Million Dollars Ebooks Catalog
Generally speaking, there are two kinds of erotic novels the Big Sexy Novel and the Rough Sexy Novel. You can make a fortune on the first and little more than pocket money on the last. Big Sexy Novels are written by Harold Robbins, Jacqueline Susann, Henry Sutton, Morton Cooper, Rona Jaffe, and many others. Six figure incomes are a starting place in the Big Sexy Novel field, with million dollar rewards if you achieve the position of a Robbins or a Susann. Rough Sexy Novels are written by, among hundreds of others, Marcus Van Heller, Ann Griffin, Tor Kung, Peggy Swenson, Marco Vassi, and Jesse Taylor. Their financial rewards average between 1,000 and 3,000 a book, and they do not even receive the fringe benefits of national fame accorded the BigSN writer to say nothing of the subsidiary rights a RoughSN novelist rarely ever profits from.
Successful sportscasters have to be loud, knowledgeable, accurate and carry a big shtick. Some, like Joe Garagiola and Bob Uecker, make more money off-the-air as speakers and TV guests than by announcing play-by-play action. Since they don't have sex appeal and lots of teeth, humor keeps them in the public eye and gives them the nod on choice sports assignments. Even local sportscasters, like Glenn Brenner in Washington, DC and Warner Wolf in New York, use a steady beat of quips to build their reputations and bank accounts. They look for help from humor writers with specialized knowledge of sports. Some of the best one-liners are also printed (and paid for) by Sports Illustrated and other jock publications.
I'm about to tell you my million-dollar secret for writing sales copy. This is something I've never told anyone else in the entire world. I'll tell you right now, if you promise to keep this a secret. Agreed Translation Now that you know my secret, go forth and translate your sales letters, advertisements, and news releases into ones that will make you millions of dollars. Enjoy
In order to be a social worker, respiratory therapist, an interior decorator . . . and sooner or later, when they make degrees mandatory to those fields, I imagine they'll get to work on truckers and plumbers and bakers and hairdressers. College-educated experts are trying to close every field, because college education is big, pricey business, and the more people that have to go through it, the more money the experts make. An expert is somebody with a degree. The degree doesn't mean he knows how to do what he's an expert at - he might have absolutely no practical experience. But he has the degree, which confers on him the right to impress other people with his accomplishment (which was the getting of the degree), and to get paid for his expert opinions. An expert gets paid by third parties - his work is never placed in the open market where it will either sink or swim on its own merit. Experts earn more money and more security by conforming - if they conform for a long enough time...
Here is the unspoken translation to the agent's reason for requiring a reading fee. I absolutely suck as an agent. I cannot make as much money off of my sales of books for my clients as I can by ripping off naive writers who don't know that my job as an agent should be to sell books and make money for my clients, and that my search for new clients should be part of my cost for doing business, just as the writer's investment of time, talent, office supplies and postage is part of his. Furthermore, I have the ethics of the scum you scrape off the underside of a dead tree, and I've found that P.T. Barnum was right There is a sucker born every minute. I'm out to milk my share of them. Because a good agent doesn't just sell your manuscript to your publisher. He also negotiates your contract to remove harmless-sounding but deadly clauses gets you more money for your work than you could ever hope to get for yourself tells you when it's time to move on to greener pastures sells subrights to...
What's not on the Web--at least not for free--are most of the comprehensive reference works you'd find in a library reference room and nonfiction collection. Why It costs publishers a lot of money to put together that information and they're in business to sell it--they have nothing else to sell. They're not in the same position as an investment company who can author and publish some free information about investing techniques and then make money by selling you a mutual fund. These book publishers are in the business of selling the information they write or compile and they're not about to give it away by posting it on the Web. The exceptions to this are some dictionaries, almanacs and other singlevolume reference works that are easily digitized and where sales of the print product are not seen as threatened by the Web.
More and more magazines and newspapers are providing excerpts from their current and past issues online
And some magazines provide additional content related to the current issue which isn't in the print version. (Clever--when you buy the print version and find out there's more at the Web site, you have to go there, and then you get zapped with the advertising banners ) Ok, there's a pattern here. The commercial sites will post information that they think will enhance their online or real world business, build their public relations goodwill, or will draw people to the Web site where they can either make money from advertising or deliver another sales pitch for a product. It's usually pretty interesting stuff, because it's meant to be, and some of it can be useful to a researcher.
This can be tough once you're well into the project, when it stops being one big hoot and starts feeling like real work. So give some thought to the question while you're still having lots of fun. Was your goal just to do a fun story with your friend Was it to get both of you published Was it to make both of you financially independent (Good luck if that's the case - collaborations are not usually the golden road to
At the very worst, I think I owed my publisher seven books. They were contracted. I'd already been paid my portion of the advance, and had spent the money to live on. I couldn't afford to buy my way out of those contracts. I was writing for poverty money, and I couldn't move to another house that might pay me better because I was obligated to my current publisher, and I couldn't live on what I was making, and no more money would come in until I finished the contracted books.
If this is the first book you've ever written, give yourself a little slack. Nice as it is to imagine that you're going to get a million-dollar advance, a movie deal from steven spielberg, and foreign sales in every language known to humankind, the odds are against this happening. First advances generally float in the 2,000- 5,000 dollar range, and most first novels sink without so much as leaving an oil slick on the water to mark their passing.
This kind of story includes those plots dealing with the journey of a wagon train across the continent, the construction of the railroad, telegraph line, toll road, stagecoach line, pony express route, or similar endeavour. Your hero may be the boss of the wagon train or of the construction company opposed by reactionaries, ranchers who want more money for the use of their land, Indians, and outlaws in equal numbers. Or he may be a local rancher, a small businessman whose property is being condemned or taken away from him without proper compensation in this case, the opponents would be those who want to force the construction ahead no matter who gets hurt. A warning This second type of hero must have a
Real publishers pay writers an advance. It may not be much of an advance, or it may be more money than you would know what to do with (though I'm sure you would think of something) but they pay. They pay because they believe in your book, and they believe they can sell it and make a profit from it, and they are willing to invest in a product they believe in. They will also pay royalties against the advance, and they will pay extra for subsidiary rights, or else you will hang on to those rights to resell later. The second time you might want to consider vanity presses is if you want to put together a nice little book that you can give away to your family and friends, and you have the money to spend, and you are under no delusions that what you are doing is in any way related to being published, and you realize that vanity publication is, in the world of publishing, worse than having no publication history at all. If you really want to have a book with your name on it, and you have no...
As anyone who reads a newspaper already knows, human beings are capable of anything. Something motivates those people who collect Victorian underwear, leave eight million dollars to their cat, commit axe murders, risk their lives for strangers, or tap-dance the length of California. Injournalism, it's sufficient to let the subject himself answer the question, Why did you do it Making the action itself credible isn't an issue it happened. In
If a writer has no vision of his or her work, if all the writer wants is to publish and make money, the work will lack depth. It will be mere entertainment without the power to move the reader profoundly. There can be little lasting satisfaction to creating such hack work.
People write for different reasons - they have different goals in mind. And i can't say that the writer who has made 'make a million dollars per book' his primary goal has anything to be ashamed of, or that the one who wants to touch the lives of each of his readers and leave them with something more when they finish the book than they had when they started should be nominated for sainthood. Personally, I wouldn't mind doing both, and i'm neither saint nor villain. i do know that the thing that keeps me happy as I write is not the hope of a big payoff but the hope that somehow I will someday manage to reach inside the hearts of my readers, as Ted Sturgeon reached inside of my heart, and twist. And that those readers will say, as I said, 'Oh. I understand more now. I'm more complete now. And I want to give back.'
You have to remember who it is you're talking to here. I am one of very, very few writers who makes a full-time living from my writing and who doesn't do anything else on the side. So there are people who are going to insist that this fact alone puts me in the camp of the commercial hacks. I think that attitude is stupid, but it is pervasive, and if you want to make money for your writing, you'd better come to grips with the fact that if you do, there are plenty of people out there who will be more than happy to call you a whore.
4) DON'T tell the editor that you expect a ten million dollar advance and a hardcover printing of 250,000 copies and a book tour and a guest spot on Oprah. Don't say that you'll do this first book for nothing, either, if she'll just publish it, or that you'll wax her car or her legs or be her sex slave. Don't mention money at all - you don't know each other yet, and strangers do not talk about money. (Actually, you won't be discussing money at all, because you're going to be smart and get an agent. Agents talk about money.)
What did I do I kept my mouth shut and listened. And I realized that, ultimately, they were right. The book was going in the wrong direction. I spent three weeks, seven days a week, totally rewriting the manuscript and produced basically a new book. It sucked doing that. I didn't get paid any more money for doing it. But what were my options Scream and yell and rant and rave And then what And, getting back to admitting you're wrong, their way was better than the way I had been going.
You gotta have a good agent if you're going to write full time. No quibbles, no waffling, no 'maybe I'll jump first and get one later.' And when I say good agent, I mean one who loves your work, is enthusiastic about your career and your prospects, can see you doing more and bigger things than you're doing right now. Even if your spouse doesn't believe in you, your agent has to. I'm lucky. I have a spectacular agent, and he told me that if I wanted to keep selling I was going to have to write bigger books, and he beat me over the head until i figured out what he meant by bigger books, and he tirelessly read drafts and outlines until i came up with something that worked - and then he sold the project for more money than I'd ever made before. (I was a nurse, so we're not talking fortunes here, but the deal he got me was damned nice and was a show of faith in the project on the part of the editor and publisher who bought it, too.)
We will contract with an outside evaluator to provide an objective, unbiased assessment of the results of program activity. In 1997, the district won a technology innovation challenge grant for approximately a million dollars a year for five years. We contracted with an evaluator referred to us by the U.S. Department of Education. Both the department and our district have been pleased with the work of this evaluator. She has proved herself to be thorough and thoughtful, tough but fair, and consistently positive, working to resolve issues in the best interests of both the Department of Education and the district. We contracted with this evaluator for her input during the project development for this proposal.
Ness in less time than it takes to marinate a steak. Typical of the success stories is Dan Gray, a high school dropout from Cleveland, who went into business with an investment of 600 and five years later was grossing six million dollars in sales under the name of Daffy Dan T-Shirts.
This is a tough nut for most writers to swallow and if you aren't careful, can become a point of friction between you and your editor. If you editor says, The ending is too downbeat to do well in the American market we need to think about ways you can give it a more upbeat ending, for example, you can take one of two tacks. The first is to say, Look, I'm the writer, and this is the way I envisioned the story, and I don't care how the American market prefers upbeat endings. I claim artistic license, dammit I don't want to change so much as a comma, much less rethink the ending. This may get you some points among your peers as the Artist with Integrity and Vision, but your editor is going to be justified in labelling you a Pain-in-the-Ass Artiste, and at this point in your career, your buddies at the cafe And I do hate to sound like the Commercial Sell-Out from Hell here, but if you don't work to make your book as marketable as you can, you can kiss any hope of a full-time writing...
Next, you jot down a few notes on how the idea might be shaped into a story. Say the germinal idea is a character, a daffy blonde. That's all. Upon meeting the real life Daffy at a party, you are intrigued by her and want to work with her. You start asking what ifs. What if Daffy fell in love with a Trappist monk What if Daffy won a million dollars in a sweepstakes What if Daffy joined the army Soon you have a notion of what the core conflict might be. You write a few character sketches, flesh them out into biographies, and search for a premise, settling on something like, daffiness leads to bliss. Then comes the stepsheet. From the stepsheet, the novel is drafted. And now rewriting and polishing, the final agonies. If you do all this conscientiously you can write a dramatic novel, right Then you can sell it to a publisher and make a lot of money, right
Perhaps the comfort romance oilers accounts for the incredible market romance fiction enjoys. While arguably the most reviled of literary genres, romance is without doubt the most lucrative. Romance novels generate billions of dollars worth of sales each year. Romance novels are certainly undervalued by the literary mainstream.
It's essential that you remember that the publishing business is exactly that A business. Too many writers approach it from an idealistic perspective. The dollar is the bottom line for the publisher. If they don't see how they can make money off your submission no matter what its literary qualities then they won't be interested.
How to Make Your Advertising Make Money. Engle-wood Cliffs, NJ Prentice-Hall, 1983. Considine, Ray, and Murray Raphel. The Great Brain Robbery A Collection of Proven Ideas to Make Money and Change Your Life. Altadena, CA Great Brain Robbery, 1980. Hatch, Denison. Million Dollar Mailings. Washington, DC Libey Publishing, 1992. Million Dollar Mailings His latest books include There's a Customer Born Every Minute, Meet and Grow Rich, The Greatest Money-Making Secret in History, Adventures Within, and The E-Code. His next book will be Buying Trances.
Today in the entertainment industry, writers are more concerned with their screenplay being a good read more than they were in the past. This means the rules aren't quite as rigid and much of their exposition is more personal. In fact, in a recent screenplay that was bought for over a million dollars, the writer refers to a love scene as being so hot that it would shock my mother.
Put aside more money than you could possibly need before you leave. Figure out what it takes you to survive for a year, and add about ten to fifteen percent for things that go boom. Things always go boom, and they do it with a real passion when you don't have a regular paycheck.
Eighty-five percent of the people realized there is a serious sewage problem in Burlington. Sixty-five percent realized Burlington's drinking water comes from Lake Champlain. Seventy percent knew that the beaches closed because of the sewage problem. Forty percent blamed the sewage problem on the city, forty percent blamed it on the treatment plant, ten percent did not think there was a problem, and ten percent did not answer. Only thirty percent of the people bought water because of the problem. A surprising sixty-five percent said it is worth the estimated fifty-two million dollars to fix the problem.
I hadn't made a million dollars, and everyone told me the sale was nice but if no money exchanged hands, well writing was really a waste of my time, wasn't it From their perspective, it wasn't even a very good hobby, because at least with crocheting, you got a nice afghan for all the time you invested.
I now own that office building on the corner. Say, do ya wanna buy it How much asked the first. Seeing you're an old friend, ninety million dollars. It's a deal. Lend me your pen. Here's your check. Goodbye. A third man, overhearing the exchange, asked the buyer What was all that nonsense about You know he doesn't own his own apartment let alone an office building. And he knows that you don't have millions of dollars. What do you get out of this
Brains 4 Business
The study of what it takes to be a successful entrepreneur is fascinating because to be successful requires so many qualities that at times even seem to be at odds with each other. This is a collection of 3 great guides.