WHAT IS IP IN PUBLISHING? Book Packagers, Licensed Content, Ghostwriting & more



hello everyone Alexa done here and today we are going to be taking a deep dive into IP slash packaged books slash ghost rating slash license content this is a huge topic that I'm covering because I have seen a lot of confusion about it and admittedly I was kind of confused about it until I learned more I've seen especially some misinformation about what this is and what it means here on youtube so I'm going to illuminate this mysterious area of publishing so essentially IP means intellectual property and IP in publishing you know used as a shorthand is when a writer is hired to write someone else's idea so the intellectual property the IP doesn't belong to the author it belongs to the publisher or to a book packager or to another party I'm going to be defining more of what each of these things means and all the different ways in which an author can essentially write for hire and the nuances to each of them the pros and cons of each of them so you can consider them for your career as well as contrasting these things to ghost writing this is actually where I've seen confusion and misinformation I've seen people equate IP or packaged books with ghost writing and they are not the same usually so let's get right into it it's gonna be kind of a long video I'm gonna warn you ahead of time because as I was kind of developing my outline for this I'd kept growing it is three pages long because this is such a complex and interesting area of publishing so first of all just to let you know in many cases the books that you pick up to read those were not the original ideas of the authors the authors were hired to write them by third parties there are some very famous books that are IP some of them are going to be more obvious to use such as any of these Star Wars books that are coming out our Marvel books or so on the authors don't own that intellectual property they are hired by the company to write them for the publish or sometimes they're hired by the publisher the publisher owns the IP like Disney owns Marvel or its Disney Princesses they're also the big famous ones that are packaged books such as like Gossip Girl Pretty Little Liars those are both by alloy which we are going to talk about but I think that people even if they're aware of this don't realize how prevalent it is and specifically how being open to IP working on IP projects or with packagers can be vital and sustaining or even sometimes launching a writer's career I do encourage any person who's interested in being a career author to keep their mind open about their publishing options and working on some of these projects they come with pros and cons and some of those pros and cons might surprise you so IP has been out on the rise and kid lit I have noticed I've noticed that a lot of Disney Publishing's announced projects are IP they are books for their own properties that they own and they are hiring these authors I know some of the author's auditioning for are being hired for these projects I've also seen the rise of IP that you certainly don't know as IP so there's certain publishers who I know are coming up with the ideas and hiring writers and unless you know the authors in question you would never know that that book was IP unless you went looking for it they're all ways to tell and then I've also seen the rise of book packagers who almost keep it a secret that a book is a packaged book this is a phenomenon I've noticed with alloy titles usually alloy is super transparent about what their books are but there have been a few almost literary award-winning books that were actually packaged books and most people don't know that so this this is increasingly becoming a huge chunk of the publishing market why is this the case well Kittel it is saturated and publishing is a business that's always looking for you know a short thing and I hesitate to call that because nothing is a short thing but they're looking for a good bet and IP and our package books are often very good bets because either the publishers developing the IP themselves and so they get the majority of the profit on the thing and they have developed an IP because they think it's going to work very well in the market or they work with a packager who specializes in creating hits and so there's less risk in working with a book packager because they're essentially buying something that has higher odds of being a huge success another reason there's been a rise in packagers is that there are now packagers who are really really attune to an great at finding fresh new diverse voices and coming up with culturally specific and authentic book ideas and publishers are looking to publish more of those stories and so these packages packages are offering really good opportunities they're bringing to the table great book ideas and excellent writers the publishers might have otherwise found themselves so let's dive right in starting with IP or what you're going to hear referred to as IP even though IP can also refer to all of this confusing right so for the purposes of this conversation we're going to talk about IP as when a publisher comes up with an idea in house and then hires a writer to write it this is less common than some of the other things we're going to talk about but it is picking up in popularity as I mentioned some publishers that I know are doing a lot of this include Simon & Schuster and Scholastic in this case the editor / the publisher comes up with a pitch an idea a book that they would like to publish then they reach out to agents and ask if they have any authors who would like to audition for the part essentially audition for the job part of the writers audition is to develop the idea or the pitch and make it their own so there's definitely a bit of collaboration involved and the writer is able to bring a lot of themselves to the book story / project they would develop the outline and turn in sample chapters if the reader is hired the is paid a traditional book advance they're paid in advance just like they would otherwise generally though that advance is going to be smaller because this is an IP project but you're still getting paid sometimes in this case the writer is going to get the copyright and in some cases the publisher is going to get the copyright on the book I looked up a few examples that I knew where IP and I saw examples of both so some notable examples of IP when diplomat Rishi from Simon and Schuster this is a great example where an editor had an idea they hired a great writer who made the idea their own Sandhya Menon Sandhya has the copyright because it's essentially her idea but Sandhya is very open about the process of how the book came about and that it was her editor who initially said I want a book like this and then Sandhya auditioned for it and then I have several examples from Scholastic the thing is I don't know if I'm supposed to talk about them and this becomes kind of the hitch of IP sometimes it's meant to kind of be a secret it's not meant to be public that the publisher came up with the idea and then hired writers ultimately it doesn't really matter to the readers either way you're getting great book that was for the most part developed by the author so when diplomat Rishi's really the best example I have that I feel that I can share but just know it's glass stick has a bunch because I know the people who are hired to write them so publishing so what are the pros and cons of IP being hired directly by a publisher to write a book so pro so the pro is obviously a guaranteed book deal if you're hired to write the book hey you got a book deal this works well for a lot of debuts they do an IP project and it's a great way to break out on their first book also I mentioned as a pro it is a little bit more collaborative the publisher tends not to be like this is the book you must write they have an idea for a book and part of auditioning and hiring a specific writer to write it is they want that writer to develop it as their own so it's still your book it just wasn't your idea initially and your editor does have a higher level of input than they would normally because I mean you're essentially writing the book after it's sold so you're writing it on spec so the cons you are generally paid less as I mentioned but if your book blows up then you have leverage for subsequent work with that publisher so pros and cons and then the other con is well it wasn't really your idea some of us are very precious about kind of our own ideas and our own intellectual properties so if that's going to bother you it might not be the best fit in general none of this might be the best fit if that is something that bugs you if you really only want to go up and write your own ideas and then you can kind of lump it in under Khan or potentially under Pro and that is the secrecy there is a bit more secrecy around IP that the publisher develops that isn't obviously IP because it's not brand developed IP which we are going to talk about in a separate section and you know that could either rub you the right way or the wrong way people might not even know that it wasn't originally your idea so that could turn a con into a pro so I do think the secrecy is worth considering oh and something else I should mention in pro and this is the case for a lot of these categories under IP packaged books a huge pro can be well it's the jump starting a debut career as I mentioned but also IP can be a really good option for an author who has already debuted who has maybe had a few books who has struggled to sell subsequent work it can be a really great career we jump start it can like shock new life into your career it's writing for money it's work so IP can be really really great for a mid-career author next is book packagers and this is a whole other category because these are third-party businesses these are standalone businesses whose sole function is to come up with big book and multimedia ideas most packagers it's not just that they're developing books they're developing books that can be turned into movies and TV shows they're developing highly commercial media properties so the biggest packager that you're definitely going to know that i already mentioned is alloy entertainment they're behind some of those properties I already mentioned such as Gossip Girl Pretty Little Liars they also did the hundred and so many more other ones that you should know hourglass town entertainment this is a packager run by Lauren Oliver and LexA Hillier as well as kake literary which is run by Sona Tyra patre and Daniel Clayton kick is one of the ones that I mentioned that has to become a fantastic incubator for culturally specific and authentic middle-grade and why a books written by own voices writers it's been so great to see Danielle and Sona develop fresh new talent for the industry cake is definitely one to watch so how does it work with a packager so the package er packages and delivers a book to a publisher they come up with the idea they come up with most of the outline there's less creative freedom when you're working with a packager so it does vary by packager some give the author more creative freedom than others they come up with this idea and then they audition a bunch of writers for that idea typically you're going to have more competition when you're going up for a package book deal versus IP publishers tend to only approach a few writers whereas packagers are going to look at a broader spectrum of writer they want to find the ideal perfect writer for the project and packagers essentially have their pick because they control the whole thing that is the thing if you work with a packager you become a part of a product you are part of what they are delivering to publishers so if you get hired you will work on fleshing out the outline with them they're not you know asking you to like chain yourself to a typewriter and write exactly what they want there is some collaboration that does go on with a package as I mentioned some more collaboration with some than others and then you would write sample chapters and the packager usually with an in-house agent connection or their own connections will submit the book for you to publisher so you can work with a packager even if you don't have your own literary agent I do recommend you have a literary agent if you are going to get into the packaged book business though not everyone shares those feelings a lot of the writers who work with alloy for example don't have agents they just work directly with alloy so just kind of bear that in mind we'll talk about this a bit more under pros and cons so they spent your book if it sells then you have to write the whole book I can share just from some of my knowledge and experiences with alloy glass town and cake some variations so alloy obviously being the big guy on the block who's been doing this for decades they have an idea they audition a ton of writers then they fly you to New York you develop the outline with them but it's definitely an alloy book you have your own editor that you work with and you basically work with them as an editor and then you sell the book and you work with that editor you end up having to editors anytime you work with a book packager glass town and cake are a little bit more holistic I do know this because I have personal connections to both of those packagers in those cases they're going more for nurturing talent and coming up with book packages that work really well for those talents and then they go on submission with them to publishers so you can audition for glass town and for cake not on a necessarily project basis you can just send them your material so that you can be considered for future work and sometimes if they really like your sample and they like who you are they will specifically develop a project with you in mind I can also confirm glass tenant cake both have literary agents who submit their work and do all of their you know kind of literary contracting agency stuff and then alloy submits everything on their own because they're very experienced at this they don't have they don't use the literary agent specifically they're how LOI so as I mentioned she's really like working with book packagers because they're basically delivering very often a sure thing packagers often are making these book deals for six figures like these are big deals and you'll hear about a lot of them they're high-concept splashy hooks and those books very often end up being bestsellers not always but often so the packager can be a great way to get you a great book deal that's gonna get you a lot of buzz you'll get a lot of marketing support if it was a big deal but they're not going to protect you in the same way that an agent does you're working together on the book and you have the shared interest of the book but this is honestly why I do recommend having an agent even if you're working with packager because you want an agent to protect your interests with the publisher that's just like a piece of advice from me and it can go both ways you can have an agent and audition for a packager or you cannot have an agent audition for a packager get a package deal and then get an agent there are lots of different ways to do it and honestly I've noticed increasingly agents and authors who are working with packagers either to jump start a debut career or to kind of revive kind of a mid-career just the same as with IP working with a packager can be a great shot in the arm to your career now let's talk about money so so you are essentially paid by the packager not the publisher because the packager is the one selling the book some packagers do flat rates which is very similar to work for hire if you're doing a different kind of IP licensed IP which you're getting to in a minute or ghostwriting but some do scale they'll give you a percentage of the sale scale percentage is in a Raiders best interest better than flat because what if you're paid flat and then they sell it for a butt ton of money you kind of get screwed over which is again why I think you should have an agent if you're working with packager because they can negotiate in your best interest but then you're splitting the percentage with your agent so these are all things you have to bear in mind when you're going into packaging as a a business decision I can tell you anecdotally that I have heard that 30% kind of a base percentage that you should expect from a packager obviously if you have a good agent or you have personal leverage from your own career you're gonna want to negotiate that up but that is my personal advice to you I think percentage is better than flat and it's good to have a representative so that you can negotiate for that percentage percentage is also good because if the book blows up you should get a percentage of royalties the thing with packaging is you want to protect yourself as the writer there are definitely situations where the writer can be taken advantage of so just get as much information as you can do your research and don't sign a bad contract because you're desperate to publish so what are the pros of working with a packager so first of all they usually do huge book deals alloy for example always goes for major deals which is half a million dollars or more that is what they specialize and it's their bread and butter huge big book deals also very often these packaged books do end up being bestsellers you're not only getting marketing support and buzz from your publisher but the packager will often do their own work alloys specifically tries to get film and TV deals for all of its projects so like with the hundred that started as a book simultaneous to a TV deal and well you see what happened there working with the package are as I said can be a great way to get your foot in the door as it eq or to revive a career if you're more mid-career especially if you had a lackluster debut going with a packager for your next book can completely turn your career around because it is in the Packers best interest to push your book and to push your publisher to push your book in marketing so what are the cons well first of all you're working for someone else you are work for hire it's not your idea you have some input but ultimately the packager has final say of what you're doing but then so does your editor when you sell it to the publisher there are a lot more cooks in the kitchen when you're working with a book packager but i will throw in a belated pro if you like working off of other people's ideas and brainstorming with other people and collaborative writing expert you might really enjoy this process packagers are basically story experts they're there to support you and help you write the best book possible the next con is that you don't own the IP packagers own the copyright for these books they also get the lion's share of everything so if these things blow up like as a movie or TV they get most of everything now the thing is a percentage of something huge can be a lot so you're definitely taking that gamble of well what if it's a breakup bestseller with a hugely successful TV show you can do pretty well on that so you always have to kind of measure the pros and cons there another con of course is that it's very competitive especially at alloy you might be auditioning against 30 other writers so it's a con in the sense that you can put in work on an audition and end up not getting it you can be disappointed it can be a process to get your foot in the door of packagers and I'll tell you anecdotally a lot of the people who end up writing for alloy and breaking out with alloy where they're editors at alley or otherwise work in the publishing business that's simply something I've noticed it's not that easy to get your foot in the door with alloy and then the last con is about that flat vs. scale if you're paid a flat fee and then they sell your book for half a million dollars Wow you kind of get screwed over so that's definitely a kind that you're kind of taking that gamble in terms of negotiating the pay another con of packaged books is you usually have to turn around the drafts really fast once they sell you need to write the book in three to four months in some cases this is gonna vary by packager but be aware that because you are being sold on proposal that once it sells you're going to have to turn around a book on a pretty tight timeline so this doesn't always work for all writers if you're not a particularly fast writer working with packagers who might not be the best fit now just some quick examples of packaged books so I already mentioned some of the big alloy ones but also everything everything was an ally book as was if I was your girl and they recently released Pride so you'd be surprised what books are packaged and in a lot of these cases you tell that the author had a lot of influence on the book so it's not always the case we're like you don't have control packaged writing can really be a collaborative process and a great way to break out your career I mean everything everything huge right and then examples from glass town ever lists which came out earlier this year was a best-seller that is a glass town book and they have a bunch of announced books that'll be coming out over the next couple of years that are very exciting as well I paid 10 to to deal announcements they have some really juicy fantasies coming out then cake literary cake literary did the gauntlet by coronary Ozzie a really successful middle grade that came out last year Tristan strong punches the hole through the sky which is a Rick Rhoden presents book by Kwame timbale uh really excited about that one and many more kinks sweet spot so far is definitely middle grade but they are expanding more into why a as well who next is licensed content which also sometimes it's referred to by the shorthand IP but is like a separate part of IP because publishing is confusing so licensed content this is IP that is owned by major brands and so the brand has developed the book projects and then hire writers to write them these are the ones that are gonna be pretty familiar to you so the DC books like the Wonder Woman book that Leigh bardugo wrote the Catwoman book by Sarah J masked the Batman book by Marie Lu any Marvel tie-ins that you're seeing published by Disney Disney Princess books published by Disney and then all of these Star Wars books they've been doing a ton of those these are all licensed content slash IP now anecdotally offhand it's almost like you're being paid to write fanfiction cuz you're essentially writing books that exist within the worlds of these media properties and the brand owners are pretty specific about what they want from these books and what you are allowed to and not allow to write so in this category you're going to have the least creative freedom usually but the payoffs can be really really good licensed content deals can be lucrative and career changing but they're also more creatively rigid they're also the hardest to get so you definitely need to have an agent to be considered for this much like IP where publisher approaches agents it's the same thing with licensed content the brand owners are going to approach key literary agents or even sometimes talk to the publisher and see who they recommend and they're going to recommend authors these are going to be established authors this isn't a case where you're necessarily going to get your foot in the door as a debut the licensed content ones are looking for proven track-record as an author now what they want from them varies sometimes they want you to already be established and pretty big other times they want you to just have a niche fanbase and respect in what you write it totally differs and I should say they're not gonna hire a debut to write Star Wars Marvel and so on but Disney Princesses are different like Disney publishing properties this is so confusing but you do need an agent to go up for these jobs now when you're auditioning you're not fleshing out the idea and creating the outline like you would with some of these other options you're writing to spec they're telling you what they want and you would audition with sample chapters then if you're chosen you have to write the book on a pretty tight deadline I've heard of deadlines of like eight weeks to turn around one of these licensed content books so be aware this is really four leveled up writers who have a pretty firm grasp on writing quickly and writing well to spec now admittedly I know the least about licensed content in terms of money and how that kind of stuff works because I don't have as many personal connections who have worked on licensed content but I'm pretty sure from what I've heard that you get flat fee you are a writer for hire flat fee is more common with writer for hire so unlike with packaged books where it's like oh I got a low flat fee and then they sold it for a ton of money I feel screwed over you don't get have those feelings with licensed content because with license contact you usually feel so lucky to be able to write for them that you take whatever they'll pay you and then they go off and do their own thing which brings me to the one of the huge pros is that you can become a breakout best seller because Star Wars books are almost always bestsellers the DC why a books were all bestsellers now they were written by bestsellers so that's the case where it's kind of chicken and egg but same thing you know with some of the Disney books the publishers and brands have a vested interest in making these books huge sellers but also they have built-in fandoms so the built-in fandoms will buy the books so that can be a huge Pro you can be a best-selling author the content owners and brands also put major push behind them they might send you on a book tour to major fan conventions you just get to do some really cool stuff when you work on licensed content and if it's IP that you love you're essentially being paid to write fanfiction and that's pretty cool writing licensed content can be a true dream come true for many many writers so I already mentioned you got to write these books really really fast you also have limited creative control because the brand's have certain ideas like the character must be portrayed in this way because it fits kind of brand we can't go against brand standards or oh you have to do the plot and the character development like this because it has to fit in with the Canon of the next movie so there's a lot more restriction when it comes to the actual creative process and what you are allowed to write another potential con is that I have heard from authors who have done these but even though they're bestsellers and huge with the IP it doesn't necessarily translate over to the rest of their book sales the general rule of thumb is that front less sells backlist but when you do license content but isn't necessarily true if you write a Star Wars book that doesn't mean they're going to pick up your wife fantasy is what I'm trying to say I've heard mixed reports on what this does for a career overall in terms of backlist and original work Oh which brings me to ghost riding which is really not IP it's really nothing like IP or package books or licensed content but I want to talk about it because I have noticed some serious misconceptions I've seen people conflate ghost writing with working with a packager or doing licensed content or doing IP with a publisher and the thing is they're different they're definitely different the biggest difference is when you're hired as a ghost writer it's in the title you're a ghost 95% of the time you're not gonna get credit you are being hired to write something so that someone else can take credit for your work most often your ghost writing for a celebrity this is a pretty common thing most of us are aware of it but I think I've seen a lot especially on YouTube and author to people talking about evil publishing the perils of publishing they'll bring up ghost writing and I'm like but that is such a rare thing most people don't go straight and so they don't have the case for as ojala takes credit for their book but sometimes with ghost writing you do get credit you'll get like us so-and-so with and then they'll put your name on the cover it totally depends on the project be person involved and how comfortable they are with sharing credits as well as kind of your chops as a ghost writer or who you work for as a ghost writer so if you want to do ghost writing we'll just jump into prose so a major Pro of ghost writing potentially as a career writer is you can be a career writer ghost writing is a way to pay the bills to write consistently to make money off of it and to stay in the business I know a couple of working ghost writers they've also published original works so to speak under their own name but ghost rating pays the bills they've written celebrity memoirs and self-help books and occasionally a novel for again usually like a reality TV person um it pays the bills especially if you are a fast commercial writer you write well to spec ghost writing give me a really great option usually paid flat fee because this is work for hire but you go in knowing that you're not expecting scale you're not expecting credit it's a job you do your job and you move on another Pro is these books might actually in many ways be easier to write because in many cases you're translating a story for another person you're writing the memoir of a celebrity there they're telling you stuff and you just make it sound pretty or it's some media darling who wants to right away book and they come up with half-baked ideas and you string it together and make it sound pretty good and the thing is your name's not gonna be on it so it's not like it has to be a masterpiece like ghost writing again it can be a great way to pay the bills and to be a working writer but cons you rarely get credited for your work sometimes you're gonna write books you're really not proud of but at least no one knows it was you so that's again a pro if you do get paid a flat fee and your name isn't on something and it does blow up that can be a huge bummer I do know someone who wrote a best-seller that was turned into a TV show and they get no credit for anything curses but that is the name of the game it can be faithless mind-numbing work but again it pays the bills but again I want to stress ghost writing is not the same as IP licensed content or packaged books in all of those cases in 99% of the case your name is gonna be on the book this is your book publicly there are cases where packagers do hire ghost writers this happens with establish series like things like Sweet Valley High we're definitely written by ghost ghost writers the baby-sitters club definitely written by ghost writers but that is kind of a whole other thing and it's less common now so overall pros and cons of IP licensed content working with a packager Pro number one is that IP rewards fast writers if you can turn out multiple books a year IP can work really really well for you you can get paid consistently for writing books fast IP is also potentially good for those of you who thrive off of collaborative storytelling brainstorming and writing to spec writing what other people are telling you to write if you write clean and fast you could have a great career another Pro it's a solid way to break into publishing as I mentioned a solid way to jumpstart a career that was kind of flagging now they're pro as I mentioned in a lot of these cases you might end up a bestseller it's definitely a gamble that you take but it's pretty good odds depending on the packager or the IP or the license content and finally it keeps you writing unemployed IP and licensed content and patches packaged books is really something to think about if you want to be a career writer so many of the authors that you know who stick around thrive do these projects you might not always know that they're doing these projects but this is how they get food on the table and they keep their careers going and then the cons again usually there's really fast turnaround you can get less money less glory there's also stigma on IP though I think the stigma is becoming less especially with some of these secret packaged projects but there's the stigma I'm like oh it's not your idea and sometimes people don't take you as seriously but are you laughing all the way to the bank that is the question and there's less creative freedom and as I mentioned in some cases you can get screwed over money-wise but I think the key is to be smart going in understand the mechanics of IP and have a good agent seriously having a good agent protects you on so many of these fronts even if it means you get less money because you are splitting earnings I think that your agent earns there 15% so is IP right for you I recommend it for authors who are fast who are flexible who aren't too precious about their own ideas who work really well collaboratively who are looking for a breakout moment whether as a debut or as a mid-career writer especially if you've been trying to debut and you've been struggling to get an agent or to get a book deal you've gone on submission with things I Pete can offer a really attractive opportunity and I know authors who are pursuing IP projects because of that very situation I also personally know authors who did have disappointing debuts and then they had a huge hit working with a packager and they're really really happy working with that packager and doing that work it just works for some writers generally I just want to share that IP might not be right for you now but it doesn't mean it won't always be right for you I think that as writers we should be really open-minded about our career trajectory and our options IPA is definitely something I would consider in the long term though my biggest hang-up personally is that I'm not very fast writer so for me I'd have to overcome that obstacle personally but a lot about IP is attractive I love the collaborative storytelling it's really attractive the potential to break out and honestly I just love some of the ideas that publishers and packagers come up with and if the right you know brand came along and being paid to write fanfiction sounds really great so that is your download on IP what is it when you hear it phone around what does IP mean what our book packagers etc and so on oh I am exhausted after talking about all that this was a very complex topic there's even more to talk about there's certain nuances I mean working with a packager alone is so different from working in licensed content which is very different from working direct with a publisher but I hope that I was able to provide kind of a top-line view of what each one is and some of the pros and cons of the different types let me know down below in the comments if you have any questions this is a huge topic and I could have talked even longer about it but I'm gonna stop now give this video a thumbs up if you liked it and I will make more deep dives into the publishing industry as always guys thank you so much for watching and happy writing

30 thoughts on “WHAT IS IP IN PUBLISHING? Book Packagers, Licensed Content, Ghostwriting & more

  1. An IP con I have heard of is if you're hired to write novelisations of something from a different medium, it being impossible to keep up with the original series or in the case of the original pre-Disney Star Wars novels successfully anticipate future instalments and spin-offs no one could have anticipated that could contradict the book they were writing at the time.

    One great and probably a lot obscure example to those outside the original IP's most dedicated fan base was a series of novels based on the early installments to a video game series called Resident Evil. The author on top of producing novelisations of the first two games had also written two original stories, one that took place between the two games and another following the second game. But the author could not have kept writing such novels and stay up to date with future sequels in development.

    Like in book all of the remaining original cast of characters leave for Europe right before the ficitional city it takes place in is overrun by zombies and the events of the game it was based off kicks off. Two books later and the first one to come with a disclaimer were the author made it clear she knew the inconsistencies that could not be avoided with games still being made she had no involvement in (and soon other novelisations of the movies based on those games). Resulting in one of those said characters suddenly now changed their mind and stayed behind to investigate further. Or having to hastily create a scenario where a character who in her books had stuck around after fleeing the zombie invested city (which she had not in the games but went of on her on mission if you will) still got arrested under the same/ similar circumstances in the game that book was based on.

    So that is a funny business on that front I guess.

    Also a con for ghostwriters I can think of was from reading what was technically a licensed IP book, but it was a ghost writer hired to write the until then non exisistent novel within a TV series written by the fictional title character, who is still the only one to receive any credit for it. Shame because I what to know, if anything, what else that author had written.

    It was called God Hates Us All with the ghost writer credited as Hank Moody the title character from the long since ended Showtime series Californication.

    There are a few others that come to mind but in those cases they were tie-in books probably written by the producers of the show and where as things like:
    – Bad self-help books (It's Always Sunny in Philadelphia)
    – Guides to living in the fictional town or city where it is based, sometimes even once non existent books featured in the show (The Simpsons, Parks and Recreation)
    – A secret agents guide to being a secret agent (Archer) or any main characters guide to life (The Simpsons again)

  2. So… what did we learn today? As I am slow, English isn't my mother tongue and where I live there's not known the place for a ghost writer and I think all the rest just don't exist… Maybe in next life. I still won't be surprised if my book will only get on watpadd (optimistic, right?)

  3. I'm a bit late, but how do you get started with looking for jobs like these? If i wanted to audition for an IP for example, where would I begin to look? Do I need an agent who can connect me? How would I get an agent if I have nothing published/not actively working with an agent on a project? Thanks!

  4. that sultry eye look is luscious and i plan to try it myself–i own a shadow called bronze by mac and i'll bet it is similar although the glossy look your own has seems a little more difficult to achieve… your mind is pretty shiny, too, ms. alexa: admirable.

  5. My whole working career was in book publishing—I’m now a full time freelancer focusing primarily on nonfiction—and your summary is brilliant. As you mentioned, it’s an incredibly complex topic, but you managed to boil it down to the essentials very well.

  6. Alexa, thanks so much for posting this! I knew a little about IP and packaging but you gave a comprehensive overview which helped me understand so much more! I’ve been paying the bills as a ghostwriter for 3 years now and wanted to add that there’s a huge market for them in self publishing too. They do well on Amazon best selling charts by churning out the books their readers want. As I head into the new year I’m interested in getting an agent for my own books as well as IP or packaged opportunities. Do most agents do this or is that something I’d have to research before querying? I’ve done well ghostwriting and it’s steady income between book releases and didn’t know if you had information on that. Again, another great video and thanks for taking the time to share your knowledge!

  7. Honestly, the moment you mentioned them thinking of ideas for diverse books, my first thought was "When Dimple Met Rishi" I have no idea how I guessed it, but I'm slightly impressed with myself. Nice video! This was really interesting.

  8. Wow, this video was so informative. I wish the Brazilian publishing industry worked the same way. It would be amazing to have all these options to work with. I thrive in colaborative works, but they don't seem to be a thing here.

  9. Amazing and interesting new info, as always! haha 😀 I have a (few) questions, If I am not a publised author, is it harder' How do you recomend to approach it?

    Also, it would be amazing if you made a video all about how to audition for these kinds of contracts!

  10. If I remember correctly the Roswell books were an IP that got turned into a TV show while the books were still in development (hence the deviations) I believe the author was established but not breaking records, though I'm going by memory so I may be wrong.

  11. holy shit, that story about someone ghostwriting a book and having it turned into a tv show is sooo messed up, poor author!!!

  12. How do publishers and authors balance between what is popular (like how vampires use to be popular) and what is a new idea that could become popular (Dragon shifters)?

  13. License author I can think of that I wouldn't mind doing is a spin off of Descendents Mallisa Da LA Cruz did this really well

  14. Thank you for making these videos! I especially love when you talk in depth about the publishing industry and how it works.

    How did you learn all you know about the publishing industry? Are there any specific websites and blogs about publishing that you read and recommend? And how do you keep up to date on publishing news and trends, especially within your genre? I would love to learn how writers can familiarize themselves with the industry before they jump into trying to get published.

  15. Hi Alexa, could you make a video explaining sub rights/foreign rights, selling vs. keeping them and what agents/publishers prefer? xx

  16. I heard a little bit about IP publishing & License Content writing from the TSR/Wizards of the Coast/D&D. This is one of the few that you can get in with your own original idea, but you have to be willing to play in the same 'sandbox'. You might be able to get in as a new author for license content if the brand is new to the publishing industry, but you still need an agent. I personally wouldn't mind working in such a collaborative project, I think it would a really fun experience (once you square away your financial rights). Plus, I think self-publish authors should agent up and get into these auditions. I think it would be a big boon for them, as well. This is a great video and I love how you organized it all–thank you!

  17. Thank you so much for these traditional publishing these videos. They're so helpful in de-mystifying the publishing industry

  18. Is one possible reason for secrecy that readers may pass on a book they feel was somehow more 'manufactured' in these packaged deals? The packages seem a lot more 'corporate' and, although a story is a story is a story, some people may feel that it's more 'fake'. So much current content consumed by young people now days is 'authentic' and 'real', as in YouTube, Twitter, Twitch, Instagram, etc., (and yes, it's debatable that these things are authentic). I'm just curious if that might cross the minds of the packagers.

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