Authorpreneur Magazine - Issue 2

1. As an authorpreneur you’re more likely to be
initiating and so you may be ‘pitching’ a new
process or concept as well as the content. If
using terms, which are new to your audience,
keep it simple. Don’t assume they know all the
new verbs of how to do something technical,
that you’ve just learnt recently.
2. Pitchathon: Convince why your project is
saleable/publishable NOW. Practice to a time
limit, even to the dog! Or the mirror. Or record
it.
3. Speed Dating. Some publishers host bookseller
events at which that season’s list authors
have a limited time in which to explain why
their book is relevant. Booksellers rotate in
five minute slots around the author tables,
ask questions and give feedback on what
appeals to their markets. At the end, orders are
placed with the publisher on titles, which have
convinced them. In anticipation of next season,
list 6 points on why your book or project may
appeal. You’re permitted to use visuals like the
cover.
4. Chances are your project will cross media.
Practise with the equipment, so there are NO
technical hitches.
5. Humour helps, if it is relevant. E.g. One
illustrator presented a fast humorous
autobiography in book covers she had designed.
But it was the wit of her comments, which
convinced future clients of the depth of her
ideas and flexibility.
6. Consider the project from the listener’s
perspective. What do they most need from you?
7. Play Devil’s Advocate. Point out the likely
problems and how you will solve them with
your innovation. E.g. Challenges of adult literacy
addressed through simple performance scripts
and reading with a purpose. E-scripts for easy
accessibility in remote regions.
8. Where would this project fit within their
existing list? Show you have researched them.
9. A creator profile & CV are different. Indicate
your skills relevant for this project.
A CV is where you have been.
A profile indicates what you can do.
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10. List non- traditional markets. Consider three
possible markets for your current project.
11. Time-lag. It may be a good idea, but in the
wrong place at the wrong time. Despite fear
of imitation, leave your proposal on file with
the producer. Often your current proposal
may remind them when they are seeking new
writers for another series.
12. Prepare a very well presented folder with
samples and contact links for later study.
Especially if any translation or costings are
involved. Non native speakers may need
to have your words translated and their
significance considered.
13. Flexibility: Be willing to re-structure according
to clients’ current budgets or requirements, but
build in payment stages, rather than working
on spec (speculation).
14. Rates and conditions: Inform yourself of
industry rates and don’t undercut. Decide
whether to risk a percentage of eventual profits
(gross or net are different) or take a fee now
and no continuing interest. Do you want your
reputation to be enhanced by this? Must your
name be included? Or is it for a charity?
15. Track record: Give examples of previously
completed projects.
16. Copyright your material and keep evidence of
dated, earlier drafts.
17. Investigate trade marking or patents if
appropriate.
18. Collaborative projects. Clarify rights and have
signed agreements on expenses and income
splits.
19. Time frame. Some projects such as animation
or film take years, and others never get past the
initial stages. Stagger your projects, so you are
not living on hopes.
20. If this concept is emotionally significant to you,
the financial considerations may be secondary.
BUT you need to monitor how much time and
energy can be given long term.
March 2013
AuthorpreneurMagazine
9