Why I am an independent literary contract consultant
Most people who work in publishing start their careers the day after they graduate from college. I started mine in first grade.
Like many kids in 1962, I was home after school one day, watching TV. This particular day the children’s show host was reading The House on East 88th Street by Bernard Waber. It wasn’t long into the story of Lyle that I fell in love with books, and with all the storytelling of this award-winning author. Ultimately, my admiration for children’s books inspired a career in publishing and led me first to Little, Brown and Company, Inc. and then to Houghton Mifflin Company, where I wrote and negotiated literary contracts for hundreds of children’s book authors—including, to my great pleasure, Bernard Waber.
During my 30+ years at these traditional publishing houses, I drafted thousands of contracts for first-time authors, world-renowned authors, and every kind of author and illustrator in between. It was while working with these clients and in answering their questions about the industry’s long, legalese-filled documents that I started looking at the contract process through the eyes of authors and artists. It became clear to me that published authors who had literary agents representing them usually received the most advantageous contracts, whereas first-time authors and illustrators often missed out on contractual benefits and publishing protections because they had no one advocating for them.
Many times, I wanted to remove my publishing-house hat and draft a contract wholly for the benefit of the creative person who deserved it most. Now, as an independent consultant, I can do that.
What I can offer: contract tips and loophole fixes that traditional publishers won’t tell you about
The unique expertise I can offer you today is the direct result of my long career as a contract administrator in traditional publishing. Over decades of experience, I developed comprehensive knowledge of copyright law and Copyright Office regulations in addition to a thorough understanding of contractual territory and its application. The thousands of negotiations I conducted covered a wide variety of author and illustrator agreements and included arrangements with subsidiary rights publishers.
In addition to contract writing, I am well versed in the many kinds of auxiliary correspondence and paperwork from contract amendments to book advance payments.
Don’t sign your book contract “as is”—learn the fine print first
Like any other legal document, a literary contract has its own language and fine print. I can help you navigate and negotiate your contract toward securing the most advantageous publishing rights and highest income possible.
Call me today or read more about my consultation services here.
Hal Stewart, Literary Contract Consultant
617-887-1815
