D. J. Herda

I came across an online question the other day asking about who gets paid royalties. A strange question for many reasons. Nevertheless, here's how I replied.

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If this question is really what you wanted to ask, the answer is simple: everyone who earns them.

Satisfied? I didn't think so because I don't believe you asked the question you wanted answered, which is: When does an author get paid royalties?

If I'm correct, the answer is a bit more complicated than my original response—but only slightly. All authors who signed with either a conventional, advance-paying publisher or a POD self-publishing aggregator such as Amazon KDP, Barnes & Noble, D2D, and Lulu receive royalties. The royalties may vary from one publisher to the next, depending upon numerous factors, but the royalty percentage (the percentage of the book's earnings that the author receives for each sale) is in the author's contract with the publisher. So is the frequency of the publisher's payouts. Most conventional publishers pay royalties earned to their authors every six months or twice a year. KDP pays monthly. Read More 

When someone inquired online as to where to find a low-cost or free reputable literary agent, I had just the right response. Here's what I said.

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Let me set the record straight here. No reputable, honest, and effective literary agent represents an author for free, and no one does it at a "low cost." All legitimate agents charge a flat 15% fee taken from the sale of a book to a publisher made during that agent's contractual lifetime with his or her client/author. The fee is deducted from the advance (if any) and the royalties (also if any) paid by the publisher for as long as the book remains in print. The agent takes 15% for all income generated by the book. That's one of the reasons literary agents are hard to find and even harder to land. Writers don't hire them; they sign writers, albeit an extremely limited number of them. If a writer's work fails to generate sales, the agent can go hungry or terminate that writer's contract with the agent and find another writer whose work is more marketable. In that respect, being an agent is somewhat of a crap shoot. And not at all as easy or capricious as many writers seem to think.

A legitimate agent is like a salesman in that he earns his keep from selling. No sale, no commission. To procure a sale for an author, the represented work must appeal to a publisher. And, of course, the agent must do all the legwork—from the final formatting of the manuscript to getting it into presentable condition, matching the work to the appropriate publisher, negotiating contractual details, securing an advance, reviewing and evaluating the finalized contract, and keeping the lines of communication open between the publisher, the agent, and the author. The agent is also responsible for receiving all payments from the publisher, deducting the fifteen percent agency fee, and forwarding a check for the balance to the author. Read More 

Someone asked online the other day if it's important to format your manuscript before submitting to a publisher or an agent. Not coincidentally, few people responded. One, however, did and missed the boat by a mile. I stepped in with this.

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Unfortunately, the Queen of Wrong blew yet another one. I'm sure she feels from an egotistical point of view that her experience or preference equates to universal truth. It doesn't. Unlike Queenie, I'm not only a niche genre author but also an author of all genres, an instructor, a conventionally published author of more than ninety books and tens of thousands of articles, short stories, blogs, columns, and television and video scripts, but also a diverse professional editor. I've sent out probably ten thousand pitches and pieces in all genres in my half century of writing and publishing, and I've seen even more as a book, magazine, and newspaper editor. I know there's only one standard way of formatting a manuscript. And it's not placing your contact information in the right-hand corner of the cover page. Just the reverse.

Put your name, address, e-mail, and phone number single-spaced in the upper left-hand corner of the cover page. Put the word count ("XXX Words") flush right on the first line (opposite your name). On the line below that word count, also flush right, you may want to include the rights you're offering for sale: "First N.A.S. Rights" (first North American Serial Rights) for articles/short stories/blogs never before published or "One-Time Rights" for regional magazine/newspaper/blog publications as appropriate, or "All Rights" for book-length manuscripts. Read More 

A budding author asked online whether or not a writer has any say over what cover a publisher decides to use for his new book. As usual, the number of silly responses were amazing. Here's how I straightened things out.

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Well, the Queen of Wrong strikes again. In her response, she says that, if you self-publish, yes, you have a say in what the cover will look like. A say, you say? If you self-publish, of course, you have a "say" in what your cover will look like because you (or someone you hired) provided it! You're the arbiter there. But that's not the question you asked, is it?

You want to know if, when a conventional publisher publishes your novel, you have any control over its cover. This is where Queenie really goes awry, assuming her limited history is indicative of the industry as a whole. Let's get real for a change, shall we, and respond to those things about which we actually know. Read More 

A writer-type fella posted a question online the other day on how many edits an author should give his book before considering it finished. Here's what I replied.

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Congratulations. You received not only two previous answers to your question but also two horrible previous answers. That's batting a thousand. It might be a new online record.

For the respondent who said, "For newer writers, it's prob beat to only do do after you've finished your piece," forget him. Anyone incapable of editing the first fifteen words of his own response about editing so that it's understandable is incapable of offering a cogent and meaningful response.

For the other respondent who advised you to "Try to get it right the first time around!" when you're on a tight deadline, well, really? Isn't that what writing is all about? Trying to get it right the first time around? And isn't the purpose of editing to go back and revise those things you failed to get right the first time around? Am I missing something here? Read More 

I ran across a question the other day that went something like this: Must an author only write a novel about something he has personally experienced? Well, I like shooting ducks in a barrel, so here's how I responded.

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First, is this a serious question, or did you lose a bet? If you read the other two responses you've received as of this writing, you know what I mean.

Second, if you read those responses, you should also know enough to take both of them with a big grain of salt. The respondent peddling a book telling how long it takes to write a novel, what you should do "about your first draft" (whatever that means!), and how to revise is ridiculous. Making blanket statements designed to fit every personality, work ethic, and talent level is a waste of time and energy. There is no blueprint for writing a novel—only suggestions on various ways to do it.  Read More 

Someone asked me the other day if a book can have "too many" edits for its own good. Here's my response.

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There is no such thing as "too many" edits for a book. Every time you go through editing, you're changing your book, edging it closer toward perfection (an impossible destination, by the way, but still a mandatory pursuit!). That means you're doing your job as a writer. That may include putting your book through three edits. Four. Ten. Twenty. It really doesn't matter. If the book hasn't yet been published, every time you think about it is an opportunity for another edit and more improvements. PROVIDING …

1. You know what the hell you're doing as an editor and not simply mucking around aimlessly, which could result in making your book worse.
2. Your book is still far from being as close to "perfect" as you'd like.
3. You have ample time and opportunity to dig into it once again—not a simple or a quick task. Read More 

Someone wanted to know how a reader could tell if a book wasn't his cup of tea. I thought about that for a second or two, and here's what I said in response.

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That's an easy one. You know a book is not for you if …

1. You hate the subject matter
2. You hate the genre
3. You hate the author's literary style
4. You hate the author
5. You have the author's family

Seriously, speaking from experience, I know a book isn't for me if it takes me longer than a few pages to get into it. Read More 

While this question is a little off the beaten path, when someone wrote online asking if anyone disagreed with the findings of the Warren Report following the assassination of President John Fitzgerald Kennedy in 1963, I couldn't help but respond. You'll find out why in a couple of minutes. Here's what I said.

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Let me ask you an even more pertinent question: Who didn't?

When I was sixteen and the Warren Committee Report was published, I was a conspiracy theorist right along with some of the others who took great pains to respond to your question, fueling the conspiracy controversy that has survived now for decades. And why wouldn't it survive? It's glamorous; it's mysterious, it's titillating, and it's exciting. Unfortunately, it's also untrue.

Yes, I was bitterly disappointed with the report and immediately suspected Earl Warren, President Lyndon B. Johnson's personal choice to head the committee into the investigation of JFK, of political chicanery. He was slick, and he was evil. He had a hidden agenda and, like Johnson, didn't want the truth known about who really planned for, ordered, and executed the assassination. And like all those other theorists espousing online here, I was calling for blood. And truth. And justice. Read More 

Someone asked a question online recently that stumped even me ... for a while at least. He wanted to know what happens to an author's book rights if the book isn't selling. Here's how I finally decided to respond.

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This is an easy one. If your book is not selling, the Copyright Cops show up at your front door, usually around 3 a.m. although sometimes right in the middle of your favorite television show, and serve you a court order and an injunction forbidding you to receive any future royalties from book sales and ordering you to sign over all rights to your book to the federal government.

Surprised? You shouldn't be. Uncle Sam is trying to grab everything else you own, why not your creative endeavors, too? Read More 

A novice writer asked me the other day what makes a fantasy novel setting bad. My response? I said it's simple. The same thing that makes any setting bad: unbelievability. If the reader can't envision a setting clearly in his mind, he's not going to buy into the the overall concept—and might even be turned off the book altogether. Everything boils down to using creative imagery effectively. And, doing that can be reduced to two elements:

1. Visualization. Can you, as the writer, see the image clearly in your mind? Can you envision the setting, hear the sounds of everyday life, smell the scent on the breeze, taste the dew in the air, feel the emotions of the people around you, sense the magic of it all?
   
   
2. Description. Can you describe all those things in such a way that the reader can also get a clear sensory image in his mind?

If you answered "no" to either of those questions, your setting is in trouble.

You see, readers don't experience writing by reading words. They experience writing by reading rich, indelible, memorable imagery, words that paint a picture of what the author intends to convey. If the writer can't see that imagery in his mind, he can't possibly convey it to others. Until the writer sees a clear mental picture of a setting, it doesn't exist. And, if it doesn't exist, his readers can't see it. Read More 

People have asked me this question a few times now in the last few months, and it deserves an answer. Namely, can you use chapters numbered with Roman numerals in your novel? My answer: Yes!

Next question: Should you use chapters numbered with Roman numerals in your novel? Next answer: No! For reasons that may not be obvious. So, let me add a little something more from an "insider's" point-of-view to clarify.

As a former book, magazine, and newspaper editor, I soon learned that nothing set my ears upright and the hairs on the back of my neck skyrocketing for the stars faster than some quirky, unconventionally formatted manuscript submission. It told me about the writer, "I'm a weirdo trying to stand out visually because my material isn't strong enough to stand out on its own contextually." And, do you want to know something else? That was (and is) exactly right. Ninety-nine times out of a hundred. And, for that one time that it didn't hold true, well, let me just say that, as an editor swamped with manuscripts, running the risk of wading through all the hog slop in search of the pork chop just wasn't worth it. Read More 

When someone posed the question on line as to why he is able to create good characters but can't create a decent story to save his soul, the Internet lit up with do-gooders, not the least of whom was one of my favorite spreaders of online misinformation. Here's what I told him.

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First, assuming the Queen of Wrong can read (which may be a stretch), I'm not sure why she feels you are only interested in the characters "as they are, not how they got to where they are now." You stated in your question that you're good at characterization, so what's Queenie's beef?

And, as for her implication that you need a course on "plotting," let me say that plotting isn't the be-all and end-all she apparently thinks it is. Plotting is storytelling, plain and simple. If you can tell a good story from beginning to end without losing your listener's interest, a plotting course will only slow you down in your development. Ask Herman Melville or Uncle Remus or even Beatrix Potter if they'd taken many courses on "plotting" throughout their lives. Uh-uh? That's what I thought.

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An inexperienced writer asked online the other day how he can find a writer to hire to write a book he'd enjoy reading. It sounded like an interesting question, so I thought I'd give answering him a shot.

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The first thing you need to do is find a writer with lots of book-writing experience, as well as one with both ghostwriting (ghosting) and editing savvy. Stay clear of beginning, wanna-be authors and people who can't string a sentence together without leaving a few typos behind to save their souls. Also, a writer experienced in all genres of books will be more flexible in approaching your project without messing it up. Teaching and reporting experience come in handy here, as well.

In short, if you want to hire someone to write a book even you would enjoy reading, hire the best. You'll pay for that privilege, but the experience and results will be worth it in the long run. Believe me!

Where can you find qualified candidates to consider for the job? You can look no further than right here on this Website. Find authors with all the qualifications you need, and contact them about what you're looking for them to do. You should have at least a rough storyline in mind (and on paper!) so you can share that right up front.  Read More 

A beginning writer who had received a request from a publisher to send from 50 - 100 pages of his book for review wanted to know which was preferable--sending more or sending less. Here's how I responded.

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Congratulations on an interesting question. It's so interesting, in fact, that it's nearly unique. Perhaps that's why every other respondent who sent you an answer is wrong—either in content or by omission.

The truth is that any publisher asking for 50 - 100 pages of a manuscript isn't looking for 10 pages pulled from here and 15 pages culled from there, as several respondents suggested you do. He wants the first 50 - 100 consecutive pages. That's because cherry-picking your "best" pages from the manuscript doesn't tell the editor how the book begins, how successful you are at grabbing the reader's interest and attention in a short period of time, and how logically and cohesively you string together your thoughts. I'm amazed that no other respondent took the time to research his or her answer before spitting it out into cyberspace—which is exactly where such nonsensical gibberish belongs. Read More 

Here's an unusual one, obviously asked online by someone with zero knowledge of the publishing industry. He wanted to know how publishers pay an author once he writes a book himself and takes it to them. Okay, kiddies and kiddiettes, here's the lowdown. My response:

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First of all, you don't "write a book yourself"; you write a book. See the difference? Now, are you sure you want me to continue here? Okay, you asked for it.

Second, you don't show your book to a publisher. You query a publisher with a pitch letter, detailing your book's merits. Then, you wait to see what kind of response you receive.

Third, if your query fell on receptive ears, you'll be told that the publisher is interested and would like to see the complete book (or, perhaps, the first few chapters). But, you don't "take it to them." You submit to them a digital copy (or a printed copy, in the rare event that the publisher requests it), unless you happen to be right down the street from Random House or Simon and Schuster and know one of the editors personally, in which case I stand corrected. Got that? Kool. Read More 

Someone wrote in the other day to say that, while he sees what he wants to write clearly in his mind, he doesn't know how to convey that image to readers. That's not at all an unusual experience. Here's what I advised him to do.

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Do you really want the answer? The only, one, true response? I wonder. But, what the hell, you asked for it, so here goes.

You learn how to write. Period.

It's as simple (and, of course, as complicated) as that. If you think anyone can actually give you a few "tips" so you can convey what's in your head to your readers so that they can understand and appreciate it, too, you're mistaken. It's your idea; it's your head; you have to be the one to do the heavy lifting. And, that's the only "tip" you need.

Okay, you ask, but how do I learn to write? Admittedly, if you're starting from a blank slate (or an empty knowledge bank), that won't be easy. If everyone could be a successful writer, everyone would be a successful writer. Very few of us have worked at this art for nearly half a century and learned how to do virtually everything there is to do to crank out good—no, make that great--stories, at least according to the reviewers. So, how do you take that giant leap? Read More 

A newbie author interested in knowing how to begin his new book made the mistake of asking for advice online. As usual, some of the answers were anything but inspiring. Here's how I replied.

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You should start your book with a BANG! That doesn't necessarily mean you must start with your main character at the peak of his crisis, as some genius has suggested. In fact, that may turn into one of the weakest, most predictable formulaic openings you could craft. In fact, some of the most successful novels ever written don't introduce the main character or the primary action at all until later in the book. Want a few examples? I'm happy to oblige.

In the book The Mynah's Call, author Paula Favage begins the story with someone who kills herself before the real action begins. That, in turn, acts as a catalyst for what becomes the book's devastatingly delicious plot in a story that spans the globe from the United States to Afghanistan and back.

It's an unusual treatment, producing an introductory chapter of a scant five pages in length. But, Favage's opening gambit pays off. The reader is hooked from page one. By the time the real story begins, he or she can't wait to find out how the author is going to top that opening. Surprise! She really does. Her opening is a genius ploy because it works. It does exactly what the author wanted it to do. Read More 

What, you ask, is hard-boiled crime, anyway? Well, if you've never seen the film The Maltese Falcon with Humphrey Bogart playing detective Sam Spade, you should. Once you do, you'll know the answer to that question. And, become a lifelong fan of H-B crime.

Wikipedia defines hard-boiled crime roughly as a literary genre that shares some of its characters and settings with crime fiction (especially detective and noir fiction). The genre's typical protagonist is a detective who battles the violence of organized crime that flourished during Prohibition (1920–1933) and its aftermath, while dealing with a legal system that has become as corrupt as crime itself.

Notable hard-boiled detectives include such super-sleuths as Dick Tracy, Philip Marlowe, Sam Spade, and dozens of others.

The genre of hard-boiled fiction is nothing new. It made its debut into society in the form of early detective stories appearing initially in the "pulps" or populist magazines of the mid-1920s. The most successful of these publications was Black Mask, in which writers were influenced by the preexisting conventions of the western, nineteenth-century, urban drama. Adapting those conventions to the modern city, innovative novelists such as Dashiell Hammett and Carroll John Daly used the genre to explore the angst created by Prohibition and its resultant wave of crime, particularly organized or Mob crime. Read More 

Someone wanted to know why writing a book is so difficult, and he received an answer or two from other online respondents. One was way off the mark. Here's why.

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While I'm sure Mr. Zapata's response was well-intended, it's dead wrong. Sure, writing a book can be all those things he claims, including despair, frustration, and loneliness. But, he makes no allowance for variances between writers, a common shortcoming with newbies with little experience over short periods of time.

Let me explain where he goes wrong.

First, writing "a book" isn't difficult at all. You sit down, string some words together, and when you have assembled sixty thousand of them or more, you get up and announce to the world that you've written a book. If that's your goal, it's easy-peasy.

However, writing a good book takes considerably more effort and generally more time. That's because all the elements for writing a good novel or even a work of nonfiction work must be present to make it "soar." It has to make sense; it has to move the reader along; it has to provide value for the reader; it has to have a distinct beginning, middle, and end, and it has to provide a satisfactory conclusion. While doing all that, the author must also know the nuts and bolts of grammar, punctuation, syntax, storytelling, conflict and resolution, logic, organization, and all the other elements involved in the clarity and efficiency of writing. Read More