Random House decided that all your eright are belong to us them. According to Publishers Weekly:

A letter sent to agents Friday by Random House chairman Markus Dohle has renewed the debate about who controls the right to publish the e-book editions of older backlist titles. In his letter, Dohle makes clear that RH believes the “vast majority” of its backlist contracts “grant us the right to publish books in electronic formats,” while older agreements “often give us the exclusive right to publish ‘in book form' or ‘in any and all editions.'” Random spokesperson Stuart Applebaum said the letter was “in the works for many weeks and is the product of the thinking of our publishers sales colleagues and others.” The letter, Applebaum added, was sent in the spirit of collaboration not confrontation, and was mailed (or e-mailed) before the holiday break to give agents time to think about its contents.

I don't know if agents feel the “spirit of collaboration”.

• Kristin Nelson's response: RH Gets Brazen.
• Dystel & Goderich's response: Random House eBook Rights Grab
• Richard Curtis's response: Random Serves Notice on Would-Be E-Interlopers

Jane from Dear Author summed up the situation well, and I wanted to highlight it:

The legal foundation that Random House rests upon is shaky at best. Author contracts are largely contracts of adhesion and as such any ambiguity is resolved against the drafter of the contract, meaning if a term “book” is deemed to be ambiguous by the court, then the interpretation that favors the non drafting party (the author) is usually upheld…. Further, the court in the Rosetta cases determined that new uses referred to new uses in the same medium (ie print), not a different one (digital). Perhaps Random House is convinced that it could convince a different judge to come to a different conclusion. This move is meant to strike fear in the hearts of authors who think to take their backlist titles elsewhere and for the majority of authors, this tactic will likely work.

P.S. For those of you unfamiliar with where the title for this blog post comes from, check out the video below. You can hear the now immortalized “All Your Base Are Belong to Us!” at the 0:18 mark.

A couple of weeks ago, I saw this video on YouTube. It's about forming a weekly accountability group. Please watch it if you'd like:

Okay. Done? :)

I think it's a brilliant idea to have an accountability group with goals that are tailored to individual members. I've been in groups like “100 words a day” or something, which is great for some people, but for me, I need more flexibility. I don't (and sometimes can't) write 100 words/day, and there are times when I want to take a week off to read or do research or whatever.

I also thought identifying the most highly leveraged activity(ies) for each week was fantastic. Not all activities are created equal, and some give you better return than the others.

So I figured I'd create a group. Laura (the lady who made the video) said she does it over the phone, but I thought maybe a mailing group might be easier, so people can post their previous week's results and share their new week's goals with the group on weekends.

Anybody with me? If so, sign up below or click here. To make the group more manageable, I'm thinking about limiting it to about 4-6 serious career-minded writers.

Thanks!

Subscribe to Weekly Accountability Group

I'm sure many of you have heard that RWA has decided that Harlequin Enterprises, as a whole, is no longer a non-vanity / subsidy publishing house.

So many people seemed confused about why many writers are unhappy about the Harlequin Horizons situation. I do not believe that Harlequin Horizons is a true self-publishing house. It's really a vanity press, no matter what Harlequin calls it.

Let's look how Harlequin Horizons works — I'm going to use an example to illustrate the situation. (Judging from what's going on in the Blogsphere, using a poor new unpublished writer seems to muddy the water…)

Harlequin Horizons Scenario Explained — in layman's terms:

Let's say you're a salsa maker. Your dream is to distribute your salsa so everyone in the world can buy it from supermarkets, etc.

So you go to…Pace. Pace says, “Your salsa recipe isn't good enough to add to our Pace lineup, but you should consider taking your salsa recipe to Pace Self-Salsa. If you sell a lot under that brand, we may considering adding your salsa to our main lineup.”

So you contact Pace Self-Salsa (PSS). PSS says you have to pay them money to make and bottle and label your salsa. For every bottle of your salsa that sells, PSS gets to keep half of the profit and you get the other half. So — after paying Pace a bunch of money up front — you have to split the profits with PSS 50-50.

You decide to pay PSS because you figure you can use the Pace brand and its distribution and marketing power to sell your salsa. But later you learn that PSS has no intention of associating its Pace brand with your salsa. Pace tells you that the brand “Pace” is the “gold standard” in salsa and that it will not be “compromised” to help you sell your PSS salsa. Nor does Pace plan to allow you to use their distribution network to sell your salsa. (But you can, for an additional $12K or so, get access to the Pace mailing list. This will allow you to spam 10 million Pace customers with entreaties to try your judged-to-be-not-up-to-snuff salsa all you like. And for extra $20K, you can make a commercial video that you can upload to YouTube and other social networking sites to promote your salsa (but nothing on TV channels).) And your PSS salsa will not appear next to Pace salsa on grocery store shelves. You have to do all the legwork, etc. and you have to split any profits 50-50, even though — remember — you paid a lot of money at the start for the bottling and labeling service.

That's vanity. And, frankly, it's exploitation. There's virtually NO CHANCE that you will recoup the cost of investment (the bottling & labeling fees and so on). But PSS makes lots of money because it charges you and other salsa makers a premium for its bottling & labeling services, and it gets to keep 50% of profit made on each bottle of salsa sold. Just in case you missed it: Pace will make money up front, even if you never sell a single bottle of salsa. You, on the other hand, will need to sell a hell of a lot of salsa just to break even.

The true self-publishing model can be explained using a similar example:

Again let's say you're a salsa maker. Your dream is to distribute your salsa so everyone in the world can buy it from supermarkets, etc.

So you go to…Pace. Pace says, “Your salsa recipe isn't good enough to add to our Pace lineup.” So you decide you're going to make your own salsa company, just like Pace.

So you put in your money to bottle and label your own salsa by either contracting it out to an independent bottler or learning how to do it yourself. You study how to distribute your salsa, and you get some of your local supermarkets, etc. to carry your salsa.

People try out your salsa and buy some.

You may lose money because you can't sell enough salsa. But if you do make profit, you keep 100% of the profit.

(If you're very very successful, your salsa may become a worldwide bestseller. And who knows? Some big company (like Pace) might buy you out. Again, you assume the financial risk and you keep all the losses / profits.)

So that's the difference, ladies and gentlemen. That's why I do not consider Harlequin Horizons to be a viable option for anyone who's serious about being a career-minded writer.

Disclaimer: I like Pace salsa a lot. Pace did not pay me to use its name or to say that I like their salsa. The above are just hypothetical examples I made up.

Any questions or comments?

A couple of people asked me if I've ever used WriteWayPro and if so, what I think of it.

It's my fourth day using the program. I think it's a fine program, and it does what you want it to do.

Strengths:

• Everything you need for your writing project is right there on the screen, so it's very easy to keep things organized.
• It's very easy to move scenes around or reference certain scenes, etc.
• It starts fast.
• You can set it to open to your last active chapter or scene, so you can start working right away.
• It's not that difficult to learn.
• Customer support is great. I've seen some really crappy customer support, but this is excellent. I'm happy with the response time and so on.
• Word count report and analysis are fabulous. I love looking at them and see how many words I need to write to hit my target completion date, etc. (I no longer need to mess with Excel, although I adore Excel…)

Things WriteWayPro can improve on:

• It's currently lacking auto-save, so you have to remember to save every so often.
• The composition screen shouldn't be in print layout (to use Wordspeak). It's a personal preference, but I find it very distracting to see empty headers and footers as I go from one page to the next. Since the composition font and the final manuscript font are different anyway (and lovely WriteWayPro formats everything for you automatically!), I don't see any point to having a ton of blank space on the screen. Besides, it really breaks the flow as I draft and/or edit. I wish I could hide the blank space like in Word.
• I'm not sure if it's just me or Word 2007 or what, but when I export the entire manuscript into rtf and open it in Word, the text looks justified, and the right side is smooth instead of jagged. But if I copy paste the entire manuscript to another blank Word doc, the format comes out fine. It's not a deal breaker, but it's something to be aware of if this kind of stuff really really matters to you.
• Unlike Word, which can check for typos as you type, WriteWayPro checks typos only if you click on the spell-check button. I find this to be somewhat annoying because I like to fix typos as I draft / edit.
• This didn't bug me, but it may bug you: the user interface is very basic and not as polished and fancy as the latest Microsoft Office. But it does the job, and I don't think it's something WriteWayPro should put any priority on addressing. If you simply must have the slickest GUI, however, this may bother you.

So there it is. Any questions? Have you used WriteWayPro or any similar software? If so, what do you think about it? If you've never used any, why not?

So the FTC doesn't come after me, here it is again: I'm not in any way shape or form related to or employed by WriteWayPro. I never received any monetary compensation for this post. I've downloaded WriteWayPro, and I am currently drafting my novel with it.

Scrivener has a deal for NaNo, but they don't offer a Windows version. For those of us who use Windows, we're SOL.

Well…not really. ;)

If you want something similar for Windows, try WriteWayPro. You can download the demo and try it out for thirty days. I've heard good things about it from a lot of writers, including Larissa Ione. Also, it was created by Lara Adrian‘s hubby, so it's much more writer-friendly than many other programs out there. WriteWayPro is also on Twitter, and I found them (him?) to be very responsive.

There's also a special coupon code valid until November 30, 2009: $20 off the WriteWayPro download version. Just type NANO-PRO20 when you check out.

Disclaimer: I'm not in any way, shape or form related to or employed by WriteWayPro. I haven't received any monetary compensation for this post. I have, however, downloaded WriteWayPro, and am currently drafting my novel with it.

Recently Larissa Ione got emails from people telling her how much they hate her, blah blah blah, because the illegal copies of her books they downloaded infected their computers with a nasty virus. Seriously, what's up with the sense of entitlement? How can they steal from her then get mad that things went wrong? (Because downloading illegal copies = stealing, you know.)

Don't like worm- and virus-laden ebooks? I've got a nutty idea: buy a legit copy from places like FictionWise, BooksOnBoard, Amazon, Sony eBook store, etc.

Sheesh.