Since I’m currently auditioning for a few book packagers, I thought I’d address an interesting issue involved.
If you don’t know already, book packagers are companies that come up with an idea for a book or series and sell it to a publisher. The editors at the packager (or some call them producers) usually come up with a detailed outline and then hire an author to turn the idea and the outline into a complete manuscript. For reference, some examples of packaged books are Sisterhood of the Traveling Pants, Warriors, Sweet Valley High, and Nancy Drew.
Generally, the author that is doing this “work-for-hire” earns a flat fee–in other words: no royalties. The packager maintains the copyright for the work, not the writer. This is much different than how publishing normally works.
I will point out that a company called Working Partners pays writers an advance against royalties (though, of course, the copyright is still in Working Partners’ name).
I’m not questioning how book packaging works. I’m really not. I hope to get some work-for-hire myself and am fine with the arrangement, but it’s not exactly intuitive, is it?
After all, how many times do you hear: it’s not the idea it’s the execution. Old ideas are made fresh all the time by different writers. Technically, you can’t even copyright ideas in writing fiction. Someone could steal your idea right off the query boards at Absolute Write and you couldn’t do a thing about it. One thing is for sure, though: Whatever the thief came up with would probably be executed quite a bit differently than what you had in mind.
That’s why I think it’s interesting that the idea is so important in packaging even when it is the writer who is putting the flesh and bones on the project. I think this must have a lot to do with the fact that packagers expect you to write in the voice of the entire series. You don’t get to use so much your own voice as an established voice. Plus, the outline is very detailed, though there is room to get creative.
Just something to think about if you are considering doing some work-for-hire.
But how about in writing fiction in general. Which is more important? The idea? Or the execution?
Status: Just got back from an unsuccessful shopping trip with my roommate. I was looking for something to wear for the 4th of July. Oh well. I finished Twilight today, so I will probably talk about that on Saturday. I plan to send in my sample for the Beacon Street Girls tonight and write several more pages of script. Pages of script take much longer than I thought because you have to be able to see very clearly each part of a scene in your head and there are many panels per page.
Later, I’ll start in on the Gallagher Girls again!
11 Comments
July 1, 2008 at 10:46 pm
In regards to writing fiction, I like to think that the idea is more important than the execution. Without the idea to get you started, the execution is a non-factor.
Doesn’t matter what the idea is, as long as you have something to build on is what’s important.
July 2, 2008 at 4:02 am
Maybe, but the idea is easy. Look at how many books are based on the same idea, especially young adult fiction. It is the execution that gives the book meaning and an identity. then again with these package deals, the characters are very well defined as well. Limiting both of these will probably do a lot of the writing for you
July 2, 2008 at 2:33 pm
Shakespeare routinely recycled ideas and even wholesale plots from earlier (and contemporary) works. Because of his execution however, his works endure while the others are mostly forgotten.
–Bill
July 2, 2008 at 3:23 pm
Hiya! I’m an editor at the aforementioend Working Partners and wanted to weigh in on this interesting question. I hope you don’t mind.
I agree that execution is absolutely crucial in a novel, in equal amounts to the central idea. People pick up a book all the time, captured by the idea, but quickly put it down if the writing isn’t strong. And they might not even pick it up if the idea doesn’t work. They have to both be as good as they can be.
WP provides a detailed outline of the story (sometimes 50% of the total word count) and what I want to mention is that the structure of the plot cannot be dismissed when discussing execution. Pacing, action, story movement are all bound up in good writing, just as much as witty dialogue and great description. Those three are provided by our briefs.
Yes, the voice is the writer’s (usually established by the first book in the series and maintained if other writers come on board) and that’s what we look for in our writing partners: people who can partner their creative voice with our structure.
That all adds up to “executing” the best possible finish product. (Or at least we think so.)
We absolutely acknowledge the writer’s contribution to the books (hence the whole royalty payment thing). In the same way as the idea and the writing are just as essential as each other, we think we are just as essential in the partnership as the writer to all these series that we produce.
July 2, 2008 at 3:50 pm
Thank you so much for weighing in, Sara. Book packaging has always been an area where I think authors want to know more but can’t always get a lot of inside information, so your perspective is incredibly valuable for readers.
I think you raise an interesting point about execution that I missed. The pacing, action, and story development are indeed an integral part of execution separate from the idea itself.
Having read some of Working Partners books, it’s undeniable that the ideas y’all have come up with are original and appeal to a huge juvenile audience. The Warriors series comes to mind.
As I said in the post, I think the book packaging arrangement is “correct,” just not exactly intuitive. For those writers who are considering work-for-hire, though, Working Partners certainly seems like a great company to go with because of the royalties.
July 2, 2008 at 10:55 pm
I’ll give that the execution for Young Adult fiction is probably a necessity (having not read anything in that particular genre), but wouldn’t having the idea first help pave the way for execution?
I mean, if you were writing non-fiction, would you first execute the theme before actually doing the research that’s required for theme? Or would you come up with the idea/theme first, then do the research and then the execution of the idea/theme?
July 3, 2008 at 2:25 am
I don’t think the issue is which comes first so much as which, in the end, is more important. Bill brings up a good example. It’s Shakespeare’s execution that lives on, not his ideas.
I’ll agree that in non-fiction the idea might be more important. Although there are a zillion, say, WWII books, but which ones are successful is determined in part at least by their execution.
Almost all mysteries revolve around a murder. But what makes them different and lasting?
July 3, 2008 at 3:06 am
I never really gave much thought about mysteries, but while each one can revolve around a murder (or non-murder) it still remains that the idea has to come before the execution.
I’m reading a good mystery series by Susan Hooper and while the type of murders are generic, it was the original idea of having the two male leads of being a loving couple and dealing with the consequences of such, that made the execution possible.
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