It’s always good to review the basics before diving deeper, so let’s talk setting. Setting has three major components: social environment, place, and time.
Social environment will impact the thoughts, actions, and decisions of the characters. A child growing up in an extremely conservative/liberal home will see things differently than someone who was raised more moderately. Place will impact the story by how the characters interact with it and how it shapes their worldview, as well as physical limitations (i.e. an island vs. and mountain town.) Time factors into not only technology, but in self-perception and social rules. A 1950s woman would be much different than a teen in modern time.
There are also two main types of setting: backdrop and integral.
A backdrop setting is not terribly important to the story. The scene could take place anywhere, but happens to be taking place in that spot. This may be a hallway, sidewalk, nondescript café, etc. These settings need minimal description and attention.
An integral setting is one where the time and place influences the theme, character, and action of a story in some way. Animal Farm wouldn’t have been quite the same if it were set in a shoe store. These settings need more in-depth description and development and may even act as an antagonist, such as in survival stories.
Setting also helps set the mood and atmosphere of a story. The description and the way characters perceive it and interact with it should help develop that tone. The covered bridge in Sleepy Hollow has a very different feel than the Love Lock Bridge in Paris.
When describing setting, Show Don’t Tell becomes very important. Please, please, please don’t spend paragraph after paragraph describing the setting to your reader. Let the reader explore the setting with your character in a way that reveals insights about the character or story.
For example, you can say something about family dynamic by having a teen look through the half-empty kitchen cupboards for cereal that’s on the verge of going stale. It’s a simple detail, but it says a lot about how this teen is living. A character looking in her closet and staring a the only two dresses she owns while getting ready for a job interview informs the reader about her financial situation without having a long discussion about it.
Use setting to help tell readers a story rather than telling the readers where the story is happening.
Today we’ll be discussing some of the disadvantages of working with a publisher. To find the post discussing the advantages, click HERE.
So, let’s talk why you might not want to work with a publisher. With every publishing track there are negatives and positives.
6 months to one year +
Bigger publisher = slower
Sequels or other books may be delayed to accommodate other authors
Publishers have to prioritize (money is a big deciding factor)
Majority of the marketing (time and cost) will fall to you
Small publishers have limited budgets
Large publishers have larger budgets, but it’s funneled to large projects
Results of marketing (time and money) is split with publisher
Loss of Control
3-5 years is not uncommon (may be less)
Lose ability to post or publish your work in any other capacity
Book production is up to your publisher’s discretion. You may be asked for input, but the final decision is theirs
Future works may automatically fall under the control of your publisher as well\
Royalty rates TO THE AUTHOR vary
Large publisher: 5-25% (5-15 on print, 25 on ebooks)
Small publisher: 30-40% (all formats)
Hybrid publisher: 40-50% (ebook only)
Royalties help publishers recoup the initial expenses
This can be a large percentage of money the author will never see
Choosing whether or not to work with a publisher is just as important and choosing a publisher. Research is key!
What is a literary agent?
A literary agent represents authors and submits to publishers and editors on their behalf
- They also:
- Negotiate Contracts
Negotiate contracts outside publishing
What are the benefits of having an agent?
“In the know”
Depends on how good the agent is and how good their contacts are
Access to specific information
Knowledgeable in: publishing contracts, foreign rights, media rights, royalty negotiations
Disputes are common occurrence
**Getting a lawyer involved is sometimes necessary
What are the drawbacks of having an agent?
Legitimate agents will NEVER ask you for money
Do get a cut of the royalties
Domestic sales: 10-15%
Foreign sales: fixed rate of 20%
Film/media sales are usually negotiated separately
Querying can be SLOW
Once you have an agent, querying starts all over again with publishers
A few months to several years
It may not happen
There should be a time limit in your contract
Once you sign, publishing options may be more limited
Submissions are handled directly by your agent
Additional work you write may automatically come under the agent’s control
Variations of your book that are produced (film, graphic novel, audio, translation, etc.) may entitle your agent to a cut
Stop back by soon for more discussion on Publishers, Agents, and Publishing in this new Publishing Primer series.