Behind the Scenes
The Cost of Things
At The Coachella Review, Steve Almond shares a lively exchange with an editor who received a $50,000 advance asking him to write for free, for good will—an entry for the book The Enlightened Bracketologist: The Final Four of Everything.
When Almond asks the editor in question, Mark Reiter, about the pay, the editor states:
You’re right, it is fun. Alas, there’s no money in it for contributors. Our fact-checker Matt is the only one making a net profit on this project. The best we can do is a plug for your book and promising you the (admittedly disputable) pleasure you get in putting your life’s passion to good use for a new cohort of readers.
Almond then asks the very reasonable question about who exactly is being paid for the project and Reiter states:
Yes, Richard Sandomir and I are sharing an advance of $50,000. That’s $25,000 each. Take away the 15% agency commission, it’s down to $21,250 each. I’m paying my assistant Emily Sklar an extra $5000 out of my pocket to handle the logistics (tracking down folks like you, for example). We’re delivering to Bloomsbury 100 brackets. We can’t pay some people and not others, but if we did offer payment-less than $500 would be pointless-to everyone, the math says we’d be in the red. Royalties in excess of the advance (should they materialize) go to Richard and me. That’s the economics of this project.
Almond counters with a reasonable suggestion for how everyone can walk away happy:
The only compromise I can live with is to ask that you pay me a small fee for “first-serial rights” to my bracket, which you’re then free to publish elsewhere. Or agree to pay me a tiny percentage of the royalties. This has no bearing on your other contributors. It would be an agreement written into my contract.
Of course that’s not amenable for Reiter who continues to insist that Almond should be perfectly happy to write for free while Reiter and his co-editor make thousands of dollars:
I’m not gonna argue with you, and this is my last attempt to get you to change your mind. But you’d be better off sticking to Mind One, and jettisoning Mind Two. It’s not greed on our part; it’s just common sense and economics. We can’t pay you and not pay others; if not paying you is morally dubious, what’s paying you and no one else? Also, would $100 or $200 really put your mind at ease or, frankly, make a difference? The weird thing is, you’re the only one out of about 100 people we’ve contacted who’s made an issue out of this. Not the first to ask about money, but the first to make an issue out of it. I suspect people play along with us because they’re of Mind One, and as for Mind Two, they think the payoff will be in good karma. Honestly, if this thing somehow miraculously takes off and starts spitting out royalties, Sandomir and I would certainly be sending out little checks to everyone. It’s the right thing to do, but we aren’t making a contractual promise out of it. We’re not even issuing contracts.
There are so many frustrating, troubling things about the exchange but the primary and most flagrant offense is the notion that writers shouldn’t be compensated, even with a token amount.
People are often hesitant to talk about money. One of the things I like most about science fiction writer John Scalzi is his openness about the financial aspects of his writing career. For example, in 2007, he made $164,000 from writing. You can find some great posts from Scalzi about writing and money here and here and here and here. Scalzi’s philosophy, and one I share, seems pretty pragmatic–writers should get paid but sometimes they don’t get paid and that’s okay because under the right circumstances writers can benefit greatly from writing for free.
I happen to know a little about anthologies and the compensation of writers. I recently finished editing my first anthology of genre fiction. It will be out in May or June. I received an advance of $1500 against (if memory serves me correctly) 7% royalties. Out of that $1500 I have to pay all twenty-two of my contributors who also signed contracts. [As an aside why is it that so few small presses and magazines use contracts?] I offered contributors a one time fee of $50 which took $1100 of my advance. The rest will go to paying TAXES, I’m sure. I’m practically losing money on the deal but that’s okay–the royalties, if there are any, will go to me and the writers are being compensated, however token the payment. If this book does well I can perhaps negotiate a better deal for the next book and make more money for myself. Given that most editors, particularly in genre fiction pay their contributors, I do not share this information because I’m doing something special but rather to demonstrate that paying contributors is par for the course no matter the size of the advance. Reiter’s assertion that he’s not in a position to offer even a token payment is pretty insane. Token payments are lovely and a fine example of the thought counting. I receive $50-$100 for each genre story I publish and over the course of the year, it really starts to add up. The notion Reiter and other editors and publishers espouse that writers wouldn’t appreciate $100 or $200 is a convenient fantasy to keep money out of writers’ pockets. It’s kind of outrageous.
Tags: advances, Steve Almond
He should write the fucking book himself then.
He should write the fucking book himself then.
Steve Almond’s pretty badass.
I took a southwest chicken burrito as payment for chapbook once and it was delicious. Plus, more than the actual listed price of the chapbook.
Steve Almond’s pretty badass.
I took a southwest chicken burrito as payment for chapbook once and it was delicious. Plus, more than the actual listed price of the chapbook.
Two things I found interesting (not 100% sure what to make of them):
~Judging from the list Reiter provides, it seems like Almond is one of the only (professional) writers he’s soliciting — most of the others named, excepting Nick Hornby, are entertainers and mainstream media personalities.
~This part:
“Believe me, I collaborate once or twice a year on books with celebrated people where my minimum fee is $250k, so devoting six months to this project for $16k pretax is costing me plenty. I just like the idea of the book.”
…Reiter assumes an inherent value for his labor based upon… what? Past experiences? The mainstream market?
it seems like it would be pretty easy to have the writers all get a part of the royalties, should that happen. Can’t say i’d trust someone who doesn’t split a 50,000 advance to pay writers down the road with no contract even if the book took off.
Two things I found interesting (not 100% sure what to make of them):
~Judging from the list Reiter provides, it seems like Almond is one of the only (professional) writers he’s soliciting — most of the others named, excepting Nick Hornby, are entertainers and mainstream media personalities.
~This part:
“Believe me, I collaborate once or twice a year on books with celebrated people where my minimum fee is $250k, so devoting six months to this project for $16k pretax is costing me plenty. I just like the idea of the book.”
…Reiter assumes an inherent value for his labor based upon… what? Past experiences? The mainstream market?
it seems like it would be pretty easy to have the writers all get a part of the royalties, should that happen. Can’t say i’d trust someone who doesn’t split a 50,000 advance to pay writers down the road with no contract even if the book took off.
and as you say roxanne, the idea writers wouldn’t appreciate a few hundred dollars is crazy
and as you say roxanne, the idea writers wouldn’t appreciate a few hundred dollars is crazy
So, as someone who hasn’t been published yet (but has a story forthcoming), my question is, how do you know when it’s worth it to submit to a publication that doesn’t pay and when it’s not?
So, as someone who hasn’t been published yet (but has a story forthcoming), my question is, how do you know when it’s worth it to submit to a publication that doesn’t pay and when it’s not?
I think these questions are somewhat separate. Most literary magazines do not have the funds to pay even a token amount to their contributors. Most editors invest tons of time and probably still lose money on the projects. That’s different than someone who has already gotten 50K upfront and has all royalty rights.
I think these questions are somewhat separate. Most literary magazines do not have the funds to pay even a token amount to their contributors. Most editors invest tons of time and probably still lose money on the projects. That’s different than someone who has already gotten 50K upfront and has all royalty rights.
if it’s Pop Serial, then it’s worth it :) well, i’m the only one paying for things, so that seems fair, right? i pay for the printing, and do all the arranging and editing, and you take part in a potentially beautiful thing
That’s a great question Hank. Every writer has to make that determination for themselves based on what they want from their writing career. The reality is that most literary markets simply do not (and cannot) pay but you do get your work out there and you can start to build a “name” for yourself. There’s some intrinsic value in those things and you have to decide if that intrinsic value is enough compensation. I generally use a few criteria: is the magazine pretty? If it’s online, is the website pretty or at the very least, inoffensive? Do I enjoy the writing in that magazine? If the answer to any of those questions is “no” I’m rarely willing to write for free but that doesn’t happen often.
I can’t say what your criteria are but establish them and then use them to help you decide when to publish without pay.
if it’s Pop Serial, then it’s worth it :) well, i’m the only one paying for things, so that seems fair, right? i pay for the printing, and do all the arranging and editing, and you take part in a potentially beautiful thing
That’s a great question Hank. Every writer has to make that determination for themselves based on what they want from their writing career. The reality is that most literary markets simply do not (and cannot) pay but you do get your work out there and you can start to build a “name” for yourself. There’s some intrinsic value in those things and you have to decide if that intrinsic value is enough compensation. I generally use a few criteria: is the magazine pretty? If it’s online, is the website pretty or at the very least, inoffensive? Do I enjoy the writing in that magazine? If the answer to any of those questions is “no” I’m rarely willing to write for free but that doesn’t happen often.
I can’t say what your criteria are but establish them and then use them to help you decide when to publish without pay.
but my situation is somewhat unique (and it’s DIY quasi-lo-fi, so that’s a factor)
it’s never the right people who are shot full of arrows
but my situation is somewhat unique (and it’s DIY quasi-lo-fi, so that’s a factor)
it’s never the right people who are shot full of arrows
Yeah, I know, but it’s something I wonder about and this seemed like as good a place as any to ask (it was at least marginally on topic).
Yeah, I know, but it’s something I wonder about and this seemed like as good a place as any to ask (it was at least marginally on topic).
karma bums
karma bums
It seems like this guy views a couple of hundred of dollars like the rest of us view a nickel. Not worth mailing checks out for. Wonder if this is the conventional mindset of wealthy people in the publishing industry.
It seems like this guy views a couple of hundred of dollars like the rest of us view a nickel. Not worth mailing checks out for. Wonder if this is the conventional mindset of wealthy people in the publishing industry.
Uh, this was awesome to read. Thank you. Now this conviction I’m all about.
Yes… that’s what I was trying to get at w/ my comment and couldn’t figure out how to articulate.
Uh, this was awesome to read. Thank you. Now this conviction I’m all about.
Yes… that’s what I was trying to get at w/ my comment and couldn’t figure out how to articulate.
I’ll include this question in the next Q & A, too to get some contrib perspectives.
Thanks. The story of mine that is forthcoming is going to be published online, but that’s a whole new place for me, fiction online. Like right now, I’ve got eleven tabs open and I’m really interested in what’s in all of them, but I’m not reading any of them. And I don’t really have the money to be buying magazines (though I seem to spend the money that falls into my lap on far more books than I probably need), so even when I get done with something I like, it’s hard to even know what to do with it, other than loading up Duotrope and seeing what I little I can glean from there (which is how I got this one accepted).
I’ll include this question in the next Q & A, too to get some contrib perspectives.
Thanks. The story of mine that is forthcoming is going to be published online, but that’s a whole new place for me, fiction online. Like right now, I’ve got eleven tabs open and I’m really interested in what’s in all of them, but I’m not reading any of them. And I don’t really have the money to be buying magazines (though I seem to spend the money that falls into my lap on far more books than I probably need), so even when I get done with something I like, it’s hard to even know what to do with it, other than loading up Duotrope and seeing what I little I can glean from there (which is how I got this one accepted).
The only journal worth sending to is one which allows writers to record audio versions of their work, that has a blog that features interviews w/ writers, and which also uses its blog to promote the other work of its contributors in perpetuity.
Of course, that is just this lady’s opinion.
The only journal worth sending to is one which allows writers to record audio versions of their work, that has a blog that features interviews w/ writers, and which also uses its blog to promote the other work of its contributors in perpetuity.
Of course, that is just this lady’s opinion.
hmmm… mine qualifies for this, i think(?)…
hmmm… mine qualifies for this, i think(?)…
Shhhhh. Stephen, you’re ruining it.
Shhhhh. Stephen, you’re ruining it.
PANK has this covered!
PANK has this covered!
@rachel ha!
@rachel ha!
Hank, I’d really say don’t worry about the money if we are talking fiction or poetry (nonfiction is different.) There simply isn’t much out there for a starting writer, unless you want to hold out for The New Yorker or a few of the big lit mags that pay well.
IMHO, it would be better to be in a magazine that you love and which is well regarded in the literary world for zero bucks than to publish in a magazine that gives you a token payment but which you don’t care for and it isn’t well regarded.
here, I’ll un-ruin it:
~That in addition to monthly web content, features a gorgeous and geometrically unconventional print annual
~hosts regular chapbook contests
~With Dogzplot, is co-hosting exciting off-site reading at AWP
~Features attractive photographs of founding editor on aforementioned blog
Hank, I’d really say don’t worry about the money if we are talking fiction or poetry (nonfiction is different.) There simply isn’t much out there for a starting writer, unless you want to hold out for The New Yorker or a few of the big lit mags that pay well.
IMHO, it would be better to be in a magazine that you love and which is well regarded in the literary world for zero bucks than to publish in a magazine that gives you a token payment but which you don’t care for and it isn’t well regarded.
here, I’ll un-ruin it:
~That in addition to monthly web content, features a gorgeous and geometrically unconventional print annual
~hosts regular chapbook contests
~With Dogzplot, is co-hosting exciting off-site reading at AWP
~Features attractive photographs of founding editor on aforementioned blog
Don’t worry about the money at the starting stages at least.
Don’t worry about the money at the starting stages at least.
@’rachel’ Email stephen.dierks@gmail.com and i will mail you a copy of said magazine when it comes out in may
@’rachel’ Email stephen.dierks@gmail.com and i will mail you a copy of said magazine when it comes out in may
One of the jaw-dropping things that you learn as a freelancer is that even when you have a work-for-hire, paper and ink contract, publishers and others will simply refuse to pay. I have been ripped off by a major, national, slick magazine with tons of national advertising and with whom I had a signed contract to the tune of $500. (They said their ad revenues were down and would pay me someday.) A well-known performing artist ripped me off to the tune of $1000 after writing her biography. And I have had a couple of non-profits, for whom I wrote grants that got funded, never pay on the agreed amount. Basically, a lot of people seem to think:
a) writers are too insecure and neurotic to demand payment;
b) writers are all academics so they don’t need the money;
c) “anybody can write,” so its not like you’re doing anything special, anyway.
From what I’ve heard, this seems to be all too common in the freelance world.
One of the jaw-dropping things that you learn as a freelancer is that even when you have a work-for-hire, paper and ink contract, publishers and others will simply refuse to pay. I have been ripped off by a major, national, slick magazine with tons of national advertising and with whom I had a signed contract to the tune of $500. (They said their ad revenues were down and would pay me someday.) A well-known performing artist ripped me off to the tune of $1000 after writing her biography. And I have had a couple of non-profits, for whom I wrote grants that got funded, never pay on the agreed amount. Basically, a lot of people seem to think:
a) writers are too insecure and neurotic to demand payment;
b) writers are all academics so they don’t need the money;
c) “anybody can write,” so its not like you’re doing anything special, anyway.
From what I’ve heard, this seems to be all too common in the freelance world.
Charlie onto something here.
More writers who think it’s taboo to self-promote. Asking to get paid as self promotion (microcosm). Why is it wrong?
The writing for free thing as a default.
Charlie onto something here.
More writers who think it’s taboo to self-promote. Asking to get paid as self promotion (microcosm). Why is it wrong?
The writing for free thing as a default.
i would only write for free because i am allergic to money
i would only write for free because i am allergic to money
sorta the “why do they pay porn stars when I’d do it for free” mentality, huh?
sorta the “why do they pay porn stars when I’d do it for free” mentality, huh?
When my anthology started, it was important to me that the contributors were paid at least something, especially considering that I was being paid. The advance was nothing near 50k, but it was decent, and I would have felt like I was cheating the writers by simply offering contributor’s copies (which the publisher was going to give them anyway). And while I applaud Almond for asking for payment, I’m a little disappointed that he basically said just write that into his contract, screw everyone else. But I guess that’s just my mentality, that when you make a stand, it should do it for everyone involved, not just yourself.
When my anthology started, it was important to me that the contributors were paid at least something, especially considering that I was being paid. The advance was nothing near 50k, but it was decent, and I would have felt like I was cheating the writers by simply offering contributor’s copies (which the publisher was going to give them anyway). And while I applaud Almond for asking for payment, I’m a little disappointed that he basically said just write that into his contract, screw everyone else. But I guess that’s just my mentality, that when you make a stand, it should do it for everyone involved, not just yourself.
Logistically, sending out little checks to 100 hundred people every so often is clearly a pain to do over the long run, so up-front payments make sense in this case. The likelihood of a book making bank and the royalties seriously outdoing the payment is probably pretty low.
Logistically, sending out little checks to 100 hundred people every so often is clearly a pain to do over the long run, so up-front payments make sense in this case. The likelihood of a book making bank and the royalties seriously outdoing the payment is probably pretty low.
Roxane, This is a really helpful post. We should do more finace of writing posts here….
Roxane, This is a really helpful post. We should do more finace of writing posts here….
Thanks, Catherine. I agree that we should. I think it helps to alleviate a lot of the weird mystery about what writers are really paid. I wish I had known what I was getting into financially before agreeing to edit the anthology. I would still do it again but I think I would have been better prepared to negotiate the contract. I just accepted the fee because I didn’t know any better and I didn’t know what the acceptable range for this sort of book was and I didn’t know who I could ask. To recap: I knew nothing. Ha.
Thanks, Catherine. I agree that we should. I think it helps to alleviate a lot of the weird mystery about what writers are really paid. I wish I had known what I was getting into financially before agreeing to edit the anthology. I would still do it again but I think I would have been better prepared to negotiate the contract. I just accepted the fee because I didn’t know any better and I didn’t know what the acceptable range for this sort of book was and I didn’t know who I could ask. To recap: I knew nothing. Ha.
THE ENLIGHTENED BRACKETOLOGIST out 2 years ago:
Praise for The Enlightened Bracketologist:
“The Cult of Bracketology”—New York Times Magazine
“The bracket is such a seductive means of portraying existence, and not just during March Madness…”—Forbes
“The second I opened my advance copy of “The Enlightened Bracketologist: The Final Four of Everything”, I knew that editors Mark Reiter and Richard Sandomir were onto something big. I’m talking Barry-Bonds’-head big.”–Adam Hofstetter, SI.com
“Clever….Though we may be creatures of ruthless logic, “The Enlightened Bracketologist” seems to be saying we still have a soft spot for Cinderella.”–New York Times Magazine
“A delightful new book of lists”—Newsday
“In fact, if there were brackets established for current books that are just for fun, “The Enlightened Bracketologist” would edge out “The Cheater’s Guide To Baseball” and move on to the next round.”—Bill Littlefield, National Public Radio’s “Only A Game”
THE ENLIGHTENED BRACKETOLOGIST out 2 years ago:
Praise for The Enlightened Bracketologist:
“The Cult of Bracketology”—New York Times Magazine
“The bracket is such a seductive means of portraying existence, and not just during March Madness…”—Forbes
“The second I opened my advance copy of “The Enlightened Bracketologist: The Final Four of Everything”, I knew that editors Mark Reiter and Richard Sandomir were onto something big. I’m talking Barry-Bonds’-head big.”–Adam Hofstetter, SI.com
“Clever….Though we may be creatures of ruthless logic, “The Enlightened Bracketologist” seems to be saying we still have a soft spot for Cinderella.”–New York Times Magazine
“A delightful new book of lists”—Newsday
“In fact, if there were brackets established for current books that are just for fun, “The Enlightened Bracketologist” would edge out “The Cheater’s Guide To Baseball” and move on to the next round.”—Bill Littlefield, National Public Radio’s “Only A Game”
My friend Jer is a graphic artist, and we have a constant banter of instances like this in our respective fields.
My friend Jer is a graphic artist, and we have a constant banter of instances like this in our respective fields.
I think everyone in this convo would appreciate this vid: http://www.youtube.com/watch?v=R2a8TRSgzZY
I think everyone in this convo would appreciate this vid: http://www.youtube.com/watch?v=R2a8TRSgzZY
[…] over at HTMLG, Roxane Gay drops some knowledge on the subject: Reiter’s assertion that he’s not in a position to offer even a token payment […]
The expectation, especially with fine writing on the internet is that writers will write for free. It has done in the specialty journalist as well. (Read Sportswriter Leigh Montville regarding this). Writers should be so thrilled to see their work up they they should be doing backflips. Now 16,000 is not a large amount of money to get but when you are making it because of what is being contributed and not paying out even a dime, that’s pretty crappy.
The expectation, especially with fine writing on the internet is that writers will write for free. It has done in the specialty journalist as well. (Read Sportswriter Leigh Montville regarding this). Writers should be so thrilled to see their work up they they should be doing backflips. Now 16,000 is not a large amount of money to get but when you are making it because of what is being contributed and not paying out even a dime, that’s pretty crappy.
Mark Reiter? Wait, this isn’t the guy from the Gambino family?
Mark Reiter? Wait, this isn’t the guy from the Gambino family?
eggsactly, brad, the dude sounds full of shit when he talks about it not being worth it to pay certain people a few hundred bucks. i’ve won a couple of contests and been published in lots of places and all told earned about $200. i laughed reading his answers.
eggsactly, brad, the dude sounds full of shit when he talks about it not being worth it to pay certain people a few hundred bucks. i’ve won a couple of contests and been published in lots of places and all told earned about $200. i laughed reading his answers.
good man you are, robert, and we appreciate it (that sounds snarky, maybe, but it’s not meant to be)
good man you are, robert, and we appreciate it (that sounds snarky, maybe, but it’s not meant to be)
Plus you edited THE HELL OUT OF MY STORY to really make it fit the anthology aesthetic (and I’m guessing a few other stories got the RG treatment) and you read hundreds of subs…so I’m guessing you earned every penny of that money.
This will show my ignorance but I’m shocked you have to pay contributors out of your money, Roxane. I guess I assumed those would be two separate pots of dough. I guess I know nothing either about the biz.
No doubt, next time around you’ll be in a better position to negotiate. It’s really not that much different than when I was in high school and signed up for a three-year membership to Holiday Spa and got bludgeoned for 36 months (and worked out there maybe 50 times there). I learned from that.
Plus you edited THE HELL OUT OF MY STORY to really make it fit the anthology aesthetic (and I’m guessing a few other stories got the RG treatment) and you read hundreds of subs…so I’m guessing you earned every penny of that money.
This will show my ignorance but I’m shocked you have to pay contributors out of your money, Roxane. I guess I assumed those would be two separate pots of dough. I guess I know nothing either about the biz.
No doubt, next time around you’ll be in a better position to negotiate. It’s really not that much different than when I was in high school and signed up for a three-year membership to Holiday Spa and got bludgeoned for 36 months (and worked out there maybe 50 times there). I learned from that.
I’m sorry but Reiter is full of shit. Pay your writer’s professional rates of .05 a word, or a bit less, but you don’t take $25,000 and then stiff your people, that just bullshit. Pay them $50, $100, $200 whatever. It still pays for gas and lunch and pens and ink and coffee. What a top notch asshole.
As usual Mr. Almond is correct.
Yes, there are many places that don’t pay, and as writers we have to weigh the exposure and acclaim of certain literary publications vs. cash. There are MANY great reviews and journals and magazines that don’t pay, and to get your name out there, to add to your academic resume, for exposure, sure, publish with them.
There are also many professional genre associations that urge their writers to ONLY publish for pay, and to shoot for professional rates. That’s hard to do, for sure, and believe me, I’d love to, but I do understand what they are saying. I’m a member of the Horror Writers Association, for example.
This whole interview really pisses me off. I’ll have to shake Steve’s hand at AWP.
I’m sorry but Reiter is full of shit. Pay your writer’s professional rates of .05 a word, or a bit less, but you don’t take $25,000 and then stiff your people, that just bullshit. Pay them $50, $100, $200 whatever. It still pays for gas and lunch and pens and ink and coffee. What a top notch asshole.
As usual Mr. Almond is correct.
Yes, there are many places that don’t pay, and as writers we have to weigh the exposure and acclaim of certain literary publications vs. cash. There are MANY great reviews and journals and magazines that don’t pay, and to get your name out there, to add to your academic resume, for exposure, sure, publish with them.
There are also many professional genre associations that urge their writers to ONLY publish for pay, and to shoot for professional rates. That’s hard to do, for sure, and believe me, I’d love to, but I do understand what they are saying. I’m a member of the Horror Writers Association, for example.
This whole interview really pisses me off. I’ll have to shake Steve’s hand at AWP.
Indeed, Reiter comes across as a guy I’d like to toss into Shawshank.
Indeed, Reiter comes across as a guy I’d like to toss into Shawshank.
wait, is he Hans Reiter from 2666?
wait, is he Hans Reiter from 2666?
“Take away the 15% agency commission, it’s down to $21,250 each. I’m paying my assistant Emily Sklar an extra $5000 out of my pocket to handle the logistics (tracking down folks like you, for example).”
So an admin assistant like the lovely Ms. Sklar makes 5 Gs while the writers make nothing? Priceless.
“Take away the 15% agency commission, it’s down to $21,250 each. I’m paying my assistant Emily Sklar an extra $5000 out of my pocket to handle the logistics (tracking down folks like you, for example).”
So an admin assistant like the lovely Ms. Sklar makes 5 Gs while the writers make nothing? Priceless.
If the magazine or anthology or whatever isn’t making money — and lots of good ones barely break even — then I wouldn’t feel bad about giving them something for free. The exposure could be worth it. Being part of something great could be worth it.
But if someone’s making money, the writers should get a cut. It’s that simple.
(BTW, did SMITH Magazine ever pay any of the writers of their best-selling six-word story collections? I wonder how much they’ve made so far, per-author.)
If the magazine or anthology or whatever isn’t making money — and lots of good ones barely break even — then I wouldn’t feel bad about giving them something for free. The exposure could be worth it. Being part of something great could be worth it.
But if someone’s making money, the writers should get a cut. It’s that simple.
(BTW, did SMITH Magazine ever pay any of the writers of their best-selling six-word story collections? I wonder how much they’ve made so far, per-author.)