Author - Revision history

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	== Other websites ==		== Other websites ==
	~~{{Source\|Wiki\|E-S}}~~
	* [http://www.garfield.library.upenn.edu/papers/pricenetworks1965.pdf Networks of scientific papers]		* [http://www.garfield.library.upenn.edu/papers/pricenetworks1965.pdf Networks of scientific papers]

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	[[Category:Writers\| ]]		[[Category:Writers\| ]]

			{{Source}}

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	== Other websites ==		== Other websites ==
	{{Source\|I\|S}}		{{Source\|Wiki\|E-S}}
	* [http://www.garfield.library.upenn.edu/papers/pricenetworks1965.pdf Networks of scientific papers]		* [http://www.garfield.library.upenn.edu/papers/pricenetworks1965.pdf Networks of scientific papers]

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	In some countries, authors also earn income from a government scheme such as the ELR (educational lending right) and PLR (public lending right) schemes in Australia. Under these schemes, authors are paid a fee for the number of copies of their books in educational and/or public libraries.		In some countries, authors also earn income from a government scheme such as the ELR (educational lending right) and PLR (public lending right) schemes in Australia. Under these schemes, authors are paid a fee for the number of copies of their books in educational and/or public libraries.

			These days, many authors supplement their income from book sales with public speaking engagements, school visits, residencies, grants, and teaching positions.

			[[Ghostwriter]]s, technical writers, and textbooks writers are typically paid in a different way: usually a set fee or a per word rate rather than on a percentage of sales.


	==Related pages==		==Related pages==

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	An author's book must earn the advance before any further royalties are paid. For example, if an author is paid a modest advance of $2000, and their royalty rate is 10% of a book priced at $20 – that is, $2 per book – the book will need to sell 1000 copies before any further payment will be made. Publishers typically withhold payment of a percentage of royalties earned against returns.		An author's book must earn the advance before any further royalties are paid. For example, if an author is paid a modest advance of $2000, and their royalty rate is 10% of a book priced at $20 – that is, $2 per book – the book will need to sell 1000 copies before any further payment will be made. Publishers typically withhold payment of a percentage of royalties earned against returns.

			In some countries, authors also earn income from a government scheme such as the ELR (educational lending right) and PLR (public lending right) schemes in Australia. Under these schemes, authors are paid a fee for the number of copies of their books in educational and/or public libraries.

	==Related pages==		==Related pages==

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	An author's contract may specify, for example, that they will earn 10% of the retail price of each book sold. Some contracts specify a scale of royalties payable (for example, where royalties start at 10% for the first 10,000 sales, but then increase to a higher percentage rate at higher sale thresholds).		An author's contract may specify, for example, that they will earn 10% of the retail price of each book sold. Some contracts specify a scale of royalties payable (for example, where royalties start at 10% for the first 10,000 sales, but then increase to a higher percentage rate at higher sale thresholds).

			An author's book must earn the advance before any further royalties are paid. For example, if an author is paid a modest advance of $2000, and their royalty rate is 10% of a book priced at $20 – that is, $2 per book – the book will need to sell 1000 copies before any further payment will be made. Publishers typically withhold payment of a percentage of royalties earned against returns.

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	== Compensation ==		== Compensation ==
	A standard contract for an author will usually include provision for payment in the form of an advance and royalties. An advance is a lump sum paid in advance of publication. An advance must be earned out before royalties are payable. An advance may be paid in two lump sums: the first payment on contract signing, and the second on delivery of the completed manuscript or on publication.		A standard contract for an author will usually include provision for payment in the form of an advance and royalties. An advance is a lump sum paid in advance of publication. An advance must be earned out before royalties are payable. An advance may be paid in two lump sums: the first payment on contract signing, and the second on delivery of the completed manuscript or on publication.

			An author's contract may specify, for example, that they will earn 10% of the retail price of each book sold. Some contracts specify a scale of royalties payable (for example, where royalties start at 10% for the first 10,000 sales, but then increase to a higher percentage rate at higher sale thresholds).

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Compensation

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	According to the studies of James Curran, the system of shared values among editors in Britain has generated a pressure among authors to write to fit the editors' expectations, removing the focus from the reader-audience and putting a strain on the relationship between authors and editors and on writing as a social act. Even the book review by the editors has more significance than the readership's reception.<ref>Curran, James. "Literary Editors, Social Networks and Cultural Tradition." Media Organizations in Society. James Curran, ed. London: Arnold, 2000, 230</ref>		According to the studies of James Curran, the system of shared values among editors in Britain has generated a pressure among authors to write to fit the editors' expectations, removing the focus from the reader-audience and putting a strain on the relationship between authors and editors and on writing as a social act. Even the book review by the editors has more significance than the readership's reception.<ref>Curran, James. "Literary Editors, Social Networks and Cultural Tradition." Media Organizations in Society. James Curran, ed. London: Arnold, 2000, 230</ref>

			== Compensation ==
			A standard contract for an author will usually include provision for payment in the form of an advance and royalties. An advance is a lump sum paid in advance of publication. An advance must be earned out before royalties are payable. An advance may be paid in two lump sums: the first payment on contract signing, and the second on delivery of the completed manuscript or on publication.

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	[[Pierre Bourdieu]]'s essay "The Field of Cultural Production" depicts the publishing industry as a "space of literary or artistic position-takings", also called the "field of struggles", which is defined by the tension and movement inherent among the various positions in the field.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 30.</ref> Bourdieu claims that the "field of position-takings [...] is not the product of coherence-seeking intention or objective consensus", meaning that an industry characterized by position-takings is not one of harmony and neutrality.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 34</ref> In particular for the writer, their authorship in their work makes their work part of their identity, and there is much at stake personally over the negotiation of authority over that identity. However, it is the editor who has "the power to impose the dominant definition of the writer and therefore to delimit the population of those entitled to take part in the struggle to define the writer".<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 42</ref> As "cultural investors," publishers rely on the editor position to identify a good investment in "cultural capital" which may grow to yield economic capital across all positions.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 68</ref>		[[Pierre Bourdieu]]'s essay "The Field of Cultural Production" depicts the publishing industry as a "space of literary or artistic position-takings", also called the "field of struggles", which is defined by the tension and movement inherent among the various positions in the field.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 30.</ref> Bourdieu claims that the "field of position-takings [...] is not the product of coherence-seeking intention or objective consensus", meaning that an industry characterized by position-takings is not one of harmony and neutrality.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 34</ref> In particular for the writer, their authorship in their work makes their work part of their identity, and there is much at stake personally over the negotiation of authority over that identity. However, it is the editor who has "the power to impose the dominant definition of the writer and therefore to delimit the population of those entitled to take part in the struggle to define the writer".<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 42</ref> As "cultural investors," publishers rely on the editor position to identify a good investment in "cultural capital" which may grow to yield economic capital across all positions.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 68</ref>

			According to the studies of James Curran, the system of shared values among editors in Britain has generated a pressure among authors to write to fit the editors' expectations, removing the focus from the reader-audience and putting a strain on the relationship between authors and editors and on writing as a social act. Even the book review by the editors has more significance than the readership's reception.<ref>Curran, James. "Literary Editors, Social Networks and Cultural Tradition." Media Organizations in Society. James Curran, ed. London: Arnold, 2000, 230</ref>

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	The relationship between the author and the [[Book editor\|editor]], often the author's only liaison to the publishing company, is often characterized as the site of tension. For the author to reach their audience, often through publication, the work usually must attract the attention of the editor. The idea of the author as the sole meaning-maker of necessity changes to include the influences of the editor and the publisher in order to engage the audience in writing as a social act. There are three principal areas covered by editors – Proofing (checking the Grammar and spelling, looking for typing errors), Story (potentially an area of deep angst for both author and publisher), and Layout (the setting of the final proof ready for publishing often requires minor text changes so a layout editor is required to ensure that these do not alter the sense of the text).		The relationship between the author and the [[Book editor\|editor]], often the author's only liaison to the publishing company, is often characterized as the site of tension. For the author to reach their audience, often through publication, the work usually must attract the attention of the editor. The idea of the author as the sole meaning-maker of necessity changes to include the influences of the editor and the publisher in order to engage the audience in writing as a social act. There are three principal areas covered by editors – Proofing (checking the Grammar and spelling, looking for typing errors), Story (potentially an area of deep angst for both author and publisher), and Layout (the setting of the final proof ready for publishing often requires minor text changes so a layout editor is required to ensure that these do not alter the sense of the text).

	[[Pierre Bourdieu]]'s essay "The Field of Cultural Production" depicts the publishing industry as a "space of literary or artistic position-takings", also called the "field of struggles", which is defined by the tension and movement inherent among the various positions in the field.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 30.</ref> Bourdieu claims that the "field of position-takings [...] is not the product of coherence-seeking intention or objective consensus", meaning that an industry characterized by position-takings is not one of harmony and neutrality.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 34</ref>		[[Pierre Bourdieu]]'s essay "The Field of Cultural Production" depicts the publishing industry as a "space of literary or artistic position-takings", also called the "field of struggles", which is defined by the tension and movement inherent among the various positions in the field.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 30.</ref> Bourdieu claims that the "field of position-takings [...] is not the product of coherence-seeking intention or objective consensus", meaning that an industry characterized by position-takings is not one of harmony and neutrality.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 34</ref> In particular for the writer, their authorship in their work makes their work part of their identity, and there is much at stake personally over the negotiation of authority over that identity. However, it is the editor who has "the power to impose the dominant definition of the writer and therefore to delimit the population of those entitled to take part in the struggle to define the writer".<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 42</ref> As "cultural investors," publishers rely on the editor position to identify a good investment in "cultural capital" which may grow to yield economic capital across all positions.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 68</ref>

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← Older revision		Revision as of 16:07, 11 April 2021
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	The relationship between the author and the [[Book editor\|editor]], often the author's only liaison to the publishing company, is often characterized as the site of tension. For the author to reach their audience, often through publication, the work usually must attract the attention of the editor. The idea of the author as the sole meaning-maker of necessity changes to include the influences of the editor and the publisher in order to engage the audience in writing as a social act. There are three principal areas covered by editors – Proofing (checking the Grammar and spelling, looking for typing errors), Story (potentially an area of deep angst for both author and publisher), and Layout (the setting of the final proof ready for publishing often requires minor text changes so a layout editor is required to ensure that these do not alter the sense of the text).		The relationship between the author and the [[Book editor\|editor]], often the author's only liaison to the publishing company, is often characterized as the site of tension. For the author to reach their audience, often through publication, the work usually must attract the attention of the editor. The idea of the author as the sole meaning-maker of necessity changes to include the influences of the editor and the publisher in order to engage the audience in writing as a social act. There are three principal areas covered by editors – Proofing (checking the Grammar and spelling, looking for typing errors), Story (potentially an area of deep angst for both author and publisher), and Layout (the setting of the final proof ready for publishing often requires minor text changes so a layout editor is required to ensure that these do not alter the sense of the text).

			[[Pierre Bourdieu]]'s essay "The Field of Cultural Production" depicts the publishing industry as a "space of literary or artistic position-takings", also called the "field of struggles", which is defined by the tension and movement inherent among the various positions in the field.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 30.</ref> Bourdieu claims that the "field of position-takings [...] is not the product of coherence-seeking intention or objective consensus", meaning that an industry characterized by position-takings is not one of harmony and neutrality.<ref>Bourdieu, Pierre. "The Field of Cultural Production, or: The Economic World Reversed." The Field of Cultural Production: Essays on Art and Literature. New York: Columbia University Press, 1993, 34</ref>