PublishAmerica is too much fun

I just love writing about the PublishAmerica scam, especially now that the swindle’s president,Larry Clopper, has decided to start talking to reporters.  The latest news,  as reported by the Associated Press, is that one of the company’s disgruntled authors decided to test Clopper’s claim that they are a "traditional publisher" that is selective about the books they "acquire" (for the astonishing advance of $1).

Clopper said PublishAmerica is selective — only 30 percent of
submitted manuscripts make it to print. Some authors believe otherwise.

Dee Power, unhappy with how PublishAmerica had handled her novel,
"Overtime," submitted a "new" book that consisted of the first 50 pages
of "Overtime" and the last 10 pages, repeated over and over. The
manuscript was accepted. (Power declined to have it published).
PublishAmerica also accepted a novel by Kevin Yarbrough, even though
the first 30 pages were repeated six times. (Yarbrough revealed his
trick on an Internet site.)

Clopper said those "flaws" would have been discovered before
publication, but acknowledged the works had initially been accepted.
"People make mistakes," he said. "When somebody views a manuscript,
they may not read the whole thing line by line."

While I sympathize with the authors who were ripped off by PublishAmerica,  I’m stunned anybody who visited their website, and read the terms of the contract, could have fallen for their scam. It’s not like Cloppers and Co. went to much effort to hide the true nature of their enterprise, a vanity press making a laughably half-assed attempt to masquerade as a traditioanl publishing company.  But aspiring authors, naturally frustrated by their inability to sell their books, are too blinded by their desperation to read the small print… or to recognize the obvious. It makes them easy prey for swindles like PublishAmerica, WritersUniverse, and their ilk…

The PublishAmerica Scam

PublishAmerica is back in the news. The Washington Post wrote about the company, and this is author Lynn Viehl’s take on it (she says it so much better than I can):

PublishAmerica is also an "advance-paying book publisher" with a company banner motto that reads We treat our authors the old-fashioned way — we pay them.
Except that the old-fashioned way it pays authors an advance is — hold
onto your hat — a whopping total of $1. Now, I made twenty-five
thousand times that as the advance for the last book I wrote, but hey,
maybe I’m just ridiculously overpaid.

PublishAmerica states on its web site
that its titles "are available through most major bookstores." Except
for this one little thing: "Availability is not necessarily the same as
bookstore shelf display." Translation: you can’t get them in the store,
but you can order them through the store’s computer. Assuming you have
psychic power and can envision the titles, because they’re not on the
shelf. Have I got this right?

The Post managed to get Larry Clopper, president and co-founder of  PublishAmerica to speak on the record about his company’s approach to publishing. He should have kept his mouth shut.

To Larry Clopper, the
company, in relying on its authors to largely sell their own books, is
"revolutionizing" an elitist industry. It has, he says, "always
operated on the highest principles of honor and integrity."
PublishAmerica’s authors often knew "decades of failure, dozens of
rejections and life-changing disappointment," adds Clopper, who twice
failed to find publishers for his own books. "Now they hold their books
in their hands, and they are sneering down at the publishing industry
that shunned them."

It’s not the industry they’re sneering at Larry, it’s you.  The Post article goes on to discuss the pitfalls of Print-on-Demand publishing, the latest evolution of vanity press.

Because there have always been more would-be authors than mainstream
publishers are willing to sign up, writers can turn to a variety of
do-it-yourself alternatives. The major difference is that, one way or
another, those writers wind up paying, instead of being paid, to be
published.

POD companies like iUniverse and vanity presses in general
don’t appear to generate much public rancor, however, because they make
it quite clear that the author bears the expense. Besides, such
publishers do serve a purpose. The Authors Guild, for example, has an
arrangement with iUniverse to keep its members’ out-of-print books
available. For a PTA planning to sell a cookbook, or a family elder
passing her memoirs around to the grandchildren, a vanity or POD press
makes sense.
     But it’s very unlikely to lead to a career. Once in a great while, a highly entrepreneurial author gets lucky.

A few POD books have sold well enough to lead to a deal with a mainstream publisher. But if your  book comes out through PublishAmerica, that’s not going to happen to you. You sign over your publishing rights for seven years. So if Random House comes knocking,  PublishAmerica negotiates your deal  and keeps
half the proceeds.  Not a bad trade off for your $1 advance, is it?  Larry Clopper says that his detractors represent a "miniscule faction" of the authors published by his company.

But the fact remains that his authors
can’t join the Authors Guild. Having heard complaints about
PublishAmerica for years, the guild doesn’t recognize its titles as
membership criteria. "There’s a long history of vanity presses and
others taking advantage of the hopes of would-be authors," says
executive director Aiken. "This might fall in that noble tradition."
True, too, many major book review sections (including Book World) won’t
review POD books. "Some of our proudest moments come when authors are
not allowed into certain exclusive clubs," Clopper retorts.

Those who petitioned the Maryland
attorney general seeking "an investigation into this massive scam" had
a different understanding, however. They weren’t interested in sneering
at the exclusive club; they thought that, at last, they were being
invited into it.

Now that the mainstream press — like Publishers Weekly and The Washington Post — are picking up on the PublishAmerica scam, maybe people will finally stop falling for Cloppers clumsy con.

 

 

The War for my Soul

I may have mentioned here that I was offered another series of TV tie-ins to write (in addition to my current gig writing DIAGNOSIS MURDER novels). It was a three-book deal for a show I love and I was eager to accept…

But I had to pass on the offer. And boy, did it hurt.

The TV geek in me desperately wanted to write the books, regardless of what I was getting paid.  The sensible  business man in me, the one with some self-respect, knew the deal was bad on every level and that to take it would be a big mistake. ..and set a bad precendent for the future.

The publisher was offering me a ridiculously low flat fee — a work-for-hire payment that included no royalties. Typically writers of  tie-ins, which are original novels based on a TV series, get an advance plus a 2-3% royalty. Novelization writers often get a flat, work-for-hire fee, which makes sense since the story, characters and dialogue are being handed to them. This deal required me to write an original novel and not share in any of the proceeds it might generate.

The TV geek in me didn’t care.  The TV geek was just glad to be offered the opportunity. The sensible businessman was considering my other committments to work and family and doing the math.

My wife was doing the math, too. It would take me three to four months to write the book.  By Valerie’s calculations,  I would make more on unemployment than I would writing those books. It made no financial sense…but she left the decision to me.

I passed.

The showrunner called to tell me how excited he was to learn I was offered the books…and how disappointed he was to learn later that I had rejected the offer. He didn’t blame me, though. He knew it was a rotten deal, too… 

And yet, I still feel pangs of regret. The TV geek in me didn’t care about money.  The TV geek wanted to do it to spend time with those characters.

But the sensible businessman in me won out. For so much of my life, the TV geek side of my personality has been in control. I wonder when the sensible businessman took over…

Sidelined

Sorry there have been so few postings here over the last couple of days… somehow I managed to throw out my back and am hobbling around like a guy who’s testicles have been crushed in a vice.  Feels kind of like that, too. Strange thing is, I have no idea how I hurt myself.  A visit to the chiropractor today hasn’t improved my condition.  And I’m still in physical therapy three mornings a week for my arm… and wearing a new splint/torture device that basically makes it impossible for me to type with my right arm for three hours each day.

In the midst of all this, I’m also working hard to finish my sixth Diagnosis Murder novel to meet a March deadline…knowing that, between now and then, I’m attending/speaking at the San Francisco Writers Conference and Left Coast Crime in El Paso.

Maybe that’s what hurt my back… sitting at my desk writing.

Who knew writing could be so strenuous?

2 + 2 = DEAD

I got this email today:

Hey Lee,

I just discovered your site and look forward to visiting it more often. I’m new to writing mysteries and wondered if you, by chance, are aware of any books that are a study of the mystery genre that utilize equations or diagrams when it comes to analyzing how mysteries work…I know
this is probably an esoteric request but I just thought I’d ask because when I study mysteries I tend to see the orchestration & plotting of the  suspects and clues in an almost mathematical equation…is that a common  approach to the structural part of mysteries?

Anyway I know you’re a  busy guy but I just thought I’d pick your brain with this question…all the  best, Matthew

Um, I dunno, Matthew. But there’s a new series called NUMBERS premiering on CBS Sunday about a guy who uses math to solve crimes. Does that count?

How Not To Make it Big in Hollywood

I got this email today…

Hello,
I am a 21 year old aspiring model/actress/entertainer, my name is  Melinda XYZ. My dream and goal is to
work in all different aspects of the entertainment industry. I have the attitude
and personality that it takes to make it in this industry.
I am fun, energetic, and a beautiful 21 year old female that has the drive to make it "big" in the entertainment industry. I am very comfortable in front of the camera and in of people!
I am really interested in working with you.
Could you please help me out. I know that you are busy but
I seem to keep ending up with the people contacting me only for "adult films"
and I dont want to put myself in that situation. Could you possibly help me
out a little – PLEASE..

Stats:
Birthday: October 24, 1983
Eyes:
Hazel
Hair: Light Brown
Height: 5’3"
Weight: 102
Pants: 3
Bust:
34c
Waist: 22
Hips: 34
Shoe: 6.5
Size: 3
 
Please feel free to contact me or my manager. My
numbers are;
Home: XXX-XXX-XXXX
Work: XXX-XXX-XXXX ext 2171 please feel free to call me at work any time. My address is XXXXXXXXXX. My manager’s address is XXXXXXXXXX. My email address is XXXXXXXXXX.

Gee, I can’t imagine  why she’d only be getting offers from porn producers, can you?

Do you think it could be because her impersonal pitch reads like a singles ad… or worse, like one of those email come-ons from women inviting you to call them for some hot phone sex?

I don’t know what makes her think that junk mailing this pitch, packed with important details like her shoe size, will get her a job offer from anyone but a porn producer.

I wonder if her "manager" gave her this wonderful advice….

UPDATE (1/22/05) – I got this email today:

4 Cheating House Wife have been matched for you in your area:

1)
Danielle, 120 lbs, 5’9, 36c, 14 miles away, available Jan 15-17th
2) Emily,
128 lbs, 5’7, 36d, 11 miles away, available most week nights ( looking for
side-fling)
3) Hannah, 121 lbs, 5’8, 34b, 5 miles away, available Jan
13-17th
4) Melissa, 127 lbs, 5’8, 36c, 13 miles away, available most week
nights ( looking for side-fling)

All 4 women are waiting to speak with
you live & have photos. Webcam’s are available for all 4.

I wonder if they want to be actresses too…

Dollars and Cents

Publisher’s Lunch,  email digest version of Publisher’s Marketplace,  today defined the terms they use to describe book deals in their reporting…

"nice deal" $1 – $49,000
"very nice deal" $50,000 – $99,000
"good deal"
$100,000 – $250,000
"significant deal" $251,000 – $499,000
"major deal"
$500,000 and up

What universe are they living in where $100,000-$250,000 is simply "a good deal" and $250,000-$499,000 is  "significant?"

Outsourcing Signings

Author Margaret Atwood has stirred up quite a controversy by creating a "remote booksigning device" that would allow her to "attend" booksignings without actually being there.  She wrote about her invention, and the controversy, in today’s Los Angeles Times.

In an effort to simplify the most grueling part of the book-publication process
— the dreaded Author Tour — I dreamed up the concept of a remote book-signing
device. (I’ve spent far too many evenings crawling around on hotel room floors,
eating Pringles because I was too exhausted to call room service, so I needed
this!) The author would be able to relax at his or her home base and could see
and speak with a book buyer in a bookstore thousands of miles away. That much
can happen already.

But in addition, the author would be able to
actually sign — in real time, and with real ink — the book buyer’s book (or the
singer’s album, or the actor’s photograph). You would no longer have to be in
the bookstore to write "Happy Birthday, Aunt Sylvia." You would simply write on
a little pad (somewhat like the one the UPS messenger brings to your door) and
on the other end, your message and signature would be duplicated in the book.

Think of the plane trips avoided, the beer nuts left uneaten in the
hotel mini-bar, and — from the publisher’s point of view — the money saved! For
it costs a lot to whiz a bunch of disoriented and grumpy authors around the
world.

That’s exactly what she’s doing…thinking of the author or,more accurately, herself. What she’s proposing is the customer support approach towards her readers.  What’s wrong with an automated menu and no live operator? What’s wrong if that live operator is someone you can barely understand in Singapore or India? It’s still customer service, right? RIGHT?

She’s forgetting the personal touch, the human interaction. The respect. It’s not just the signature that’s important to most readers, it’s the chance to meet someone who has had a dramatic and often emotional impact on their lives and imaginations. It’s a way to meet someone who has inspired and entertained you. It’s also a way for authors to see the face of the people they are writing for, the people who have supported them in their art. It’s a way to say "Thank you," for both author and reader.  It’s not just a signature. And looking into a computer screen and shaking hands with a robot arm isn’t quite the same thing. What’s astonishing is that she doesn’t get that… or maybe she does.

The only difference between the author-at-a-distance and the author-in-the-flesh
would be that no author’s DNA would get onto the book, and no readers’ germs
would get onto the author.

I think this is where she betrays her real attitudes towards signings and her readers.  But there’s something else I find personally offensive about her booksigning-at-a-distance machine: it’s her broad, caricatured characterization of authors as cranky assholes who think it’s a burden to meet readers.

This may come as shock to Margaret Atwood and everyone else on the planet Vulcan, but lots of authors enjoy meeting their readers, enjoy the personal contact, and derive enormous pleasure from being able to sign their books in person.

She may have unintentionally succeeded in her goal of avoiding book tours. Given her attitude towards signing and readers, who would ever want this woman to sign their books again? Who would ever want her in their store? Not me.