I hadn't understood before now. I don't know that I like the man. Take for example that snide aside he makes at the bar about sweet, kind, patient Harper Lee -- well, yes, it's scripted - but when you recall all the Capote interviews, it's accurate.

This was not a nice man. This was, however, a great writer.

Either you are a writer, or you're not. And I think many writers waste away in jobs that miss the mark for them -- stymied by a lack of confidence, or maybe a fear of money - and the lack of it. Doesn't matter. Writers just are. They are humans given charge over words, and only some take up that responsibility.

Capote, the movie, explained to me that writers aren't perfect. They may not be kind or meek or subtle. They come in all shapes and sizes, and some can be quite disheartening in their failings.

Capote took writers off the pedestal for me -- and left the writing there.