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by

E.C. Myers

—

When I discovered that two of my favorite childhood authors, Franklin W. Dixon (The Hardy Boys) and Carolyn Keene (Nancy Drew), didn’t actually exist, my world turned upside down.

If this is a shocking revelation for you, I’ll give you a moment to take it all in.

Okay, still breathing? Good. Granted, the news may not be all that surprising considering that Hardy Boys and Nancy Drew books are still being published today, around ninety years after the series first appeared in print. Not impossible, perhaps, but highly improbable that “Dixon” and “Keene” are still with us and churning out these adolescent adventures, though Frank, Joe, and Nancy haven’t aged much.

It turns out that the true creator of The Hardy Boys and Nancy Drew, and a host of other classic characters from Tom Swift to the Bobbsey Twins, were dreamed up by a man named Edward Stratemeyer. He pioneered the concept of “book packaging,” hiring freelance writers to pen books under pseudonyms, according to his plot outlines. The first to write books as Dixon and Keene was a man named Leslie McFarlane.

A writer “ghostwriting” as another author is one of many ways a novel can be written as a “work for hire.” Sweet Valley High fans, I have more bad news for you: Francine Pascal did not write all those books herself! If you’re skeptical whenever a celebrity “writes” a book, you have good reason to be.

But there are many other kinds of projects that are considered “work for hire,” some of which even allow the author to claim what glory they may, including your favorite media-tie-in novels. The authors behind those Star Trek novels are real people! In fact, some of them are friends of mine, and I vouch for their authenticity.

Et tu, Francine Pascal?

It gets a little trickier to know who the creator is when a publishing company develops a series in house and hires a freelance author to write the books, either under their own name or a new pseudonym. You might be surprised when you check the copyright page of a book you love: If the copyright is given to the publisher instead of the author, chances are it was a work-for-hire novel, and the author doesn’t own the rights to the plot or characters.

You might experience a moment of disillusion, but does it really matter? Probably not. The author did write the book after all, and hopefully well, and most writing is a collaborative process between authors and publishers, as well as with other writers, editors, and agents. The important thing is whether the book is any good — as with any book.

In some cases the freelance author might have been given a very detailed outline and set of characters and been tasked with connecting the dots; in other cases, she might get minimum direction and have to come up with a story and characters to fit the premise on her own. There are projects that fall somewhere in between. Moreover, most writers pay the bills by writing lots of things other than their own books — that’s simply called getting “work.” Blog posts, speeches, thank you letters, greeting cards, instruction manuals… Credit can’t always be given where it’s due, and sometimes the only place a writer needs his name to appear is on the “Pay to the Order of” line on a check.

If you’re a writer, you might be interested in getting a work for hire assignment of your own. So how does that happen? Typically a publisher will reach out to an author directly or through an agent, or you might get the opportunity through your network of contacts. If you are invited to audition for the project, you would need to submit a sample chapter or two, following guidelines from the publisher (which were developed internally by one or more people). This gives the publisher a sense of whether your approach and writing style are a good fit for their vision, and to compare what you can bring to the project versus other authors vying for the job. I’ve auditioned for a few of these, and I like to write a chapter from very early in the book and one from the middle, which is a chance to show some growth in the protagonist and introduce a variety of settings, characters, and relationships.

Not that kind of Ghostwriter!

If you’re given some freedom regarding the plotting of the book, you may also have to draft an outline on your own — not unlike what you would submit in a book proposal when writing on spec. This outline might include a high-level Synopsis of the whole story, descriptions of the Style and Theme you imagine for the book, a list of Characters, and finally a Detailed Outline telling the story. Later, you may need to develop a chapter-by-chapter outline as well.

Work-for-hire books generally have a tight turnaround time from first draft to publication — we’re talking months instead of years — which can be very appealing in terms of getting your books on shelves and money in your bank account. But it also means you have to write both quickly and well, so it might not be for everyone. On the other hand, for some it could be a dream come true. Once I found out that Franklin W. Dixon was actually a bunch of different authors, I wanted to be one of them. And hey, I’m pretty sure I have at least one great Star Trek novel in me…

What are your favorite work-for-hire books or authors? Have you written a work for hire, or would you like to?

—

E.C. Myers was assembled in the U.S. from Korean and German parts and raised by a single mother and a public library in Yonkers, New York. He is the author of the Andre Norton Award–winning young adult novel FAIR COIN and its sequel, QUANTUM COIN; his next YA novel, THE SILENCE OF SIX, will be published by Adaptive in November 2014. You can find traces of him all over the internet, but especially at his blog, Twitter, Facebook, and Tumblr.

You’ve probably heard of Lauren Oliver, author of Before I Fall (I loved it) and Delirium (I couldn’t believe that people would ever agree that love was a madness that needed to be cured).

But Lauren Oliver’s real name is Laura Schechter. And she’s formed a book development company with former Harper Collins editor Lexa Hillyer. Business Week reports, “The duo have so far sold 20 young adult novels and struck a deal with Fox 2000 Pictures that gives the production studio first dibs on optioning their titles for films.”

Here are three of their deals from Publisher’s Marketplace:
August 25, 2011
Debut author Lanie Bross's FATES, the story of an Executor sent to earth to bring about human destinies, who finds herself unaccountably experiencing human emotions, leading to an epic romance set across multiple worlds, to Wendy Loggia at Delacorte, in a significant deal, in a pre-empt, in a two-book deal, by Stephen Barbara at Foundry Literary + Media, on behalf of Paper Lantern Lit.
 
March 16, 2011
Ellie Rollins's ZIP, pitched as an Odyssey-inspired magical realist story of an eleven-year-old girl who sets off on her scooter on a cross-country quest to save her childhood home, to Laura Arnold at Razorbill, in a two-book deal, for publication in fall 2012, by Stephen Barbara at Foundry Literary + Media on behalf of Paper Lantern Lit (NA).
 
February 14, 2011
Debut author Fiona Paul's VENOM, first of the DARK WATERS young adult trilogy, set in Renaissance Venice and following a 15-year-old girl who gets swept up in a seductive underground world of bohemian artists, grave robbers, and murderers, pitched as a cross between Philippa Gregory and Edgar Allan Poe, to Jill Santopolo at Philomel, in a major deal, at auction, by Stephen Barbara at Foundry Literary + Media on behalf of Paper Lantern Lit (NA).

Business Week reports: “Schechter and Hillyer come up with ideas—or “sparks,” as they like to call them—and sell the finished product to publishers. The writers, whom they find through friends or sites such as Craigslist, get a flat fee and bonuses based on sales.”

Click here to read more about this side of the business that isn’t that well known.

And over on Wired, you can see the Simpsons episode that spoofed Alloy (it was called Allied in the episode). There were so many in-jokes that someone on the writers’ staff must be in the know. I kept clicking the pause button to look at the titles of the books on the shelves and at a book fair. You can see it here: http://www.wired.com/underwire/2011/11/neil-gaiman-simpsons-2/ , at least for a while.

I've been working on a fiction shared reader of fewer than 150 words. It has to be a journey, use a certain phonetic sound throughout, rhyme, and include the basic shapes. Whew! What a puzzle to work all that in. I turned in a draft yesterday (instead of an outline, because I couldn't figure out how to outline something like this and be sure I could actually write it without just doing the writing!) to the editor. Fingers crossed their client likes it! If not, I'll be circling back and starting over at the beginning of the process.


Poem Starter: Write a poem that includes circles in some way. Here's a rhyming list poem I did.

Things That Come Full Circle

Arms
Bracelets
Crowns on kings

Earth
Cats
Underdog swings

--Laura Purdie Salas, all rights reserved

Because you might be fired from your own series.

I posted a bit ago about the photopoetry book I'm working on for an educational publisher. I got it turned in early last week, and yesterday I got the revision notes.

Now, there are several kinds of revision notes I get from educational publishers. The first kind is the best kind. It's where the editor says I nailed it, she loves it, and she has nothing further for me to do (or maybe just a few small wording changes). That kind usually only happens when I'm writing an entry for an existing series so I have something to match.

The second best kind is when I have plenty of work to do on the manuscript, but the notes all make sense and feel very doable. That's the kind of revision note I got on the photopoetry book. Some adjustment in voice, a bit of rearranging, and a few changes in material--but nothing overwhelming or earth-shattering. That's the kind I often get when I'm writing for a new series, as I am here.

And it's the kind of note I got yesterday. So now I can move forward with this revision, confident I'm giving the editor what she wants. Yay!

As for the third kind, the "you totally missed the boat with this attempt" kind? We're just not gonna go there.

I've made no secret of the fact that I'd love to sell more trade books (the kind like Stampede, where I write a book I love and find a publisher who wants to publish it). And I do have two more in the works for 2011 and 2012--yay! But right now, at least, my bread and butter is writing books on assignment for educational publishers. I teach about it (in fact, I have a new self-paced workbook version of my online course) and live it--I almost always have at least one book, if not several, in progress.

When I get assigned to write a book on a topic I love, that's the best! Right now, I'm working on a book for upper elementary school kids that I just love. It's about how to use photos to inspire and strengthen your poetry. How perfect is that?

The book has 14 spreads, and I'm working hard to turn it in before a three-day event that I have next week. Yesterday, I wrote 4 spreads, and I'm aiming to do 3-4 today. It's a blast writing nuggets about ways to use photos, and then also writing sample poems and poetry prompts for the kids. I think this book is going to be so cool--but only if I get to work!

As a full-time freelance writer/editor, I've been very interested in the discussion on the NFforKids list about pay for work-for-hire projects. It's a constant struggle, especially when you're somewhat new to the field. 

I remember I got paid $800 for my first book, and I was so excited just to have the assignment! It was a lot of work for $800, that's all I can say.

I now routinely ask for more money. I don't find it easy to do, and I'm glad I can do it by email, since virtually all of my contact with editors is via email. But I've gotten better at it. The longer I'm in this business, the more I'm able to put on my "business face" and do things that make me uncomfortable. Here are the guidelines I use:

1. I DON'T ask for more money, usually, when it's my first time trying something: book, assessment passages, leveled reader, etc. I wait until I've developed my skill level enough to know I can deliver an excellent writing project. That experience also helps me have a better idea of where this pay offer lies in the range of things.

2. I ask politely. "I was hoping to get X dollars for this project. Is there any way you can offer more?" 

3. I never deliver it as an ultimatum unless it's a project I don't really have the time to do, and I know the only way I will take it on is to be paid a certain dollar amount. Then I say something like, "After considering the research and time involved in this project, I feel the only way I could take it on would be to earn at least X dollars for it. Is that an amount that can work for your budget?"

4. When an editor or packager comes up with the requested money, I always thank them!

5. If they can't come up with more money, but I do still want to accept the project, I tell them that I think the work is worth more money, but that the project sounds interesting and I can't wait to get started. If Ican't be enthusiastic about a project at the price the publisher is offering, then I don't accept the assignment.

6. If I decline a project due to the pay, I do so graciously. I thank the editor for thinking of me for the work, and express my hopes that we'll work together in the future. I don't write off a publisher based strictly on money. Even if their pay is low on this project, they might have another project that is right up my alley and more efficient for me to write.

On trade projects, my agent is the one talking money with the editor, and I'm glad about that! But the above steps have helped me earn a little more money of many of the projects I've worked on. And I think asking for more money, in a professional way, helps editors value you. They know you are a businessperson, they know you know what your work is worth, and I think they like that. They might not always have the money to pay more, but I've never had an editor seem annoyed at my request. In fact, they usually seem apologetic and, if they can't give you more money this time, promise more money with the next assignment.
 

While looking up a particular poetic form a few weeks ago, I came across this site, Payapoet.com. At first, I was a bit horrified at this, I admit. The whole idea of hiring a poet to write a love poem or a birthday poem or, yes, a eulogy poem, and paying by the line...it just left a bad taste in my mouth. 

The schlocky Renaissance theme of the site didn't help. And I think it's weird there's no poet bio. I suspect that if there's really the work available, there's a stable of writers to churn out poems. Again, that bad taste in my mouth.

Then I got over myself.

After all, I wrote 10 work for hire poetry collections last year. I put a lot of time and thought into those poems, and perhaps this poet does, too. I have family members who have commissioned people to create stained glass windows and other art and craft forms to their specifications. Is that art? It might be. And why can't poetry be done the same way?

I haven't seen any of this person's poetry, so I have no idea if it's pure crap or really wonderful writing. It could go either way. I guess it somewhat comes down to intent. If the poet is really trying to express someone's ideas in a way that fits the situation, then that's class. But if it's just a hack who will throw together any rhyming lines in the number and order and mood you specify, then that's crass.

I will say that if this person can get paid $1,349.95  for a 30-line acrostic, then clearly his patrons have deeper pockets than children's publishers do!

What do you think about this?

Thank goodness Michael Auberry has been found.
An alert reader sent me this clip from the article:

Sounds like Michael is a Hatchet (by Gary Paulsen) fan.

One of Michael's favorite books a few years ago was about a boy whose plane crashes in the wilderness, and how that boy survives on his own, his father said.

"I think he's got some of that book in his mind," Auberry said. "In my fantasy, when they find him, he'll be making beef jerky somewhere or something like that. He's got a lot of resources to draw from."