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, Pearson Media Groups, 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.

Posted by Victoria Strauss for Writer Beware®

In my first post about the ways that predatory companies attempt to ensnare unwary writers who are searching for publishers, I discussed fake publisher-matching websites. In my second, I exposed the scammy Google ad tactics of vanity publisher Austin Macauley.

In this third post, I'll talk about an equally insidious practice: providing misinformation or even outright lies about traditional publishing, in order to make self- or vanity publishing appear superior.

Yesterday on Twitter, someone tweeted this chart, which purportedly compares traditional publishing and self-publishing.


If you're even slightly savvy about publishing, the inaccuracies are easy to spot. Trad pubs often pay royalties on retail price (not "net sales"), or pay a higher percentage (higher royalties are especially common in the small press world). Trad pubs that pay advances don't withhold them from less popular authors, and they don't require authors to make "certain minimum orders" or to buy thousands of copies of their own books. And while it's often true that smaller traditional publishers don't provide much in the way of PR or marketing support, and larger houses invest more marketing in more popular books and authors, they don't simply ignore 95% of their output (this makes no sense; what business markets only 5% of its products?)

As for author rights...trad pubs do license exclusive rights from authors, sometimes for a period of years, sometimes for the life of copyright (with reversion usually happening well before then). But they don't gain ownership of them (as "all rights are with the publisher" implies), because the author retains copyright--plus, authors can often negotiate to keep some of their subsidiary rights. And although self-publishing is typically non-exclusive, allowing authors to publish on multiple platforms if they wish, they do still have to license publishing and distribution rights to whichever platform or service provider they choose--otherwise, the platform couldn't legally produce and sell their books.

The chart comes from this how-to-self-publish article, which is really just a long ad for PublishEdge, which is (surprise!) a paid publishing services provider.


PublishEdge is a "division" of Zaang Entertainment Pvt Ltd, which, unlike the Philippines-based scams I've been covering so much lately, is based in India. The range of services it sells aren't priced as high as some of the scammers', but there are still plenty of warning signs: no information about who is providing the services on offer (so you have no idea who they are or if they're qualified); no cover or website design samples (so you have no idea what you'd be getting for your money); and this pitch for ghostwriting services, which invites you to "Discover the simple secret to how celebrities and busy professionals get their books published without actually writing", courtesy of "our book writing experts", who (judging from the description of the service) basically type up a Skype interview into a chapter book. Most likely these unnamed "experts" are hired on Upwork or Fiverr or a similar jobs site (holy plagiarism scandal, Batman!).

PublishEdge isn't alone in misrepresenting traditional publishing in order to make itself look more attractive. Among other alternative facts, this chart from Morgan James, a vanity publisher with an author purchase requirement, claims that "many major houses" require authors to buy 5,000 copies or more of their own books (doesn't that make MJ's 2,500 purchase requirement seem appealing?), and that trad pubs provide no PR or marketing support for 94% of their books and authors. (Hmmm. Could PublishEdge have borrowed a little something there?)

Here's another misleading comparison, from Union Square Publishing, a self-styled hybrid (read: vanity) publisher. It too borrows heavily from Morgan James's chart, with several of the same dubious claims. Here's another one--this time from Success Publishing, which sells Chicken Soup-style anthology slots.

This one, from "custom" publisher Momosa Publishing (packages start at $5,900), doesn't tell quite so many fibs, but encourages you to believe that trad pubs cap their royalties at 6%, and don't market their books to libraries. And then there's this from Atmosphere Press, another so-called hybrid, which wants to convince writers that a $5,000 publishing fee will save them from the "raw end of the deal" they'd get from a trad pub, "losing not just their royalties but also the rights to their material and to their control over their art." Not addressed: the likelihood of ever making that $5,000 back.

These are just a few examples; there are many more. If you use the internet as part of your publisher search, you're very likely to encounter them (in some cases, disseminated by self-styled experts who ought to know better). It's a great argument for a step that many writers skip: learning about publishing before diving into the quest for publication. As with all aspects of publishing, knowledge is your greatest ally and your best defense: the more you know about the way things really work, the better protected you will be against the disinformation described above.

Final note: I know that many writers have had bad experiences with traditional publishers--I've had some myself. Especially in the small press world, many traditional (at least in the sense that they don't charge fees) publishers engage in nonstandard and author-unfriendly business practices. There's plenty of discussion of that on this blog. I'm not trying to paint trad pub as perfect, or argue that it's necessarily a better choice for any given writer.

But deliberate distortions like those described above don't help anyone, even if you don't take into account their obvious self-serving agenda. Tarring an entire segment of the publishing market with a broad negative brush--especially where some of the supposed negatives are demonstrably false--is as irresponsible as arguing (as some people still do) that only traditional publishing is a worthwhile path. 

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England's midfielder Phil Foden greets spectators after England's win over Spain in the final FIFA U-17 World Cup football match at the Vivekananda Yuba Bharati Krirangan stadium in Kolkata on October 28, 2017. / AFP / Dibyangshu SARKAR

England's midfielder Phil Foden greets spectators after England's win over Spain in the final FIFA U-17 World Cup football match at the Vivekananda Yuba Bharati Krirangan stadium in Kolkata on October 28, 2017. / AFP / Dibyangshu SARKAR

In the jubilant scenes that followed Argentina’s victory at the FIFA Futsal World Cup Colombia 2016, certain images stood out above all others. Among them was the sight of coach Diego Guistozzi being thrown into the air by his players, some of whom had been his team-mates only four years previously at Thailand 2012.

MEDELLIN, COLOMBIA - SEPTEMBER 27: Eder Lima of Russia takes a selfie with spectators after the FIFA Futsal World Cup Semi-Final match between Iran and Russia at Coliseo Ivan de Bedout stadium on September 27, 2016 in Medellin, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

MEDELLIN, COLOMBIA - SEPTEMBER 10: Sergey Abramov of Russia takes a selfie with spectators after the FIFA Futsal World Cup Group B match between Thailand and Russia at Coliseo Ivan de Bedout stadium on September 10, 2016 in Medellin, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

MEDELLIN, COLOMBIA - SEPTEMBER 10: Sergey Abramov of Russia takes a selfie with spectators after the FIFA Futsal World Cup Group B match between Thailand and Russia at Coliseo Ivan de Bedout stadium on September 10, 2016 in Medellin, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

MEDELLIN, COLOMBIA - SEPTEMBER 27: Eder Lima of Russia gives a shirt of Russia to a young blind spectator after the FIFA Futsal World Cup Semi-Final match between Iran and Russia at Coliseo Ivan de Bedout stadium on September 27, 2016 in Medellin, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

CALI, COLOMBIA - SEPTEMBER 28: Joao Matos of Portugal is seen in the dressing room prior to the FIFA Futsal World Cup Semi Final match between Argentina and Portugal at the Coliseo el Pueblo Stadium on September 28, 2016 in Cali, Colombia. (Photo by Ian MacNicol - FIFA/FIFA via Getty Images)

CALI, COLOMBIA - SEPTEMBER 28: Joao Matos of Portugal is seen prior to the FIFA Futsal World Cup Semi Final match between Argentina and Portugal at the Coliseo el Pueblo Stadium on September 28, 2016 in Cali, Colombia. (Photo by Ian MacNicol - FIFA/FIFA via Getty Images)

Joao Matos of Portugal looks on during the warm up before the FIFA Futsal World Cup Semi-Final match between Argentina and Portugal at the Coliseo El Pueblo stadium on September 28, 2016 in Cali, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

Alan Brandi (C) of Argentina competes for the ball with Joao Matos (L) and Ricardinho (R) of Portugal during the FIFA Futsal World Cup Semi-Final match between Argentina and Portugal at the Coliseo El Pueblo stadium on September 28, 2016 in Cali, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

Alan Brandi (L) of Argentina controls the ball next to Joao Matos of Portugal during the FIFA Futsal World Cup Semi-Final match between Argentina and Portugal at the Coliseo El Pueblo stadium on September 28, 2016 in Cali, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

Alan Brandi (2nd L) of Argentina plays the ball past Joao Matos (L) of Portugal during the FIFA Futsal World Cup Semi-Final match between Argentina and Portugal at the Coliseo El Pueblo stadium on September 28, 2016 in Cali, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

CALI, COLOMBIA - SEPTEMBER 28: Alan Brandi (2nd L) of Argentina plays the ball past Joao Matos (L) of Portugal during the FIFA Futsal World Cup Semi-Final match between Argentina and Portugal at the Coliseo El Pueblo stadium on September 28, 2016 in Cali, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

CALI, COLOMBIA - SEPTEMBER 28: Alan Brandi (2nd L) of Argentina plays the ball past Joao Matos (L) of Portugal during the FIFA Futsal World Cup Semi-Final match between Argentina and Portugal at the Coliseo El Pueblo stadium on September 28, 2016 in Cali, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

Alan Brandi (2nd L) of Argentina plays the ball past Joao Matos (L) of Portugal during the FIFA Futsal World Cup Semi-Final match between Argentina and Portugal at the Coliseo El Pueblo stadium on September 28, 2016 in Cali, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

Argentina's Alan Brandi (C) controls the ball between Portugal's Bruno Coelho (L) and Joao Matos during their Colombia 2016 FIFA Futsal World Cup match at the Coliseo El Pueblo stadium, in Cali, Colombia on September 28, 2016. / AFP / LUIS ROBAYO

Cristian Borruto (L) of Argentina protects the ball from Joao Matos (R) during the FIFA Futsal World Cup Semi-Final match between Argentina and Portugal at the Coliseo El Pueblo stadium on September 28, 2016 in Cali, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

Eder Lima of Russia gives a shirt of Russia to a young blind spectator after the FIFA Futsal World Cup Semi-Final match between Iran and Russia at Coliseo Ivan de Bedout stadium on September 27, 2016 in Medellin, Colombia. (Photo by Alex Caparros - FIFA/FIFA via Getty Images)

CALI, COLOMBIA - OCTOBER 01: Joao Matos and Ricardinho of Portugal are seen in the dressing room prior to the FIFA Futsal World Cup Third Place play off match between Iran and Portugal at the Coliseo el Pueblo Stadium on on October 1, 2016 in Cali, Colombia. (Photo by Ian MacNicol - FIFA/FIFA via Getty Images)

CALI, COLOMBIA - OCTOBER 01: Joao Matos and Ricardinho of Portugal are seen in the dressing room prior to the FIFA Futsal World Cup Third Place play off match between Iran and Portugal at the Coliseo el Pueblo Stadium on on October 1, 2016 in Cali, Colombia. (Photo by Ian MacNicol - FIFA/FIFA via Getty Images)

CALI, COLOMBIA - OCTOBER 01: Joao Matos of Portugal vies with Hossein Tayebi of Iran during the FIFA Futsal World Cup Third Place play off match between Iran and Portugal at the Coliseo el Pueblo Stadium on on October 1, 2016 in Cali, Colombia. (Photo by Ian MacNicol - FIFA/FIFA via Getty Images)

Joao Matos of Portugal vies with Hossein Tayebi of Iran during the FIFA Futsal World Cup Third Place play off match between Iran and Portugal at the Coliseo el Pueblo Stadium on on October 1, 2016 in Cali, Colombia. (Photo by Ian MacNicol - FIFA/FIFA via Getty Images)

Iran's Mahdi Javid (L) vies for the ball with Portugal's Joao Matos during their Colombia 2016 FIFA Futsal World Cup final match at the Coliseo El Pueblo stadium, in Cali, Colombia on October 1, 2016. / AFP / LUIS ROBAYO