industries and professions

Excellent for writing Author/Publisher contracts from the perspective of the Publisher. Explains each clause in the sample contracts, gives many many variations, and helps protect the publisher from many events that (in my experience) other lawyers/books did not include in their contracts.

Highly recommended, probably the only book you need to check your lawyer's work or probably even write your own contract from scratch.

This is a useful book for any author who wants to understand the many important issues and details in a publishing contract. As a literary agent I want my clients to be as knowledgable as possible in all aspects of their careers. For those that are interested in understanding every contract clause and detail, I recommend Kirsch's book wholeheartedly.

Please understand, though, that this is an incredibly detailed, expert look at every clause in a publishing contract, which an agent negotiates on an author's behalf. If the nuances of legal language aren't of interest and you would rather just get an overview of key contract issues, I'd recommend Michael Larsen's "Literary Agents: What They Do, How They Do It, and How to Find and Work with the Right One for You" instead, or one of the other books on the business of publishing.

The best way I can think of to describe the value of Kirsch's Guide to the Book Contract is to quote from my own book Successful Nonfiction.

"The contract you receive from your publisher may be in two colors and printed on fancy paper but it is not chiseled in stone. Only new authors sign and return a publisher's first offer. You may make changes to the contract and return it-that is a "counter offer". The contract may go back and forth until someone "accepts it."

"I took a distressing telephone call from an author who had just received a contract from a large New York publisher. There were a total of 21 items in the contract she didn't like or didn't understand. After discussing some of them, I suggested she call her editor and have a discussion. Better communication was certainly required here.

She called back two days later, both astonished and delighted. When she asked about the first paragraph in question, the editor said, "that's okay; you can have it." She got what she wanted on the next paragraph in question too. On one other paragraph that concerned her, the editor said something like, "Well, that sounds like this but in the book trade it really means that; so it isn't a big issue."

The result: she got 19 out of the 21 things she asked for. So contract discussions do not mean pulling the wool over the eyes of your publisher. This was a win-win negotiation.

"Take the contract to a book attorney (not just any attorney, not a contract attorney and not a media attorney). When it comes to literary properties and money, you need professional help. And make a counter offer." Kirsch's book will help you understand the publisher's contract.

Jonathan Kirsch is a well-known book critic and book attorney in Los Angeles.

As the author of 113 books (including revisions and foreign-language editions) and over 500 magazine articles, I highly recommend this book to writers and publishers everywhere. DanPoynter@ParaPublishing.com.