Yesterday, I started an answer to a question about why writing teachers counsel fiction writers to not expect to quit their day jobs when they get published. I covered how an author gets paid by the publisher–both how advances work and how royalties work. You can read that post here.
Today, I’m explaining how many fiction writers handle these very discouraging facts in their attempts to make a living at writing fiction. It’s not a very positive scenario–I’ll be the first to admit it. But fiction writers need to know what reality is before they get into the middle of it.
Here is the conclusion of my 2-part post on earning money by writing fiction:
So how does this all affect your ability to earn a living writing fiction? If you are a debut or mid-list author, you can’t budget based on royalties. Many, many mid-list books never earn out the advance. So you have to expect that the advance (minus your agent’s share) is all the money you’ll see for that book.
You also have to account for the spacing of the advance payments. You could sign a contract late in 2010, turn in revisions in 2011, and the book might come out in 2012. There is no feasible way you can earn a living with spaced payments like that unless the advance was close to 6 figures or more.
There are a couple of ways authors deal with this. First, they often pitch multiple books for a single contract. This means they get a bigger advance–because it covers all the novels the publisher is buying. If—for example—you sign a 3-book contract, you might get a third of the ENTIRE amount on signing the contract, and then get one-third of one-third of the advance when you turn in the first book, another one-third of one-third when that book is released, and then so on for the remaining two books. This can help an author a lot, especially if the books are released fairly close together. But when it comes to royalties, you usually will not earn royalties on any of the books until the ENTIRE advance for all three is earned out–even if the first book earns out its share of the advance. Also, this locks you into a long-term relationship with your publisher, in an industry where things change overnight, so sometimes it becomes a risk for the author (which could be a whole post in itself, so I won’t go into more details right now).
Another way authors deal with this is by trying to write more novels and have them released more often. Some authors do this better than others. Did you ever have a favorite author whose first book is amazing, but whose subsequent works seem to be getting worse and less original? Chances are, the author is writing more quickly than they really should, and their quality of work suffers for it. The risk of burnout is very high when you load up on deadlines. But the only other option is to not earn enough money to pay the bills.
This is all very discouraging, I realize. But I think it’s better for fiction writers to pursue publication with their eyes wide open. This is why Randy and other writing teachers warn you not to count on quitting your day job for quite awhile. The mid-listers who eventually can support themselves by writing fiction do so after they have several books that stay in print, earn out advances, and when they develop a loyal following of readers. If they can accumulate royalties on many books, then they have a chance at making a living at it. But until then, it’s nearly impossible without getting a break-out book that sells well.
It’s possible that as digital books become more popular, some of this might change. It could change a LOT. But I think that there will always be a sizable period of time for most fiction writers in which they cannot support themselves with their published novels. Hopefully, we will find innovative ways to improve the scenario, but at this point, that’s the cold reality.
So, Alexandra, all this is why it would be wisest to plan for a back-up source of income as you are building your writing career.
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Earn Money By Writing Fiction? Part 2 by Fiction Workbench, unless otherwise expressly stated, is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License.