I answer your burning questions about authors and filthy lucre

Thanks for all your great comments from the last post. I did another post in 2010 about the economics of being a writer if you're interested. To answer a few of the questions from the comments:

Daniel wrote: "The only caveat I would suggest is that it might (emphasis) take the writer of the 700 page sci-fi tome a bit longer to write his book than the children's author's book, which I suspect is substantially shorter (not to diminish it's value, at all, based on size...just that it's not apples to apples in value returned to the author for their time at the book signing)."

In response, Sage Blackwood wrote: "The shorter the book, the longer it takes to write."

This is often very true. THE PRINCESS IN BLACK is 2500 words. If a writer of a 300k book took as much time working on every 2500 words as we did in PIB, it would take 23 years to complete a book, and not the 6 months-a year that many such writers take. I have often written 300k word books and whittled them down to 90k words. You can't judge by a book's length how long the author spent on it. Besides, it's irrelevant, as we're not paid by the hour.

Alysa also responds: "Re: Daniel "might take longer to write...the 700-page book" -- it might or might not, but I don't think that should enter into the equation.

"Time spent writing could well be figured in to other places (book price, advance amount, etc) but the time spent on the signing itself is equal for both parties. It is a speaking event, they are hired to speak and to sign for a certain length of time.

"They are not being hired to write during this time, so how long it takes them to write the book doesn't really factor in, the way I see it. I think it's a case of children's authors making smaller commissions per sale than adult authors for no reason other than precedent."

Allison writes: "As a amateur writer, I'm curious: would you say new authors get less royalties than well-established authors like yourself? Is the difference significant(such as 5% vs. 20%), or do most authors get an average of about 10% or 15% but established authors make more simply because they have a bigger fan base (aka more sales)?"

If you have an agent (a legit agent who knows her stuff) and you sign on with a legit professional publisher, you're going to get about the same as everyone else. There might be slight differences. Maybe a freshman writer would get 6% on a paperback, and a sophomore author get 6% to 25k copies sold at which point it escalates to 7.5%, for eg. Really, really big authors maybe work out super sweet deals, but I wouldn't know.

Kathy asks, "I'm finally a stay home mom just this month, and I'm also an unpublished author. I want to publish traditionally, but I'm worried about how it'll affect my family when it happens (one day!). What's been your experience as you raise young kids and work in the published world? Are you away from them a lot?"

This is a big question. I love being a mom and I love being a writer, so I wouldn't trade in either. But I'll warn you that it's very, very hard to balance. After you're published, guarding your writing time gets increasingly difficult. My advice: don't do it if you're looking for a hobby or a simple way to make part time dollars. Do it only if you can't live with yourself if you don't. I've written at length on writing and mothering here.

See also Nichole Giles and Jacqueline Garlick's comments on indie publishing, as their experience has been different than the example I gave.

PJ writes: "If children's author's make around 10% and adult authors around 15%, where does YA fit in? It is the fastest growing market in publishing isn't it? They should make more than adult authors I would think. Why do children's author's make a smaller percentage anyway? That seems especially unfair since there books usually cost less anyway."

YA is considered part of the children's field. As far as I've seen, the numbers are the same in YA as in picture books and middle grade. People just don't want to pay the same for kids' books than adult books. Everything kid is expected to be less: admission, food, clothing. It doesn't matter if it takes as much work, skill and time to create a kids' book as an adult book, the market just won't support it. I wish it were different. Maybe it could change, but would you spend $35 on a YA novel? $25 on a picture book? In general, anything to do with children is valued less than anything to do with adults (think of kindergarten teacher vs college professor. Has a children's movie ever won Best Picture? etc.) Publishers and agents would have better insight into this discrepancy than I do.

Jessie asks, "I have an author money question I've been curious about, I read a lot of eBooks, and have been wondering about the Kindle Unlimited program. Since I get to read those books, practically for free, I was wondering how authors get paid for them. Do you get a small percentage? Is it worth it at all?"

I know next to nothing about this program. It's sort of like Spotify is for music. I don't think my books are a part of it? But I'm highly suspicious that it would be at all profitable for the majority of authors.

Petunia Krupnik asks, "Just a question, are you going to Salt Lake Comicon again this year?" I'm planning on attending the September one.

Emily asks, "How can I convince my friend to read a different genre?" I have a random idea. Introduce her to a good graphic novel or two in her favorite genre. After she reads those, introduce her to a couple of other graphic novels in other genres. People are more likely to read GNs outside their genre comfort zone. It's a great way to discover new genres they didn't think they liked. They are then more likely to go on and read other prose novels in different genres. Any other suggestions?