Shining a bright light into the dark corners of the shadow-world of literary scams, schemes, and pitfalls. Also providing advice for writers, industry news, and commentary. Writer Beware® is sponsored by the Science Fiction and Fantasy Writers of America, Inc.

November 15, 2019

Scandal Engulfs Independent Publisher ChiZine Publications


Posted by Victoria Strauss for Writer Beware®

If you're not part of the horror or speculative fiction community, you may not be aware of the scandal that over the past two weeks has engulfed ChiZine Publications, a (previously) highly-regarded Canadian independent publisher.

In September of this year, several authors, including Ed Kurtz, made a complaint to the Horror Writers Association about long-overdue royalties at ChiZine. On November 5, after the complaint became public knowledge, CZP posted a statement on its Facebook page, claiming that Kurtz's royalties were "currently paid in full" and that "Any other monies he might be due will be paid on his next royalty statement". Kurtz's response, posted by his partner on Facebook a day later, was blistering:
The statement from Chizine neglects a number of salient facts, such as the moment in July 2018, at Necon, when I explained to Brett Savory that my partner was facing a layoff, our cat was ill, we were in severe financial distress, and I had *never* been paid a single cent of royalties in what was at that time almost two years for a moderately successful book. He actually grinned and said, "Things are hard for everyone right now" before walking away. The following morning it was reported to me that Sandra was loudly complaining in the dealer room about me having asked about my royalties, and of course the two of them went on a whirlwind trip around the world a few weeks after that, showing us all that things weren't so rough for them, after all.

In fact, I'd asked after my royalties several times and was rebuffed or given excuses every single time (usually something wrong with their accounting software or something similar, which I later learned they’d been saying to authors for years). I only went to the HWA after several other frustrated CZP authors (one of whom hadn't been paid in five years!) strongly encouraged me to do so. I expressed fear of bullying and/or retaliation, and some of these authors promised me they'd have my back (they didn't). And yes, a lot of us got paid through my efforts, though it is untrue I'm paid in full. I was never paid royalties for the months of my first year of publication, 2016, though CZP continues to claim I was. I just gave up on this.
Kurtz's experience was not isolated.

******

Between 2010 and 2015, Writer Beware received a handful of complaints (fewer than five) about ChiZine from authors who cited months-late royalty payments or long waits for contracts. Because the complaints were so few, and also because the authors all did eventually receive their payments or their contracts (though in most cases only after persistent prodding), it wasn't clear to me whether the tardiness indicated a pattern of problems, or was the kind of occasional glitch that can afflict otherwise reputable small presses with small staff and tight finances.

As it turns out, those few complaints were just the tiniest bubbles drifting up from what appears to be a roiling ocean of dysfunction.

Following Kurtz's public response, CZP authors and staff began to come forward with their own experiences--a tsunami of serious allegations including non-payment (some staff say they were never paid for years of work), extremely late or missing royalty payments (years in arrears in some cases; many authors report having to fight for what payment was received), erratically-produced royalty statements (CZP breached at least some of its own contracts by sending out royalties once a year instead of bi-annually--more on that below), missed pub dates, broken marketing promises, and financial mismanagement--especially concerning, since a big chunk of CZP's budget comes from grants and subsidies. (Former CZP staff member Michael Matheson has written a pair of illuminating posts on CZP's finances, including its treatment of grant money and habitual financial distress.)

Staff and authors also--in multiple, strikingly similar posts and complaints, including some received by Writer Beware--cite a toxic work culture that featured bullying, intimidation, sexual harassment, racism, gaslighting, and more. Several of those who contacted me told me that they felt CZP operated "like a cult," with charismatic leaders at the top who were admired and feared in equal measure, and whom many dared not defy.

This account only scratches the surface. For much more:
On November 11, CZP's founders, Sandra Kasturi and Brett Savory, posted a statement on the CZP blog and Facebook page indicating that they have decided to "step down." Although the statement mentions financial issues ("we have taken a short-term personal loan to bring payments up to date"), it doesn't address the many other complaints that have been leveled against the company--and, notably, does not include an apology.

The response has not been kind.

******

Despite all of the above, there are still those who continue to defend CZP, and to brush off the statements by writers and staff. For example, this, from editor Stephen Jones (Jones's post has been removed; this is a screenshot posted to Twitter):

What stands out for me here is not just the skepticism that whistleblowers always have to face (and which, even when the publisher doesn't try to intimidate or engage in reprisals, makes it so much harder for whistleblowers to come forward), but the defense of unprofessional business practice--not just by CZP but, apparently, by small press publishers in general. Small presses are doing something great for writers and readers, so we should "cut them some slack" when they fail to pay, or don't fill book orders, or miss a pub date, or engage in some other kind of behavior that has a negative impact on staff and authors. That's "simply the nature of small press publishing." Deal with it!

It's a really common argument. I can't tell you how often I've seen some version of it--not just from toxic or troubled publishers, but from the writers they are screwing over. But it is bullshit. Complete and utter bullshit.

No matter how "worthy" a publisher may be, that does not give it the right to abuse its writers or its staff--whether by accident or design. Publishers function in the realm of art, but they also need to function like businesses--not like cults of personality, not like sinecures, not like kitchen-table hobby projects where it doesn't really matter that they know little about publishing and have never run a business as long as they've got good intentions. You don't get a pass because you've got a noble goal. You don't get a pass because independent publishers are struggling and we need more of them. You don't even get a pass because you're putting out good books from disenfranchised authors. You need to run your business right, and treat your writers and your staff right, or you have no business calling yourself a publisher.

Which brings me to my next point. The scope and range of what has apparently been happening at ChiZine is bigger than usual (and having seen as many small press implosions as I have over the years, it's amazing to me that it took so long for the scandal to break). But it's important to emphasize that it is not an isolated occurrence. Contract breaches, financial malfeasance, even the kind of harassment and gaslighting and dictatorial behavior that CZP authors and staff describe--all are rampant in the small press world. Just go back through a few years of the entries on this blog, and you'll see plenty of examples.

I don't mean to tar all small presses with the same brush. There are, it's important to acknowledge, many small and indie publishers that operate with complete professionalism and do all they can to treat their authors right. But there is a huge, huge problem in the small press segment of the publishing industry, and we don't do writers--or readers--any favors in dismissing or downplaying or making excuses for it.

I'm not the only one who is making this point. Silvia Moreno-Garcia, who had payment issues with CZP and also has experience running a micro-press, addresses the issue in a Twitter thread:


In a blog post, former CZP staffer Michael Matheson responds to those who would like to see publishers like CZP dealt with more kindly:

And, commenting on the Chizine situation, writer and reviewer Gabino Iglesias points out:


I agree 100%. But I'm not holding my breath.

******

The scandal has unfolded very quickly but there've already been consequences. High Fever Books reports "a mass exodus" from CZP, with authors requesting rights reversions for their books, and withdrawing stories from CZP's forthcoming Christmas anthology. The Ontario Arts Council, one of CZP's funders, has recently removed CZP from its list of grant recommenders. And SFWA has issued a statement:


******

Finally, some semi-wonky publishing stuff.

There's been some discussion of irregularities with CZP's royalty statements. I've seen a number of these, kindly shared with me by CZP authors, and while they're somewhat of a chore to figure out and are missing some information that ideally should be present, the numbers do add up. However, a few things are sub-optimal.

- CZP's contract boilerplate empowers the publisher to set a "reasonable" reserve against returns. There are no specifics, so it's basically up to the publisher to decide what "reasonable" is.

For CZP, "reasonable" seems to mean 50%. This seemed high to me, so I did a mini-canvass of literary agents on Twitter. Most agreed that smaller is better--maybe 25-30%, though some felt that 50% was justifiable depending on the circumstances. They also pointed out that the reserve percentage should fall in subsequent reporting periods (CZP's remains at 50%, unless boilerplate has been negotiated otherwise), and that publishers should not hold reserves beyond two or three years, or four or five accounting periods (CZP has held reserves for some authors for much longer).

(If you're unclear on what a reserve against returns is, here's an explanation.)

- Per CZP's contract, royalties are paid "by the first royalty period falling one year after publication." What this means in practice (based on the royalty statements I saw) is that if your pub date is (hypothetically) April of 2016, you are not eligible for payment until the first royalty period that follows your one-year anniversary--which, since CZP pays royalties just once a year on a January-December schedule, would be the royalty period ending December 2017. Since publishers often take months to issue royalty statements and payments following the end of a royalty period, you'd get no royalty check until sometime in 2018--close to, or possibly more than, two full years after publication.

In effect, CZP is setting a 100% reserve against returns for at least a year following publication, and often much more. This gives it the use of the author's money for far too long, not to mention a financial cushion that lets it write smaller checks, since it doesn't have to pay anything out until after returns have come in (most sales and most returns occur during the first year of release).

I shouldn't need to say that this is non-standard. It's also, in my opinion, seriously exploitative.

- And...about that annual payment. It too is non-standard--even the big houses pay twice a year, and most small publishers pay quarterly or even more often. It's also extra-contractual--at least for the contracts I saw. According to CZP's boilerplate, payments are supposed to be bi-annual after that initial year-or-more embargo. The switch to annual payment appears to have been a unilateral decision by CZP owners for logistical and cost reasons, actual contract language be damned (I've seen documentation of this).

- A final wonky contract point: CZP's contract boilerplate mentions royalty payments (as in, they're bi-annual)--but does not, anywhere, mention royalty statements.

A publishing contract absolutely needs to bind a publisher not just to pay, but to account royalties on a regular basis (whether or not payments are due). If there's no contractual obligation for the publisher to provide royalty accounting, it may decline to do so--and that's not theoretical, I've gotten more than a few complaints about exactly this. Just one more reason to get knowledgeable advice on any publishing contract you're thinking of signing.

November 7, 2019

Contest Caution: The Sunday Times Audible Short Story Award


Posted by Victoria Strauss for Writer Beware®

Founded in 2010, The Sunday Times Audible Short Story Award bills itself as "the richest prize for a single short story in the English language." And indeed, the prize is major: the winner receives a cool £30,000 (no, I did not add extra zeroes.)

With judges yet to be finalized, the selection process will include a 20-story longlist announced in May 2020, a six-story shortlist unveiled in June 2020, and the winner revealed on July 2. The shortlisted stories will be published in an Audible audiobook, with included writers receiving "an extra £1,000 fee, on top of a prize payment of £1,000". To be eligible, writers must previously have had at least one work published in the UK or Ireland by an "established print publisher or an established printed magazine" (the Terms and Conditions include an extensive list of the kinds of publishers and magazines that don't qualify). The contest is open for entries until 6:00 pm on December 13.

You can read more about the award, including the prestigious judges who've participated and the well-known writers who've submitted stories, here.

So what's the catch? -- because you know I wouldn't be writing this post if there weren't one. Well, as so often happens, it's in the Terms and Conditions. Specifically:


To summarize this dense paragraph: simply by entering the competition, you are granting a sweeping, non-expiring license not just to Times Newspapers Limited (The Sunday Times' parent company), but also to Audible and any other licensees of TNL, to use your story or any part of it in any way they want, anywhere in the world, without payment to or permission from you.

This is far from the first time I've written about "merely by entering you grant us rights forever" clauses in the guidelines of literary contests, some of them from major publishers or companies that should know better. Sure, in this case the license is non-exclusive, so you could sell your story elsewhere--but only as a reprint, because by granting non-exclusive rights to one company, you remove your ability to grant first rights to another, at least for as long as the initial rights grant is in force.

It's not uncommon for literary contests that involve publication to bind all entrants to a uniform license or grant of rights--so that, when winners are chosen, the license is already in place. But ideally, the license should immediately expire for entries that are removed from consideration--or, if the contest sponsor wants to retain the right to consider any entered story for publication (as TNL clearly does--see Clause 4.2, below), rights should be released within a reasonable period of time after the contest finishes--say, three or six months. There's simply no good reason to make a perpetual claim on rights just in case, at some unspecified point in the future, you might just possibly want to use them.

Not to mention--why should Audible get to make this same claim?

There's a couple of other things to be aware of. Shortlisted authors enter into a 12-month exclusive contract with Audible, for which they are given a "one-off" lump-sum payment (the £1,000 noted above). But thereafter, Audible retains the right "to record, distribute and market such audio version for at least ten (10) years." Again, this right is non-exclusive--but there's no indication that Audible has to pay these authors for potentially exploiting their work for a decade. (If you don't consent to these terms, you can't be shortlisted.)


Finally, although publication is guaranteed only for the shortlist, TNL reserves the right to publish longlist and non-listed entries as well. Great! Except...there's nothing to suggest these writers would be paid either.


There's no question that this is a prestigious--and, for the winner, rich--award. But sober evaluation is definitely in order here. Enter at your own risk.

October 29, 2019

Fireside Press Cancels Multiple Contracts

Posted by Victoria Strauss for Writer Beware®

Last week, the SFWA Contracts Committee issued this advisory.
SFWA Contracts Committee Advisory on No-advance Contracts

Recently, SFWA's Contracts Committee was made aware of a situation in which a well-liked publisher canceled the publication of a number of books it had contracted to publish. The publisher said the decision was made because of "unexpected changes" at the company. The Committee has reviewed the contract in use, which lacked a provision for such a cancellation. The Committee believes that canceling a contracted book that satisfies the author’s obligations is at odds with the spirit of the contract. Making this situation worse is the fact that these were no-advance contracts. Because no advance was paid, the publisher could make this decision without financial penalties. The authors' books, were, in effect, put in limbo for many months and the authors received nothing but an apology. Besides depriving the authors of the ability to sell the books elsewhere during this delay and putting off any income from the books into the indefinite future, the authors careers suffer as a result.

Publishers of all sizes may find themselves unable to live up to their contractual commitments for a wide variety of reasons, some of which could not have been reasonably anticipated. Hence, the Contracts Committee urges writers to think carefully about signing a contract that provides no advance, or only a nominal advance, while tying up their work for a lengthy period of time. Critically, payment of an advance gives an indication the publisher actually has the financial resources to meet its obligations. Publishers who do not pay advances or pay only nominal advances should include language in their contracts specifying how they can cancel a book and what happens if they should cancel a book, including a specified amount of compensation to the author.

SFWA Contracts Committee
October 25, 2019

Legal Disclaimer: The contract alert should not be understood to be legal advice. The issues presented by contract law are complex. Authors should consult a competent attorney familiar with the business of publishing as well as contract law before signing any contract.
The publisher in question is Fireside Press.

The cancellations were first reported on October 8 by Jason Sanford in his Genre Grapevine column, and discussed on October 9 in Mike Glyer's File 770. Fireside publisher Pablo Defendini issued a statement on October 8, in which he revealed that the five canceled contracts were for manuscripts that were "unpublished and unannounced", and attributed the cancellations to disruptions caused by editorial departures.

Author Meg Elison, one of the canceled authors, did not find this to be a sufficient explanation...and she was livid.



A few days later, Defendini issued an apology. "I can see now how [the cancellation emails] read as callous, uncaring, and dismissive of the authors’ feelings," he wrote. "I’m very sorry for that....My behavior was not consistent with Fireside’s values, and I deeply regret it."

Beyond the Contracts Committee's general warning about no-advance contracts (and if you're part of the small press world, you know how common these are): multiple simultaneous contract cancellations are not frequent or normal, and can signal trouble beyond whatever the publisher offers as an explanation (if it explains at all). Ditto for a publisher that suddenly starts offering to revert rights on request.

Fireside's situation also highlights the risks of signing with a publisher that's essentially a one-person operation (as Defendini admits in his apology). With the best will in the world, the publisher can be sidelined by a single bad event (personal or professional), leading to glitches, errors, and delays in scheduling, payment, and more. Writer Beware's files are stuffed with such stories.

Troubled publishers do recover, or at least hang on. Month9, which canceled dozens of contracts in 2016, is still publishing, as is Permuted Press, which axed an undisclosed number of titles in 2015 (both publishers cited overstocked lists, though in both cases there were other issues as well). In the short term, though, if a publisher is or has been actively shedding writers, it's best to hold off on submitting until it's clearer what's going on.

October 3, 2019

A Pack Of Scammer Lies


Posted by Victoria Strauss for Writer Beware®

How do scammers entrap unwary writers? The other day, an especially egregious example came across my desk, in the form of this "proposal" shared with me by an author who really, really wanted to believe it was real (I've redacted the author's name and book title to protect their privacy).


Not to beat a horse, dead or otherwise, but if you'll glance at the sidebar, you'll see that Alpha Books United is on Writer Beware's big list of Philippines-based Author Solutions copycat publishing and marketing scams. (When I got hold of this proposal, on September 26, Alpha Books' website was working fine, but when I checked it today it refused to load. "Mr. Ken Davis", however, has not stopped emailing and calling the author who contacted me.)

(UPDATE: Just a few hours later, Alpha Books' website is back online. Check out its specifics-free About Us page, on which it tells the following lie: "Once you’re earmarked, we open the possibility for you to be eligible for a non-contributory agreement with us.")

Here's the bait. Author empowerment! Amazing expertise! Commitment! Relationships! Sounds good, right? (Other than the complete lack of any verifiable specifics, of course.) Like most scammers, Alpha Books is counting on establishing a direct line to the author's deepest hopes, dreams, and ego.

Note that there's no mention of money. The initial phone calls and emails sent by "Ken Davis" didn't mention money, either.


Here are the "PUBLISHING Inclusions" supposedly on offer (only "if needed", of course!). Kind of bare bones basic, right? But for an author who isn't all that savvy about what goes into design and production, it hits the high spots: cover design, print and ebook format, and the all-important "content evaluation," which Alpha Books is hoping the author will wrongly interpret as "editing".

Again: no mention of money. That will come later, after the author has responded with interest to what they may believe is an amazing offer, especially if it's accompanied by flattery about how their book has been "discovered" or "recommended" by "book scouts" or "literary agents". These scams are successful in part because they solicit so relentlessly, but also because they have an acute grasp of author psychology. They know that it's easier to hook victims if you first get the victims to hook themselves.


And here is the pack of lies. Well, pretty much everything the scammers offer is a lie, but these are mostly slant lies: they could be true (it's just that they aren't). Alpha Books, on the other hand, distinguishes itself by going well beyond the usual obfuscations and half-truths with a great big alternative fact: guess what, we have access to Penguin Random House! Which will pay you $40,000!

If Alpha Books' previous phone calls and emails haven't convinced the potential victim, this magic name surely will. It's an especially sneaky tactic because there really is an Alpha Books associated with PRH: it's under the umbrella of the DK imprint, and publishes, among other things, the popular Idiots Guides series.

Of course, to anyone who knows a little bit about publishing, Alpha Books' claims about PRH are laughable:


The author who received this pitch nearly fell for it. Only when "Ken Davis" told them they'd have to pay $7,000 for this wonderful opportunity (the "true" cost being $19,000, of which Alpha Books would supposedly defray the bulk) did they start to balk. At that point, this happened:


As brazen as most of these scams are, this is just about the worst I've seen.

Fortunately the author contacted me, and I was able to convince them they were being scammed. (It wasn't the first time: they'd originally published with one of the Author Solutions imprints, and had previously been solicited by scammers Bookwhip, Stonewall Press, and True Media Creatives.)

I'm guessing that at least a few of my readers will be thinking "Well, if someone is that naive/ignorant/unwary, they deserve what they get." Believe me, I get frustrated too with writers' gullibility, and in particular with how many writers fail to educate themselves about publishing and self-publishing before trying to publish. But no one, no matter what, deserves to be deceived and ripped off by a pack of con artists.

That's why I keep doing what I do. Suck it, scammers.

September 13, 2019

Authors' Concern Grows Over Late Royalty Payments at Dreamspinner Press


Posted by Victoria Strauss for Writer Beware®

On Wednesday, Publishers Lunch published an article by Erin Somers about payment issues at Dreamspinner Press, which I'm reprinting here with permission.
Dreamspinner Keeps Promising Authors to "Catch Up What Everyone Is Due" In Payments

Romance publisher Dreamspinner Press has not been paying royalties in timely fashion, authors have been reporting online, at least partially confirmed by emailed updates from the company that have been shared. Earlier this summer, authors posted on Twitter that the publisher had been inconsistent with payments for over a year, including delays in issuing both first quarter and second quarter 2019 royalties. In June, author TJ Klune posted, "Out of the last 8 quarters, this is the fourth time payments have been late, and the second in which I am owed penalties for said lateness." (Klune had said in March he would part ways with Dreamspinner after delivering three more books.) Author Suki Fleet posted, "I'm not waiting on a lot--but what I am waiting on is from foreign royalties paid to Dreamspinner this time *last* year, that I had to specifically ask for."

That month authors began announcing requests to revert their rights, a trend that continued over the course of the summer. There was some controversy within the romance community over whether authors withdrawing their work could cause the publisher to fail (or fail faster), in which case no one would get paid. Criticism extended to authors who supported the publisher as well, even though they were owed money.

Multiple agents PL spoke to said they were no longer doing business with Dreamspinner, except to negotiate their clients' rights back. They told us that acquisitions at the publisher had dwindled over the past year, confirmed by the sharp drop in PM deal reports, with Dreamspinner acquiring mostly from their existing authors, many of whom are unrepresented.

Dreamspinner provided authors a number of explanations in weekly emails, including writing that they had "not received payments from Amazon for UK or EU currencies," that they were awaiting deposits from "vendors," and that the late payments had been caused by a software glitch. In their latest update on September 4, the publisher said that they are anticipating a small business loan that will enable them to issue payments, and that they "can't offer a firm payment date to catch up what everyone is due." The email goes on, "With every set of deposits we receive, we've been sending payments, and we are continuing to respond as best we can to author requests." They added that they can't provide proof of the impending loan that authors have asked for because, "legal and banking documents are confidential and can't be posted online."

Meanwhile, authors including Indra Vaughn, Avon Gale, Jeff Adams, Will Knauss, CJane Elliott, Meredith Shayne, Tia Fielding, and many more have requested rights back. Fielding wrote on Facebook, "In the last year or so, they've repeatedly been more or less late in royalty payments." TJ Klune wrote in an email to the company that he posted on Twitter, that he is owed $27,448 in royalties and plans to involve a lawyer. A Facebook group of 75 former DSP authors has formed for people who have pulled their books or are considering it.

RWA has offered support for authors who have experienced trouble with Dreamspinner. They said in an August 21 statement: "We're aware of the situation, and members who need professional relations assistance, should contact memberadvocacy@rwa.org to reach our staff professional relations manager." Dreamspinner did not respond to PL's request for comment.
Writer Beware has been receiving similar complaints about late royalty and advance payments and confusing/conflicting explanations for the delays, with some authors saying they are owed four- and even five-figure amounts. According to a number of authors who contacted me, these problems have become more acute in the past few months, but they aren't new: periodic payment delays, with attendant excuses, began as much as two years ago.

Although Dreamspinner regularly sends out update emails (you can see an archive of these here), several authors told me they were having trouble getting responses from Dreamspinner CEO Elizabeth North.

Also of concern: in the midst of repeated payment delays, and despite its admissions of financial distress, Dreamspinner appears to be proceeding with sweeping expansion plans, including a shift to mass market paperback format, increasing the number of translations for the foreign market, and rolling out a new accounting and payment system (which several of the authors who contacted me told me they'd had trouble with). Multiple authors told me that they fear that author royalties, which Dreamspinner says go into an escrow account, are instead being used to finance company operations.

Authors' anger at the situation is growing. Meanwhile, Dreamspinner is still open for submissions. Writers who are considering approaching this publisher might want to hold off for the moment.

More information:

Tweets from authors Avon GaleTJ Klune, Roan Parrish, KJ Charles (search "Dreamspinner" on Twitter to see many more).

Blog posts by authors Mary Winter, RJ Scott, Rhys Ford, TJ Klune.

Non-Dreamspinner author X. Marduk is compiling a Dreamspinner timeline, with lots of links to tweets and blog posts.

August 23, 2019

Universal Book Solutions: Anatomy of a Book-to-Screen Scam


Posted by Victoria Strauss for Writer Beware®

Selling film rights to Hollywood is among writers' most fevered dreams. And where there is something that writers want or need, there are always sharks waiting to take advantage.

The Hollywood book-to-screen "marketing" package was pioneered by Author Solutions, way back in the early 2000s. All the Author Solutions imprints offer it, including the imprints AS runs for publishers. Here's what the package looks like, from AS imprint Xlibris:
  • Hollywood Ticket: coverage by a "professional reader." Cost: $999.00.
  • Hollywood First Act: a synopsis, "critical analysis", and "45- 60-second teaser Book Video" for "catching film executives' attention". Cost: $2,999.00.
  • Hollywood Director's Cut: an 8-10 page treatment by a "professional screenwriter", plus "consideration" by Author Solutions' "first-look Hollywood partner". Cost: $3,899.00
  • Hollywood Producer's Pick: this is the big kahuna, a full screenplay written by a screenwriter, plus consideration by AS's first-look partner. Cost: $16,299.00. Note that the screenplay is based on "your approved Hollywood Treatment", which you must previously have purchased--so the real cost of this option is $20,198.00.
Although a handful of other assisted self-publishing companies have offered similar packages over the years (here's the one from Bookstand Publishing, for instance; Outskirts Press also had one for a time, though it seems to have been discontinued), Author Solutions hasn't faced a lot of competition in the high-priced Hollywood dream exploitation business--primarily, I'm guessing, because of the cost and coordination involved in providing the coverage, critiques, treatments, and screenplays to the authors who buy them.

That's changed recently, though.

An explosion of book-to-screen "services" has hit the internet, courtesy of the Author Solutions copycat scams that I've been writing about so much lately (there's a complete list in the sidebar). Author Reputation Press, Coffee Press, Dream Books Distribution, Media City Publishers, Paramount Books Media, Book Art Press, New Reader Media, BookVenture, MatchStick Literary, and more all offer some version of the Author Solutions book-to-screen package, either on their websites or in their (extremely aggressive) phone and email solicitations.

The value of any book-to-screen package is highly debatable, regardless of who provides it. Vendors of such "services" play on authors' dreams of making it big, while failing to provide any kind of realistic information about the extreme unlikelihood of success. Most books never sell or option film rights (they're among the subsidiary rights least likely to be exploited, even for successful authors with top-flight agents), and it's far harder to sell a screenplay than it is a book manuscript. For most authors, the most probable result of buying a book-to-screen package is a smaller bank account.

And that's assuming that the vendor actually provides the advertised services, and doesn't just take the money and run. Author Solutions, at least, does seem to produce the coverage, etc., it sells, in a reasonably literate manner (you'll see some examples if you read on)--though of course, like paid reviews, the critiques and coverage are likely to be customer-friendly--that is, unrealistically positive.

The copycats, on the other hand...they don't exactly have the greatest track records for quality, reliability, or service. Or honesty.

An example: Universal Book Solutions, which styles itself "a Book-to-Screen Marketing Professional, with years of experience in working for motion picture projects for producers, agents, directors, and major studios in Hollywood." As usual with the Author Solutions copycat scams, there's no information that would allow you to verify any of these claims--no list of owners or staff, no company history, no examples of successful projects. That's no accident, of course.

A sensible person might also wonder about the quality of written materials produced by a "Book-to-Screen Marketing Professional" that puts out website text like this (English-language lapses are one of the markers for the copycat scams):


Here's how UBS's slightly more literate email pitch begins (I've seen two of these now, and they're identical):

The email goes on to detail the services on offer--news release, coverage, treatment, and screenplay--in language that has been lifted directly from the Xlibris (and other Author Solutions imprints) book-to-screen package. As further inducement, a bunch of glowing--and conveniently unverifiable--quotes are appended at the end. Turns out that these too have been lifted, though from a different (and, in its way, equally questionable) source.


Anonymous testimonials are the best kind, right?

Last but not least, UBS includes several attachments--supposedly, examples of its work:


"Sample coverage" is this. Looks surprisingly literate and detailed, doesn't it? But wait. Here it is again...on the iUniverse website (the book was published by another Author Solutions imprint). Ditto for UBS's "sample treatment:" here's what UBS sent. Here it is at iUniverse (which also published the book in question).

(As for The Little Prince screenplay, I can't find any evidence of it online, but given all the other borrowing, it's sure to have been snitched from somewhere.)

So...a plagiarized book-to-screen package, promoted with plagiarized text, further promoted with plagiarized testimonials, and finished with sample documents produced by others and falsely presented as UBS's work. If you hand over your money to these folks (neither of the authors I heard from went far enough into the process to get a price), what do you think the odds are of getting any of the promised products?

Universal Book Solutions claims a Florida address (per a Google search, it's a private residence in what looks like a condo community), but has no business registration in that state. Its web domain was registered just last February. As for Allen Gardner, Project Manager, guess where he's located.
UBS is an especially egregious example of this increasingly common scam. But as noted above, there are many others, and they are aggressively soliciting authors, especially those who have published with Author Solutions imprints, small presses, and pay-to-play companies like Christian Faith Publishing and Page Publishing. Be on your guard, and if you hear from a company that wants to take you to Hollywood--for a price--remember that if it sounds too good to be true, it probably is.

For a much more realistic discussion of the book-to-screen process, see Jane Friedman's excellent article, How a Book Becomes a Movie. Scroll down to the final comments to see one from a writer who was solicited by Universal Book Solutions.

August 16, 2019

From the Philippines, Not With Love: A Plague of Publishing and Marketing Scams


Posted by Victoria Strauss for Writer Beware®

I've been expending a lot of words and time lately warning about the latest scam phenomenon to hit the writing world: fake publishing and marketing companies that, through outrageous prices and worthless services, extract enormous amounts of money from unwary writers.

Based in the Philippines (despite their apparent US addresses, phone numbers, and telemarketer names) and focusing primarily on small press and self-published authors (particularly authors who've published with one of the Author Solutions imprints), these companies recruit writers with relentless--and highly deceptive--phone and email solicitations. Some do provide the services authors pay for, albeit at seriously inflated prices and often of poor quality. Others just take the money and run. I'm hearing from a growing number of writers who've paid five figures in fees to one--or, in some cases, more than one--of these scams, with next to nothing to show for it.

Given how fast the scams are proliferating (I learn about a new one every few weeks), I thought it would be helpful to gather all the information I've put together about them in one place.

My posts about the scams--where they come from, how they work, and how to recognize them:

- Army of Clones: Author Solutions Spawns a Legion of Copycats
- Army of Clones Part 2: Twenty-One (More) Publishing and Marketing "Services" to Beware Of
- Solicitation Alert: LitFire Publishing
- Amelia Publishing and Amelia Book Company: Sons of LitFire Publishing
- Solicitation Alert: Book-Art Press Solutions and Window Press Club
- Solicitation (and Plagiarism) Alert: Legaia Books / Paperclips Magazine

A list of the scams themselves--at least, the more than 50 I've identified so far (the list is also posted in the sidebar). You'll note that a number of them operate under more than one name:

- Access Media Group / Quill Space Media
- Ace Media Creative Publication / Ace Media International / APM Media Production
- Alpha Books Solutions
- Alpha Books United
- Ascribed LLC
- AuthorAide
- AuthorCentrix (formerly BookBlastPro)
- AuthorLair
- Author University
- Black Lacquer Press & Marketing
- Book Art Press Solutions / Window Press Club
- Book Avenue Publishing / Nivra Press
- Book Magnets
- Book Reads Publishing
- BookTrail Agency / Book Agency Plus
- Book Vine Press
- BookVenture Publishing
- BookWhip / Carter Press
- Box Office Media Creatives / Buzz Media Creatives
- Capstone Media Services
- Creative Titles Media / TrueMedia Creatives
- Diamond Media Press
- Dream Books Distribution
- EC Publishing
- Global Summit House
- Gold Touch Press
- Goldman Agency
- Legaia Books
- Lettra Press
- LitFire Publishing / Amelia Publishing / Amelia Book Company / GoToPublish
- Maple Leaf Publishing
- MatchStick Literary / AuthorPro Creatives and Marketing
- McNaughton Books / McNaughton Publishing
- Media City Publishers
- Netsfilm & Media Press
- New Leaf Media
- New Reader Media
- Okir Publishing /ADbook Press / Coffee Press
- Outstrip
- PageTurner Press
- Parchment Global Publishing
- Paramount Books Media
- Press To Impress Publishing
- Readers Magnet
- Royale House
- Rushmore Press
- Sherlock Press
- Stonewall Press / Uirtus Solutions
- Stratton Press
- Toplink Publishing
- Universal Books Solutions
- URLink Print and Media
- Vivlio (Vivlio Hill, Vivlio Hill Publishing, Vivlio Solutions, Vivlio Marketing Solutions)
- Westwood Books Publishing / Authors Press / Creative Books
- The Writer Central / IdeoPage Press Solutions
- Writers Republic
- YourOnlinePublicist
- Zeta Publishing

(I'm continuously updating this list--adding new companies as I discover them, deleting the ones that disappear.)

I know my warnings are having an effect, not just because I'm hearing from writers who've found my posts or my list and have been able to avoid being ripped off, but because some of the scams are getting...a little defensive. Book-Art Press now includes this in its solicitation emails:
The links are to anti-Writer Beware screeds from people WB has exposed.

The grievance is definitely on display in this one, from MatchStick Literary (it also showcases the scams' trademark fractured English):

See ya at Writer Beware, scammers!

August 9, 2019

Kiss Library: Pirate Site Alert

Posted by Victoria Strauss for Writer Beware®

I've gotten several alerts over the past week about a pirate site that's new to me (though not new: this warning was first published in September 2017): Kiss Library, where many authors are finding unauthorized electronic versions of their books.

Kiss Library differs from the typical pirate site in a couple of ways. Unlike, say, Ebook Bike, run by serial copyright thief and "information wants to be free" ideologue Travis McCrea, it doesn't simply offer pirated books for free download, but appears actually to be selling them. Also unlike Ebook Bike and other pirate sites, it seems to promptly respond to DMCA notices.

I found two of my own books listed.


I filled out the form on Kiss's DMCA page, and within minutes my books vanished from the site. I also received this email:

Awwww. How nice. They're contrite! It's not their fault! They'll pay back the illicit profits! They are so transparent about the whole thing!

Except...it's bullshit. They send the exact same response to everyone. Here's someone who got it in July:


A friend of mine got it in March. Someone else got it in 2018. Kiss seems to have concluded that it's better to lose a few listings (which can always be reinstated later) than to make waves by ignoring authors or telling them to f*ck off. It's a different strategy from the "fight everything" stance of many pirates, or those that send takedown notices into oblivion--and it's probably why Kiss, with its huge, monetized catalog of pirated books, hasn't sparked the uproar other pirate sites have.

It's been suggested that Kiss doesn't actually take down disputed books: it simply blocks the IP addresses of anyone who sends a DMCA request so they can't see that the books are still on offer. I've no idea if this is true.

Also, there's the question of whether Kiss really offers the books at all--whether it's nothing more than an elaborate phishing scheme that uses books as bait. I followed purchase links all the way to the point of providing credit card info, but I didn't dare do more. This anti-piracy service, however, did:
So if you visit the site, be careful. Send the DMCA if you find your books, but don't try to test the system by buying anything.

Kiss's About page features a photo of smiling millennials and a Canada address. Kiss originally had a .com domain, registered in 2017 by a Gibraltar-based registrar that was shut down by ICANN this past March. Its current .net domain, which is just 6 months old, is registered to Legato LLC, a Russian company. Make of that what you will.

UPDATE: An update from the anti-piracy service:
So maybe there's no content on the site--just book covers--and all they're doing is taking the money and running.

ANOTHER UPDATE: Per this Facebook post from Tamara Thorne, the Authors Guild is aware of Kiss Library and is preparing a statement on the status of the matter and steps they are taking. I'll link to or post it here when it's released.

UPDATE 8/10/19: Well, that didn't take long. Thanks to an alert commenter, I visited Kiss Library this evening and found this:


Not only have they reinstated the two books I DMCA'd (with different covers; they're both backlist books that I re-published with Open Road Media), they've added my two other Open Road backlist books, and a pair of fake books put up by a Writer Beware-hating troll a few years ago as part of a harassment campaign. Think the Kiss Library folks know about this post?

UPDATE 8/11/19: Oops, gone again (except for the two fake books that use my name). Someone is following Writer Beware!

July 31, 2019

Alert: Trouble at Dog Ear Publishing


Posted by Victoria Strauss for Writer Beware®

Founded in 2004, Dog Ear Publishing is part of the surge of Author Solutions-style assisted self-publishing companies--many of them now defunct--that entered the market in the early aughts.

Headquartered, like AS, in Indiana, Dog Ear presents itself--with more than a smidge of exaggeration--as "The best of traditional publishing, re-imagined for the modern author". Its publishing and marketing packages are typical for this type of company, and while they're not among the most expensive, they aren't cheap, either.

Unlike the various Author Solutions imprints, Writer Beware never received any complaints about Dog Ear, which appears to have been reasonably trouble-free for most of its existence.

Not so now.

I first became aware of problems at Dog Ear in March of this year, via a Watchdog Report from the Alliance of Independent Authors' John Doppler.
The Watchdog Desk has received multiple reports of problems at Dog Ear Publishing, an Indianapolis-based self-publishing service. After careful investigation, in our opinion there is indeed cause for concern.

We have heard from several authors who allege they have been waiting months for payments on royalties due. Emails and phone calls to the company reportedly go unanswered. In at least two of these cases, the authors sent legal notices via certified mail, demanding immediate payment of overdue royalties and an accurate accounting of sales.

Although receipt of the demands was confirmed by the U.S. Post Office, Dog Ear Publishing has so far failed to respond.
A large number of similar complaints appear at the Better Business Bureau, which revoked Dog Ear's accreditation in March due to its failure to respond to or resolve the complaints. Other complaints can be found on Yelp, which is not typically a forum for reports about publishing services; and on Complaints Board--where they go back to 2009.

Now the Indianapolis Star has published a detailed story on trouble at Dog Ear, entitled "Dog Ear Publishing Faces Claims It Owes Authors Thousands."
Actor Michael Kostroff self-published his book Audition Psych 101 in 2017 with Indianapolis-based Dog Ear Publishing.

Kostroff, who played roles on The Wire as well as Law and Order: SVU, said he was happy with the production process and the book sold well.

Then it came time to give the author royalty payments – something Kostroff and nine other authors interviewed by IndyStar allege the company has not done on time, in full or, in some cases, at all for about the past 12 to 18 months.
IndyStar reports that its attempts to contact Dog Ear's owners have gone unanswered, apart from a vague comment by one of the company's owners, Ray Robinson:
"We do seem to have crossed a threshold where the challenges have reached a critical mass," [Robinson] wrote. "The industry has seen this with most self publishers when they accumulate more than about 10,000 authors." 
(It is highly unlikely that Dog Ear has or ever had that number of authors. According to reports by Bowker, it issued a total of 4,926 titles between 2008 and 2017; the most titles it has ever published in a single year is 662 [in 2014], and the least is 282 [in 2008]. Assuming that numbers for 2004-2007 are similar to 2008, and also assuming that every author who ever published with Dog Ear is still publishing with Dog Ear--which obviously is not at all probable--the total clearly doesn't come anywhere near 10,000.)

Non-response appears to be a pattern for the company. Authors interviewed by IndyStar say they've received no or vague answers to their questions and requests for payment, and according to the article, Dog Ear's owners, Ray Robinson and Alan Harris, have failed to show up in court for multiple lawsuits brought against the company, both by authors trying to get paid and by one of Dog Ear's founders, Miles Nelson, who left the company in 2016 but alleges he was never compensated for his share of the business. Another recent lawsuit, by Dog Ear's former leasing company, drew an appearance by Robinson but not by Harris, who was slapped with a $19,000 default judgment.

IndyStar details authors' speculation that Dog Ear may file for bankruptcy, either to re-organize or to liquidate and pay off creditors. I suspect, though, that this isn't terribly likely, especially if few assets remain; and in any case, authors are not well-served even when there are specific provisions for bankruptcy in their contracts. A group of authors is hoping to gather enough plaintiffs to launch a class action suit--but even if assets can be found, the cost of litigation could easily exceed them; and if (as is probably much more likely) there are few or no assets, a class action is pointless.

Authors have contacted the Consumer Protection Division of the Indiana Attorney General, where there are 19 open complaints. According to IndyStar, the AG is investigating, although the official quoted by IndyStar doesn't sound too keen:
Betsy DeNardi, director and chief counsel of consumer protection with the office, said if a company doesn’t respond to inquiries, a complaint case is usually closed. This happened with a case against Dog Ear in fall 2018, though 19 others remain open.

Some cases do result in litigation, if there seems to have been a violation of consumer protection laws. DeNardi said she did not know of any recent legal cases handled by the Indiana Attorney General’s Office against a self-publishing company.
(In fact, there have been at least two. In May of 2008, the Indiana Attorney General filed suit against Airleaf LLC, an assisted self-publishing company founded by an Author Solutions alumnus, for, among other things, violating Indiana's Deceptive Consumer Sales Act. The suit resulted in a Consent Judgment that did not include significant restitution, but did ultimately drive Airleaf out of business. And in October 2010, the AG filed suit against New Century Publishing, an Indiana-based "publisher" that charged enormous fees, also for violations of the Deceptive Consumer Sales Act, resulting in a default judgment ordering restitution of $81,875.15 to 43 authors. Amazingly, the AG had sued New Century's owner, David Caswell, twice before for different frauds; each suit resulted in a monetary judgment, but somehow Caswell managed never to pay.)

So is the end near for Dog Ear Publishing? The signs certainly don't look good. Ultimately, it may never be possible to know exactly what went wrong--but I'm guessing that at least some part was played by the general decline of the Author Solutions-style assisted self-publishing business in recent years, under pressure from lower-cost and more straightforward DIY self-publishing platforms like Amazon KDP, Smashwords, and others.

Author Solutions itself has been dwindling for a while: per the Bowker reports referenced above, its title roster for 2017 was less than half of what it was at its high point in 2011. Output for Outskirts Press, another of the early assisted self-pub companies, peaked in 2013 and has dropped by 21% since then. Wheatmark's titles are down 77% from its 2008 pinnacle, and Xulon Press hit its highest numbers in 2013 but by 2017 had seen a drop of 39%. As for Dog Ear, after a 2014 high point of 662 titles, output fell year by year through 2018, when, according to Amazon, it issued just 378 books--a decline of 43%.

Dog Ear's website is still open for business, and its Facebook page is active (though its Twitter feed looks a bit neglected). It is also still issuing titles, the most recent of which has a pub date of July 2. Writers be warned.

If you're a Dog Ear author and have not been paid (or have had other problems), you can file an online complaint with the Indiana Attorney General's Consumer Protection Division here. Where litigation has been undertaken against problem publishers or publishing services, it has usually been the result of a large volume of author complaints.

July 12, 2019

From Writer Beware's Files: Seven Prolific Vanity Publishers


Posted by Victoria Strauss for Writer Beware®

Vanity publishers, unfortunately, are not in short supply. Writer Beware's files include hundreds of them, large and small. But there's a select few about which we hear most often, via writers' questions and complaints. These companies reel in scores, hundreds, and even thousands of writers, often doing business on an industrial scale.

I'm going to provide a snapshot of some of these below. But first, some common deceptive terms.

Hybrid Publisher: There's some disagreement over whether there actually is such a thing as a hybrid publisher--a company that charges substantial fees yet provides a service that's otherwise equivalent to traditional publishing, including rigorous selectivity and editing, high royalties, offline distribution, non-bogus PR, and more. Regardless, the term is extensively misused by vanity publishers trying to look more legitimate. Any publisher billing itself as "hybrid" demands further investigation.

Co-Publishing and Partner Publishing: These are also euphemisms beloved of vanities. The implication is that the publisher contributes something of value to match or exceed whatever the author is being asked to pay or buy: the lion's share of publishing costs, for instance, or some kind of deep publishing expertise.

However, vanity publishing is a whole different business model from traditional publishing, with profits primarily derived not from book sales to the public, but from author fees and self-purchases. Far from being a contribution or a share, your fee will likely cover not just the entire cost of publishing your book, but the publisher's overhead and profit as well. And vanity publishers have little incentive to cut into that profit by providing high-quality publishing and marketing services.

******

Writer Beware receives more reports and questions about self-styled "hybrid" Austin Macauley Publishers than we do about any other vanity. Based in the UK, AM has aggressively expanded over the past few years, extending its tentacles into the USA, the UAE, and Australia.

Fees in AM contracts Writer Beware has seen range from £1,275 to £7,700 (the heading of fee disclosure section of AM's contract is "Advances," except that this is an "advance" the author has to pay the publisher). Some authors are offered a choice of fees depending on which book formats they pick.

AM does occasionally offer a fee-free contract. But these are no bargain: among other things, there's no stated term for the grant of rights, and discontinuance of publication is "entirely at the discretion of the publisher"--in effect, a life-of-copyright grant with completely inadequate provisions for rights reversion. Also, as pointed out above, vanity publishing is a very particular business model. It's unlikely the vanity will have the staff expertise, distribution channels, or budget to provide a service that's anywhere near equivalent to what you'd receive from a traditional publisher--even if you don't have to pay a fee.

AM is currently recruiting writers via deceptively-headlined Google ads, which encourage authors who use certain search phrases to believe they are submitting to a Big 5 publisher:

For a more detailed look at AM (including its scurrilous rebuttal to my criticism, which has been removed from the web but survives thanks to the Wayback Machine), see my 2016 blog post: Questions For Vanity Publisher Austin Macauley Yield Few Answers.

As of this writing, AM is overdue on filing financial statements.

******

UK-based Pegasus Elliot Mackenzie is the oldest of the companies mentioned in this post, having been in business since the early 2000s. Like Austin Macauley, it claims to offer both traditional and "shared-cost inclusive" (i.e., pay to play) contracts to its authors, which "enables us to provide equal opportunities to both new and established authors" (claiming that new authors are a greater risk than established ones is a common rationale used by vanity publishers to justify their fees).

Like many vanities, Pegasus doesn't mention any actual money amounts on its website, but per reports Writer Beware has received, as well as others that can be found online, fees average around £2,500, with some going lower or higher (the highest we've heard about is £4,500). This is presented to authors as a "contribution"--supposedly, just part of the cost--but as I've explained above, claims of cost-sharing or partnership should be treated with skepticism.

Again like Austin Macauley, Pegasus's contract describes its fee as an "Advance". And speaking of similarities between these two vanities: with just a few exceptions, their author-unfriendly contracts are word-for-word identical.

Coincidence? Synchronicity? Well, consider that AM and Pegasus have shared people, too. Mr. Bu-Azal Bedar, who briefly served as Pegasus's Director and owns more than 50% of shares in the company, was Secretary at Austin Macauley from 2007 to 2012.

That's not all. Mr. Bedar is also Director at Ashwell Publishing Ltd., which does business as Olympia Publishers. Writer Beware doesn't get questions or complaints about Olympia nearly as often as we do about AM and Pegasus, but we've gotten enough to know that it charges similar fees and, amazingly (or maybe not) offers the exact same word-for-word identical contract.

Finally, check out the comments on this review of Olympia by The Independent Publishing Magazine, in which numerous authors report receiving offers not just from Olympia, but from AM or Pegasus as well--or as with this poor fellow, all three:


Coming full circle, a fourth connected vanity, Artemis Publishers Ltd., has applied to be dissolved and its URL, www.artemispublishers.com, has been set to re-direct to Pegasus.

******

I've written several times in this blog about Morgan James Publishing--most recently in 2018--regarding its repeated inclusion on Publisher's Weekly's annual list of fast-growing independent publishers.

Morgan James may be "independent," but it's also a vanity publisher. It requires its authors "to commit to purchasing, during the life of the agreement, up to 2,500 copies [of their book] at print cost plus $2." Reports Writer Beware has received indicate that at least some writers are asked for a "deposit" of as much as $5,000 on contract signing. I've also had reports of additional fees for editing and PR.

To make this sizeable outlay of cash seem more palatable, MJP claims on its "compare" page that "Many major houses require authors to purchase 5,000 copies, or more, of the book upon its release", and that even with self-publishing, "[the a]uthor is expected to purchase however many copies required to sell to the general public." Neither of these claims is true.

******


Page Publishing is one of a triad of sorts, a group of US-based vanity publishers that have very similar fees and business models, and present and advertise themselves in very similar ways. (The other two are Christian Faith Publishing and Newman Springs Publishing, both of which I discuss below). I haven't been able to find any proof that the three are connected (with the exception of one possible coincidence, detailed below), but as you'll see as you read on, the similarities are striking.

Page is the oldest of the three, with a 2011 founding date--although I didn't start getting questions about it until 2013. Many of the authors I've heard from missed the brief reference to "a manageable investment" on Page's About Us page, and assumed its claim to be a "full-service publishing house" meant it was a traditional publisher.

No actual prices are mentioned on Page's website, but based on the many, many reports, questions, and complaints I've received, as well as others that can be found online, Page's fees average in the $3,000-$5,000 range, paid on an installment plan over 10 or 12 months. As with so many vanity publishers, authors can spend hundreds or even thousands beyond their basic fee if they spring for optional promotional packages and materials, such as video trailers and sell sheets.

Page is an aggressive advertiser, with multiple Google ads and the kind of TV ads that run on channels like CNN or Fox News or the History Channel during the afternoon hours and late at night. Its BBB listing is stocked with an improbably large number of five-star reviews (the BBB is not normally a place where writers flock to leave reviews of their publishers)--however, it has also gathered some complaints, which paint a very different picture and echo what I've heard from writers who've contacted me.

Page is one of the most prolific vanities out there; if Amazon is to be believed, it has published over 7,000 books to date. Austin Macauley knows a competitor when it sees one:

******

Founded in 2014 by an alumnus of disgraced Christian vanity Tate Publishing, Christian Faith Publishing describes itself as a "full-service book publisher" that "partners" with its authors to deliver "personal care and national marketing exposure." All that's required is "a short-term, affordable monthly installment plan".

Sound familiar?

As with Page, CFP's fees--which it doesn't disclose anywhere on its website--average between $3,000 and $5,000, paid in installments over a period of months. Marketing is an add-on: for instance, $3,400 for a package that includes a "High-Definition Video Trailer", a press release, and a page on CFP's website. (This is not marketing, it's junk. It's not worth one cent, let alone four figures.)

Again like Page, CFP is an aggressive advertiser, with a similar range of Google and TV ads. Its BBB listing too boasts hundreds of five-star reviews...along with the inevitable complaints that tell a different story.

Remember the possible coincidence I mentioned in my discussion of Page, above? Check out CFP's corporation directors:


See the third name on the list? Dustin Roberts is the name of Page Publishing's CEO. Could this be a different Dustin Roberts? Sure. But given the nature of both businesses, one could be pardoned for wondering.

CFP is currently the subject of a wage and hour lawsuit in which the plaintiff alleges that they and others were not paid overtime. Dismissed in 2018 in favor of the plaintiff due to CFP's failure to appear or defend, the case was re-opened in 2019, and the plaintiff is now seeking a class action.

This summary of the lawsuit includes some interesting details about what CFP employees do:


Full-service, indeed.

******

Newman Springs Publishing, the third of the triad, is the baby of the bunch, having opened its doors in early 2017. Its first books didn't come out until June 2018, but it hasn't been idle: according to Amazon, it already has a catalog of nearly 400 titles.

Like CFP and Page, Newman Springs styles itself a "partner publisher," and employs a similarly modest--and non-specific--description of its fees ("a relatively inexpensive initial investment"). According to reports I've received, as well as others that can be found online, "relatively inexpensive" means the same price range as CFP and Page: somewhere between $3,000 and $5,000, paid in installments over 10 or 12 months. Additional money may be due for extras like video trailers.

A more polished version of Newman Springs' website pitch is here.

Newman Springs uses the same advertising tactics as CFP and Page: Google ads and late-night TV commercials. Also similar is its BBB listing, which includes a suspiciously large--and growing--array of five-star reviews. It hasn't been in business long enough to score any complaints, but I'm sure those are coming.
 
Design by The Blog Decorator