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est and real estate taxes and thus saving some tax. Woo hoo! Unfortunately, downsizing can have the opposite effect. Moving into a smaller, less expensive house can reduce itemized deductions. Be sure to take these items into account when determining how much to pay in.

For details on tax benefit of home ownership, see IRS Publication 530 Tax Information for Homeowners at http://www.irs.gov/pub/irs-pdf/p530.pdf. For details on the tax consequences of selling your home, see IRS Publication 523 Selling Your Home at http://www.irs.gov/pub/irs-pdf/p523.pdf.

6) Losing a job. While you may suffer financial setbacks if you or your spouse loses your job or if you have an unexpectedly bad year for royalties, the good news is that you may end up owing far less in taxes with the reduced income. If you expect your income to be significantly less during the year, you may want to check your withholding and estimated tax amounts to make sure you are not overpaying.


Diane Kelly is an attorney and the author of the humorous Death and Taxes romantic mystery series from St. Martin’s Press.

Ninc Conference

 

NINCThink Roundtable: How to
Work with Support Teams


BY PAT ROY

Industry Guests: Thubten Comerford (WePost Media), Nina Paules (eBook Prep, eBook Discovery), Lisa Stone Hardt (LSH Editorial Services), Kim Killian (Hot Damn Designs), Jen Talty (Cool Gus Publishing)
NINC Authors: Patricia McLinn, Vanessa Kelly

Q: As publishing teams expand beyond agents, editors, and publicists to include graphic designers, virtual assistants, social media consultants, freelance editors, formatters, etc., how do we avoid misunderstandings and mismatched expectations and promote effective working relationships?

Clear communication is the key. Professionals need to be upfront about what they can deliver and what it will cost. Authors need to convey what they want and need. This may take time to clarify as what a client wants is often not the same as what they say they want. Exit strategy discussed at the front end opens up creativity.

Authors seek support in areas in which they lack expertise, but may not share the vocabulary with the professional they hire. Communication can be eased by checking to see that key terms (such as copy editing and line editing) mean the same to both of you. It’s a process.

Review and reevaluate your goals and your relationship regularly. Know what you need at each step and evaluate what needs to change as you go along.

What works in the beginning may not work out over the long haul. You may need to readjust or may need to move on. The choice goes both ways. Don’t be afraid to come back and try again later from a position of more knowledge and experience.

It is essential to discuss money upfront, specifically what you can afford and what you can expect. Some prefer working with a contract, others like a more organic relationship in which the financial arrangements, timelines, deadlines, goals, and expectations are agreed on but not signed and sealed. Emails can be a legal trail. Hopefully, it won’t get to that. Some prefer pricing by project rather than billing by the hour to avoid unexpectedly high bills.

When hiring freelance professionals, always ask for references you can contact. Then do so. Ask about the relationships as well as the end results. What was it like working with them? What was their communication style? Ask about the negatives. What was a deal breaker for one author may be no big deal to another.

With freelance editors, find out what they read as well as what they’ve worked on before. Will they appreciate what you bring to the table or will they be trying to impose a different style because they don’t read what you write?     Continued on page 20   

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