As I’ve written before, having a blog of a sustained length over time that can dive back a decade with in situ thoughts and facts-of-mind on the record makes for a wonderful repository that allows a certain grabbing back into what we thought we knew then in order to compare it against the modern treachery of The Now.
Robert Frost won four Pulitzer Prizes for his poetry. He was an earthy icon and, in some eyes, an American shame, for the man could love only himself and not his children or his wife. I’m not sure if that’s a crime against himself, or his promises, but there is no denying the man was an original and he knew how to write and he knew what he was.
Marred by the mistake of genius, Robert Frost cared only for his poetry, and his legacy, and that’s why the new fascination with protecting Frost’s legacy on the page is so intriguing.
The bane of any hopeful professional author — one who writes for money to feed a family and a future fortunate — is the old “Work for Hire” kludge-as-cudgel and it is wielded against unwitting amateur authors, and even published, working, authors, by publishing houses as a “proper payment system” that is both fair to each side and an early warning windfall for the writer. Unfortunately, none of that is true.
Publishers love to force writers into Work for Hire contracts because the benefit is all on their side of the dyad, and while initial risks are shared, the goal of good fortune tomorrow is not.
I warned of this impending trend way back on September 7, 2007 in my article: “Work For Hire is a Bad Idea” –
If you get royalties you are in partnership with your publisher. If you are “Work For Hire” you’re used up when you’re done writing.
Publishers live to exploit that hungry author desire for fast money now — and in the process of the “Work For Hire” hiring — the author not only loses a potential profit bonanza, but also sells out their self-respect, self-worth, and fellow authors.