If you've been published (or simply signed, for that matter) by a US publisher in the last dozen years, there is a fair to excellent chance that the master to whom you are now answering is not the master to whom you indentured yourself when you signed your original publishing contract. Among the larger transactions:
Anyone who has worked in an intellectual or creative endeavor knows that many new works build to one degree or another on the earlier work of others. But getting a head start by leveraging the intellectual work product of another is potentially problematic. When does inspiration cross over into infringement or a breach of scholarly integrity? The lawyer's answer is: it depends.
Dee Chips, owner and manager at Transpersonal Publishing LLC, gets help from Steve Gillen of Wood, Herron & Evans LLP, a frequent contributor to IBPA Independent magazine.
Endorsements are good for business. We know this intuitively. And a 2012 article in the Journal of Advertising Research confirms it empirically, reporting that in a study of more than 300 endorsement deals over nearly two decades, endorsements resulted in an average 4 percent increase in weekly sales of the endorsed products.
Most of your authors work independently-as individuals. Consequently, the form of publishing contract you have developed for your publishing business undoubtedly reflects that, calling for your author's personal name and residence address in the preamble or recitals.
Steve Gillen's new book (co-authored with Mary Ellen Lepionka and Sean W. Wakely), Writing and Developing Your College Textbook: A Comprehensive Guide, will help you take your textbook project from concept to completion.
Scheduled for release in December of 2016, Steve Gillen's new book from the Textbook & Academic Authors Association (TAA) will help you take your textbook project from concept to completion. In their three section book, Writing and Developing Your College Textbook: A Comprehensive Guide, Steve and his co-authors Mary Ellen Lepionka and Sean W. Wakely guide you through the monumental process of textbook creation through comprehensive exploration of the following three topics:
The relationship between publisher and author is an interdependent one. If the author doesn't write well and on schedule, the publisher has nothing to develop, market, and sell. On the other hand, no matter how well an author writes, the author isn't likely to see his or her book reach its full potential without the publisher's marketing savvy and access to distribution channels.
In the typical transaction between a book author and a publisher, the author grants to the publisher certain exclusive rights in a manuscript and, in exchange, gets from the publisher a right to receive a portion of the publisher's proceeds from commercial exploitation of the rights granted. Though the specific terms vary from publisher to publisher and book to book, the author's share is commonly referred to as a royalty, and the manner of its calculation and payment are spelled out in a written book publishing agreement.