Subrights

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I’m seeing some submissions lately that put the cart before the horse in terms of what they’re pitching. Several writers write and say, “I have such and such project that would make a great app. And then this other project just screams to be developed into a touring ice show. Finally, I can just see the face of my third protagonist plastered on everything from stuffed animals to t-shirts.”

There’s a lot to be said about focusing on your project as a book idea and letting all these other things come later. Since I’m seeing more and more of this type of pitch, I want to remind everyone that it’s okay to simply have a book that’s going to make a good book. In fact, that’s the point of trying to query a book.

And let me just add to what I’ve already said by emphasizing that nowhere is it stated that every single book idea will get every single ancillary product/right/option in the world. When you look at the sheer number of things that get published every year, a much smaller percentage goes on to merchandising opportunities, movie options, video game licenses, and all of the other things that some aspiring writers dream about.

I think that all this talk of apps really got people’s imaginations going. “It’s going to be a book AND an app, guaranteed,” one thinks, “because everyone is talking about apps!”Then that “and…” mentality spread to theme parks and licensed coffee tumblers and international editions. I get it. But it’s very important to remember that most books don’t get apps, or foreign sales, or entertainment deals.

That’s the danger of REQUIRING anything on your publishing journey, whether it’s a trilogy of books in order to tell your story or a read-and-play app that plugs into your premise. The more you require, especially as a debut, the fewer incentives you’re giving a house to take a chance on you. Your “and” turns into their “but,” ie: “We really see the potential for this book idea BUT they’re pushing us for a trilogy and I’m just not sure that we can make that kind of investment.”

Require less, open your mind to telling your story in the simplest way possible, and celebrate the ancillary successes that roll in. It’s often a fun and happy surprise when Hollywood calls or a comic book edition is picked up, and it can pay a month or more of your rent. Yay! But it’s not guaranteed and it’s also not the end all and be all. Keep it in perspective. That’s the best way to establish market savvy and tone down your expectations, thereby becoming a writer that many more people would be willing and excited to work with.

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