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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

Here's a list of the scams themselves--at least, the nearly 100 I've identified so far (the list is also posted in the sidebar of this blog). You'll note that a number of them operate under more than one name--I suspect the interconnection is much greater than this, but I've only indicated the additional names where I've been able to reliably document them.

Some have perished since I began the list--I've noted this, but left their names, for the sake of authors who may have been scammed while they were operational.

- Access Media Group (aka Quill Space Media)
- Ace Media Creative Publication / Ace Media International / APM Media Production (aka Pearson Media Groups)
- ADBooks Media (aka Coffee Press / Okir Publishing, which is defunct)
- Alpha Books Solutions
- Alpha Books United
- Amelia Publishing / Amelia Book Company (aka LitFire Publishing / GoToPublish)
- AnalytIQ
- Ascribed LLC (defunct)
- Author Aide
- Author Codex (aka BookSpine Press)
- Author Media Express
- Author Pro Creatives and Marketing (defunct) (still doing business as Matchstick Literary)
- Author Reputation Press
- Author University
- AuthorCentrix (formerly BookBlastPro)
- AuthorLair
- Author's Note 360
- Authors Press (aka Westwood Books Publishing [formerly Greenberry] / Creative Books)
- Beacon Books Agency
- Black Lacquer Press & Marketing
- BooConn Marketing
- Book Agency Plus (aka BookTrail Agency)
- Book Art Press Solutions (aka Window Press Club / Booktimes)
- Book Avenue Publishing (aka Nivra Press, which is defunct)
- Book Magnets
- Book Reads Publishing (defunct)
- BookSpine Press (aka Author Codex)
- Booktimes (aka Book Art Press Solutions / Window Press Club)
- BookTrail Agency (aka Book Agency Plus)
- Book Vine Press
- Books Scribe
- BookVenture Publishing
- BookWhip (aka Carter Press / PRM Solutions)
- Box Office Media Creatives (aka Buzz Media Creatives)
- Bright Lights Distribution
- Buzz Media Creatives (aka Box Office Media Creatives)
- Capstone Media Services (defunct) (now doing business as Stampa / Stampa Global)
- Carter Press (aka BookWhip / PRM Solutions)
- Chapters Media & Advertising (aka Techbooks Media)
- Coffee Press (aka ADBooks Media) (formerly Okir Publishing)
- Creative Books (aka Westwood Books Publishing / Authors Press)
- Creative Titles Media  (aka TrueMedia Creatives)
- Crest Media Distribution
- Diamond Media Press
- Dream Books Distribution
- EC Publishing
- Editor's Creative Media (aka Editor's Press and Media)
- Editor's Press and Media (aka Editor's Creative Media)
- Global Summit House
- Gold Touch Press
- Golden Ink Media Services
- Goldman Agency
- GoToPublish (aka LitFire Publishing / Amelia Publishing / Amelia Book Company)
- Happy Media Consulting
- Haynes Media Group
- IdeoPage Press Solutions (aka The Writer Central)
- Legaia Books
- Lettra Press
- LitFire Publishing (aka Amelia Publishing / Amelia Book Company / GoToPublish)
- Maple Leaf Publishing
- MatchStick Literary (aka Author Pro Creatives and Marketing --defunct)
- McNaughton Books / McNaughton Publishing (website is currently dead)
- Netsfilm & Media Press
- New Leaf Media
- New Reader Media
- Nivra Press (defunct) (still doing business as Book Avenue Publishing)
- Okir Publishing (defunct) (still doing business as ADbook Press / Coffee Press)
- Outstrip (defunct)
- PRM Solutions LLC (aka Carter Press / Bookwhip)
- Pacific Books
- PageClapp Media
- PageTurner, Press and Media
- Parchment Global Publishing
- Paradigm Print
- Paramount Books Media
- Pearson Media Groups (aka Ace Media Creative Publication / Ace Media International)
- Press To Impress Publishing
- Pubkits.com
- Quill Space Media (aka Access Media Group)
- Readers Magnet
- Royale House (defunct)
- Rushmore Press
- Sherlock Press (defunct)
- Silver Fox Media
- Stampa / Stampa Global (formerly Capstone Media Services)
- Stonewall Press (aka Uirtus Solutions) (both defunct)
- Stratton Press
- Techbooks Media (aka Chapters Media & Advertising)
- Toplink Publishing
- TrueMedia Creatives (aka Creative Titles Media)
- Uirtus Solutions (aka Stonewall Press) (both defunct)
- Universal Book Solutions
- URLink Print and Media
- Vivlio (a.k.a. Vivlio Hill, Vivlio Hill Publishing, Vivlio Solutions, Vivlio Marketing Solutions)
- WestPoint Print and Media
- Westwood Books Publishing (formerly Greenberry) (aka Authors Press / Creative Books)
- Window Press Club (aka Book Art Press Solutions / Booktimes)
- WorkBook Press
- The Writer Central (aka IdeoPage Press Solutions)
- YourOnlinePublicist
- Zeta Publishing

(I'm continuously updating this list--adding new companies as I discover them, noting 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!

UPDATE 12/10/19: I want to highlight this recent comment, which illustrates how ubiquitous and persistent these scams are. Bottom line: if you self-publish, you can count on being solicited. Be on your guard. (By "GoTo", I'm assuming the commenter means GoToPublish.)





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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 last year, several authors, including Ed Kurtz, made a complaint to the Horror Writers Association about long-overdue royalties at ChiZine. On November 5 of this year, 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.




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Publisher Alerts: Complaints at Month9 Books, Nonstandard Business Practices at Black Rose Writing


In mid-2016, I wrote about YA publisher Month9 Books' abrupt decision to scale back its list, reverting rights to as many as 50 authors across all its imprints. Explaining the culling, Month9 founder and CEO Georgia McBride cited her own health problems, along with staffing issues and the company's "substantial growing pains" over the past six to nine months.

McBride's announcement triggered a surge of complaints from Month9 authors, who described a host of serious problems at the company, including late or missing payments (for staff as well as authors), problems with royalty accounting, delayed pub dates, broken marketing promises, overcrowded publication schedules, communications breakdowns, and harsh treatment and bullying by McBride.

According to authors and staff, these problems were not new or even recent, but had been ongoing for a long time. Why had authors kept silent? Almost every writer who contacted me mentioned their fear of retaliation--along with the draconian NDA included in Month9's contracts. I've rarely encountered a situation where authors seemed so fearful of their publisher.

Things quieted down after the initial flood of revelations, as they often do. Month9 survived and kept on publishing, though its list continued to shrink: between a high point in 2016 and now, the number of titles appears to have fallen about 50%. Apart from a handful of additional complaints in late 2016 and early 2017 (similar to this one), I didn't hear much about Month9 in the years following.

Until now. Over the past few weeks, I've been contacted by multiple writers who say they are still suffering from the same problems that surfaced in 2016: primarily, late (sometimes very late) royalty and subrights advance payments and statements (in many cases received only after persistent prodding by authors and their agents), and allegations of irregularities in royalty reporting.

The intimidation level, too, seems not to have changed. Most of the authors told me that they feared reprisal for coming forward, and asked me specifically not to mention their names or book titles. (Writer Beware never reveals names or other unique identifying information, unless we receive specific permission from the individual. That disclaimer is included on our website and in our correspondence.)

If you've been following the recent ChiZine scandal, you may be feeling some deja vu--notably, in the alleged existence of a toxic culture within the publisher that makes authors fearful and and helps to keep them silent. It's disappointing to learn that even if the issues that thrust Month9 into the spotlight three years ago have gone quiet, they don't seem to have eased. Writers be warned.

******

I wrote about Black Rose Writing in 2009, in connection with its requirement that authors buy their own books. Writers who submitted were asked how many of their own books they planned to buy; their response was then written into their contracts. (Book purchase requirements are back-end vanity publishing: even if writers aren't being asked to pay for production and distribution, they still must hand over money in order to see their work in print.)

Black Rose got rid of the book purchase requirement a few years later, and claimed to be a completely fee-free publisher. I had my suspicions that money might still somehow be involved, though...and as it turns out, I wasn't wrong.

I've recently learned that new Black Rose authors receive a Cooperative Marketing Catalog that sells a range of pay-to-play marketing and promotional services, with costs ranging from a few hundred dollars to four figures. For instance:


It's true that purchase is optional (though I would guess that authors are heavily solicited to buy). But reputable publishers don't sell marketing services to their authors--and in any case, much of what's on offer are things that other publishers, even very small ones, do for their authors free of charge, as part of the publication process.

That's not the only way in which Black Rose authors are encouraged to pay their publisher. Owner Reagan Rothe is a self-described "financial partner" in two additional businesses: the Maxy Awards, a high entry fee book competition that donates "a large part of every entry" to a charity (how large? No idea; that information is not provided); and Sublime Book Review, a paid review service.

Though Mr. Rothe's financial interest in these businesses is not disclosed on the business's websites, both businesses are clearly energetically promoted to Black Rose authors. On Sublime's website, nineteen of the first 20 book reviews are for Black Rose books. There's also this, from the marketing catalog (note the lack of disclaimer):


As for the Maxys, thirteen of the 17 winners and runners-up for 2019 are Black Rose books.

Mr. Rothe does admit his relationship with the businesses in this recent email to Black Rose authors--though only to afford them yet another opportunity to give him money:





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Junk Book Marketing: Pay-to-Play Magazines


Posted by Victoria Strauss for Writer Beware®

Scroll down for updates

On this blog and elsewhere, I spend a lot of time warning about junk book marketing services: so-called marketing and promotional services that are cheap to provide, but can be sold at a big markup, and for the most part are of little worth for book promotion or can more effectively be done by the author him/herself. Some examples: press releases, email blasts, book trailers, book fair display, social media setup, and social media advertising.

All these and more are hawked to writers at exorbitant prices by assisted self-publishing companies like the various Author Solutions imprints--and also, increasingly, by their scam imitators. Either way, they're a ripoff...but the scammers demand even bigger fees, tell even bigger lies, and deliver even more shoddy results. And that's when they're not just taking your money and running.

A few weeks ago, I focused on pay-to-play radio interviews--another junk marketing service--and why they're not worth the huge fees charged by providers. This week, I'm going to talk about pay-to-play magazines. (You'll note that all the companies discussed below are on my Big List of Publishing and Marketing Scams.)

Have you ever received a solicitation like this one?
Or this one?
Or this one?
Of course the books haven't undergone "extensive evaluation", or been "carefully chosen", or showed to "a team" that "really like[s] your vision". Such solicitations are just spam, blasted out to addresses scraped from the internet or stolen from self-publishing company customer lists.

Nor are these real magazines, in the sense of publications that are widely available to the public. Instead, they're collections of ads, interviews, and "feature articles" sold to writers at huge prices, sometimes interspersed with general interest pieces (often really badly written) or, in the case of New Reader Magazine, with fiction, poetry, and art. These "publications" are never circulated in any meaningful sense; they may be posted online, but their primary mode of distribution is from tables in company booths at book fairs...where many of the authors buying ad or interview space have already paid a premium for display.


The prices the faux magazines charge for placement can be enormous. For instance, here's the  "Executive Full-Spread Ad" from Paperclips Magazine, which is owned by (not "partnered with" as claimed in its solicitation email) publishing and marketing scammer Legaia Books:


A "Showcase" full-page ad costs $3,698 ($2,218.80 on sale), and a "Premier" half-page ad clocks in at $2,599 ($1,299.50 on sale). Paperclips' parent company, Legaia Books, also sells publishing and marketing services at high prices, using deceptive sales tactics to target small press- and self-published authors.

Here's one writer's not very satisfactory experience with Paperclips. I've gotten emails from many others.

New Reader Magazine--which looks quite legit if you don't know better--is owned by New Reader Media. Though the magazine actually appears to provide small payments for content acquired via general submission, it charges anywhere from $5,000 and up for the magazine feature and "partnership" mentioned in its solicitation email. Like Legaia, New Reader Media also sells publishing and marketing services at gigantic prices, as well as book-to-screen services (always a scam).

New Reader has accumulated some online complaints due to its aggressive solicitation and poor performance. It has also been caught making false claims, such as that it was responsible for Christopher Paolini's bestselling novel Eragon being made into a movie.

The Christmas magazine that's the subject of EC Publishing's solicitation can be seen here (if you're brave, you can also check out the Las Vegas Edition, produced for the Las Vegas Book Festival). Like most of the pay-to-play magazines, it's a compilation of author-purchased ads and features, laughably badly-written general interest articles, and a smattering of actual advertising. Prices for inclusion range from a few hundred to several thousand dollars, depending on how much space is purchased.

Thanks to its aggressive soliciting, EC Publishing is the subject of a warning from the Australian Society of Authors.

Authors Press's Authorial magazine has its own website (note the "notice of non-affiliation and disclaimer" that pops up if you linger on the home page: the scammers read Writer Beware). Writers can buy a spot in the magazine, starting at fees of a few hundred dollars; ad space or "features" are also included in some of the more expensive promotional packages Authors Press offers.

Authorial's BEA 2019 issue consists of more than 75 pages of author ads, interviews, and excerpts. Just imagine the thousands of dollars in revenue generated by all those pages, some of which include ten or more ads. Also have a peek at Authorial's gallery page, which features photos of  the dozens of books displayed in Authors Press's BEA booth. In 2019, writers were being charged anywhere from $1,000 to $3,500 for presence in the booth, depending on what level of activity they chose. Now multiply all of this by the seven book fairs Authors Press attended in 2019. It's not chump change.

From URLink Print and Media comes Harbinger Post. Like the others, it's nearly all paid content, interspersed here and there with staff-written features. Here's an example of the caliber of that writing:


Other scammy publishing and marketing companies that sell space in proprietary magazines (I've received multiple complaints about all these companies):

Global Summit House: Global Summit House
Litfire Publishing: WayFairer
AuthorCentrix: AuthorCentrix Magazine
Stonewall Press (defunct): GoldCrest Magazine

Print advertising is expensive, and how useful it is for book marketing is an open question. But if it is to be effective at all, it must offer the possibility of being seen by a large audience of potentially interested readers and buyers.

That means circulation, subscriptions, and quality content beyond mere advertising--not ad-stuffed, error-ridden, proprietary publications whose only exposure to the public is a "free, take one" stack on a side table in a book fair booth. Even if the ad slots weren't insanely expensive--and even if writers didn't have to pay for what real magazines never charge for, such as interviews--buying space in these fake publications would be a waste of money.

Writer beware.

UPDATE 1/29/20: It's not just scammers that run this kind of racket. Via its PW Select - BookLife feature (which I discuss here and  here), industry magazine Publishers Weekly has begun to sell a "very special" service:


These prices rival the scammers'. And the promise of print exposure is not quite what it seems. Per PW's Q&A explainer, the interviews appear not in the body of the magazine, but in "PW’s BookLife supplement, which is published the last week of each month bound into that week’s issue of Publishers Weekly". In other words, easy for readers to ignore or skip over.

PW actually has the wide circulation and industry audience the scammers only pretend to. But given the huge fees and the segregation of the interviews in a separate supplement--not to mention the open question of how useful any kind of print advertising is for book marketing--there's more than a whiff of the same kind of exploitation here.




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Contest Scam Alert: Legaia Books Online Book Competition


Posted by Victoria Strauss for Writer Beware®

When is a literary contest not a literary contest?

When its purpose is to make money for the contest sponsor. Alternatively: when its purpose is to assemble a list of likely customers.

Take the online book competition (or book literary contest, or books competition--it doesn't seem to have an actual name) recently announced by Legaia Books, a publishing and marketing scam I've featured on this blog. Here's one of the solicitation emails that are going out:


Sound tempting? Here are all the reasons to kick this "contest" to the curb.

1. Legaia is a scam. This company--which claims a North Carolina address but really operates out of the Philippines--exists to rip off authors. That's really all the reason you need to give this contest a miss...but let's move on.

2. It's a scam within a scam. Legaia's contest has all the elements of a profiteering awards program--a different kind of scam, whose template Legaia is borrowing as a way to make some quick bucks and boost its customer list. Here are the markers:
  • Solicitation. See the email above.
  • A fat entry fee. You have to dig into the contest guidelines to find this: $40 for entries now, $70 for entries after May 11.
  • Policies designed to maximize entries. Most profiteering awards programs offer dozens or scores of entry categories, in order to attract the largest number of entrants and thus the biggest pot of entry fees. Legaia's contest doesn't have categories--but it's "open to all aspiring and established authors", which, combined with what is doubtless a sizeable email solicitation campaign (Legaia is a prolific spammer), is basically the same thing.
  • Mystery judging. The prestige of a literary competition is tied, in part, to the reputability of its judges. If the judges' identities aren't revealed, you have no way to know whether they have any credits or experience that would qualify them to be judges. They could be just the contest sponsor's own staff--or no one at all. Legaia's guidelines include multiple mentions of "judges" but, in true scam contest style, no names.
  • Opportunities to spend more money. This is where entrants' email addresses--which are required for entry--come in handy; non-winners will almost certainly be solicited to buy Legaia's publishing packages and other services. (Contest guidelines also invite entrants without a book cover to "call us for a professional book cover.")
  • Worthless prizes. Profiteering contest sponsors avoid cutting into entry fee income by offering "prizes" that cost them little or nothing to provide. Legaia is no exception. Given that its services are overpriced and substandard, a "Free Book Publication Coupon" is more like a lump of coal than a Christmas present. The "Seal Awards" aren't actual seals--just digital images. Winners are promised a "pitch program" that will expose them to "literary offices and film productions"--despite the fact that Legaia can't cite a single "literary office" or film studio that has ever picked up a book thanks to its (likely nonexistent) efforts. As for the "Marketing Platform worth $15,000"...Legaia offers only junk marketing ("marketing" that's cheap to provide, can be sold for giant markups, and is not effective for book promotion), so the actual worth is closer to zero. 
3. You have to work. In addition to submitting "your (a) manuscript, (b) synopsis, (c) book cover (front and full)" the contest guidelines indicate that there will be a public voting phase (see #7 and #8), which means you will have to bug your friends and family and annoy your social media followers with multiple vote-grubbing posts and announcements. Additionally, you must create a "pitch to the judges" which is "one of the criteria in the second phase of the contest as indicated in Rule 8". You have the option of making a video or using Legaia's "Free Pitch Template," whatever that is; the guidelines offer no guidance on length, content, or anything else.

4. Nobody has heard of it. The supposed benefits of a contest win or placement are often touted by sketchy contests or awards as one of the benefits of entering (not to mention a justification of a big entry fee). You'll be able to tag your book as an "award-winning book" and yourself as an "award-winning author". It'll impress agents and editors! It'll bring visibility to your work! It'll increase sales!

Most contests, however, don't have the prestige or name recognition to accomplish any of that. Agents and editors are well aware of how many dodgy contests are out there competing for writers' money; "I won Grand Prize in this contest you never heard of!" is unlikely to impress them. As for readers and book buyers, how much they care about award and contest wins is an open question--especially, again, where they've never heard of the award or contest. Is it worth $40 (or $70) to you to test that question?

5. A serious lack of literacy. Both the email solicitation reproduced above and the contest pages on the Legaia website are littered with grammatical and other errors (like its many brethren--see the sidebar--Legaia is based overseas). This really shouldn't need saying, but the sponsors of an English-language contest for English-language books should be able to demonstrate a good command of English.

Any one of these factors should be enough to at least cause you to give this contest the side-eye. Taken all together, they add up to a giant, screaming red flag.

My own feeling about literary contests is that they are mostly a waste of time (even if not of money). Scams and exploitation abound in this space (if you're a regular reader of this blog, you know how many posts I write about problem contests). Even where the contest is legit and doesn't have "gotchas" in its guidelines, those that can genuinely benefit your writing resume are a tiny minority. Again in my opinion, writers' time is better spent on publishing or submitting for publication.

That said...if you still are attracted by contests, there are resources on the Contests and Awards page of Writer Beware to help you research ones that won't rip you off. Also be sure to use the search box in the sidebar to search this blog for any contests I may have written about, and feel free to email me with questions.




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The Rainbow’s In The Gasoline

Hamilton Leithauser “The Garbage Men” “The Garbage Men” has a sort of shabby grandeur to it, particularly in the contrast of the unrestrained clattering percussion and a sampled horn loop that’s like a very rough approximation of a sentimental string arrangement from an old Hollywood film. It sounds like a guy stumbling around drunk through […]




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Right Before We Cross The Line

Cleo Sol “When I’m In Your Arms” Cleo Sol made her new record with the producer Inflo, who also produced the two Sault albums from last year. There’s a very similar aesthetic to this music – classic soul rendered with warm, foregrounded bass and ample negative space that highlights the precision of all other instruments […]




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Down To Business

Next week is basically nothing but robot butts




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Bought enough toilet paper? Check this online calculator

Worried about whether you have enough toilet paper for the coronavirus lockdown? A German website can tell you how long your supply will last.




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Novelty toilet roll cakes keep Finnish baker in business

A quick-thinking Helsinki bakery has saved itself from financial ruin due to the new coronavirus pandemic by creating a cake that looks like a toilet roll.




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Sex toy sales take off amid Colombia's coronavirus quarantine

Gerson Monje holds up his cellphone to proudly show off his online sex shop. A red banner reading "sold out!" is plastered across half of the products.




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'Darth Vader' enforces lockdown in Philippine village

Dressed as "Star Wars" characters, local officials in the Philippines are out and about to enforce strict quarantine measures while also handing out relief packages.






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Phones away, please: the rise and rise of the online pub quiz

Your local boozer might be shut but the pub quiz lives on, with everyone from Helen Mirren to Stephen Fry asking the questions

In an unidentified magnolia room, Lenny Henry is yelling: “Let me hear you say: ‘YEAH.’” Next to his face, a live chat feed blurts out heart emojis and comments such as: “Hello, Sir Lenny!”. Or: “I’ve had the biggest crush on Lenny Henry since his Chef days.” Or: “Hi, my team name is Wuhan Clan.”

The Dudley comic is hosting the National Theatre’s online pub quiz, a pre-recorded broadcast, streamed via YouTube and Facebook. He is joined by Lesley Manville, Helen Mirren and Ian McKellen to pose 15 minutes’ worth of intensely difficult general knowledge questions to the public. And, bizarrely, to announce that: “I will pull interesting faces while you write the answer down,” before shooting his eyebrows to the sky and gaping his jaw as if he’s running an advertising campaign for his own tonsils. Still, this is lockdown living; everything’s a bit odd.

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Bat soup and gargling vinegar: five of the worst myths about coronavirus – busted

With disinformation connecting coronavirus to 5G masts, fortune cookies and eating bat soup, here are some of the worst examples of misinformation surrounding the pandemic

If there’s one thing we know about Covid-19, it is that the pandemic is incredibly infectious. At the same time, the volume of disinformation from doctored photos to false rumours and hoax videos spreading online has grown at a worrying pace.

In etymological terms, the word “viral” comes from the stem word “virus”. And the viral misinformation can be a danger in itself. Just think of the recent petrol bomb attacks on 5G phone masts because of a widely believed – but unfounded – link to coronavirus.

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Why BAME people may be more at risk from coronavirus – video explainer

NHS staff from black, Asian and minority ethnic backgrounds may be given roles away from the frontline under plans to reduce their disproportionately high death rate from Covid-19.

The Guardian revealed last week that minority groups were over-represented by as much as 27% in the overall Covid-19 death toll. Additionally, 63% of the first 106 health and social care staff known to have died from the virus were black or Asian, according to the Health Service Journal.

Senior reporter Haroon Siddique looks at the figures and explains why BAME people may be more at risk.

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Why the 5G coronavirus conspiracy theory is false – video explainer

Conspiracy theories linking 5G technology to coronavirus have resulted in dozens of phone masts across the UK being vandalised in recent weeks. Theories about the dangers of 5G had already been circulating, despite regulators confirming that the radiation levels of the new technology are well within safe boundaries. So how did the conspiracy incorrectly linking it to 5G start? And is 5G really dangerous? We explain why 5G has nothing to do with Covid-19

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How coronavirus is dividing India – video explainer

The spread of Covid-19 in India has been catastrophic for millions of its poorest and marginalised residents who are bearing the brunt of the world's biggest shutdown. Hannah Ellis-Peterson tells us how coronavirus and the lockdown is further dividing the country along class and religious lines


  • This video was amended on 7 May 2020 to clarify that there are millions of migrant workers in India, but not 480 million as an earlier version suggested.


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Could a 12-year-old Australian-Chinese violinist be the next child prodigy?

Decca Classics’ youngest-ever signing, Christian Li, has been hailed a ‘superstar’ who is already up there with the greats

The classical music world is no stranger to young talent. The 19th century virtuoso Niccolò Paganini started playing aged seven, while Yehudi Menuhin caused a sensation with his performance, at the same age, of Mendelssohn’s Violin Concerto.

Now, however, there’s a new kid on the block, whose backers say transforms from “normal child” to “absolute superstar” the moment the lights dim. Christian Li, a 12-year-old schoolboy violinist from Melbourne, recently became the youngest-ever artist signed by the Decca Classics record label. He will release a new recording later this month, a contemporary adaptation of a traditional Chinese folk tune.

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Imagine the UK getting rid of road rage, congestion and exhaust fumes for ever | Susanna Rustin

Britain is a latecomer to decarbonising transport but changes under lockdown and initiatives abroad could spark a revolution

  • Coronavirus – latest updates
  • See all our coronavirus coverage
  • It was a grim irony that the best transport news in ages was buried in the first few days of the coronavirus lockdown. On 26 March, the government published a document, Decarbonising Transport, which went further in facing up to the problem of emissions from air and vehicle traffic than most campaigners had dared to hope for.

    The challenge is enormous. In 2016, transport overtook energy to become the single biggest source of domestic emissions. Motor vehicles on their own are responsible for around a fifth of the total. On aviation, the UK is the world’s third-worst polluter, behind China and the US.

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    Global report: Trump says Covid-19 will 'go away without vaccine', expects US death toll to top 95,000

    Mike Pence’s press secretary tests positive to coronavirus; China reports one new case; Russia reports 10,000 new cases for sixth day in a row

    Donald Trump has said coronavirus will “go away without a vaccine” and is expecting 95,000 or more deaths in the US, as Mike Pence’s press secretary tested positive for coronavirus.

    The president’s comments, at an event with Republican lawmakers, capped a horror week in the US, in which it was revealed unemployment had risen to 14.7%, up from 3.5% in February, with 20 million people losing their jobs in April.

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    Purrfect Combination Of Creepiness And Cats ("Creepy Cat" Comic)

    Artist Cotton Valent has created a brilliant cat comic series called, "Creepy Cat."

    Creepy Cat is the purrfect combination of creepiness and cats! Honestly, what more can you want in life? The story begins when Flora, the human, moves into an old house. Turns out, the old house is occupied by a "creepy cat." And that is where their story begins! 

    You can follow the amazing series on Manga Mutiny! We love "Creepy Cat!"




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    Maine Coon Bonds With Newborn (Video)

    According this is video, there are 7 stages in which a Maine Coon slowly falls in love with a newborn. Or at least in this case.

    What are the stages?

    Stage 1: "Ewww, what is it?"

    Stage 7: "I'll take it from here, thanks."

    Just kidding, but not really. Watch the see the delevoping love between the two! 




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    How to Prevent Your Pet From Developing Separation Anxiety Post Quarantine

    During this crazy time many of us have been confined to our homes and for some that means to be home 24/7 with our best friends. Our pets. However, because of this, many pets have become accustomed to having us home with them. 

    But then the question is... will they be okay once bans are lifted and people are able to slowly go back to their daily routines?

    Will they be able to handle their best friends not being by their side 24/7?

    It is expected that many dogs (even cats!) can suffer from separation anxiety, and pet experts are saying that it's a good idea to get your pet ready and used to post-quarantine separation now, to minimize their stress later. 

    Here are some useful tips for both dog and cat owners.

    More videos on Cheezburger's Youtube Channel 





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    it sucks being an artist in quarantine.

    i'm apparently part of a band now? i mean none of us live close to each other but i'm making contributions to this group's songwriting and like i'm the only guitarist so,, i probably have to stay but it's stressful when you're trying to write your own songs for your own projects and then there's all this school stuff hanging over your head and it's like you're procrastinating on literally everything.
    i'm painting my own killjoy mask. i got a party poison one but i'm doing one for myself too.might go crazy and cut the sleeves off a denim jacket i never wear and use all that fabric for patches for uh. crust punk jeans or something. maybe i'll learn to play in drop d tuning, maybe i'll go in the basement when people leave and teach myself a good ol fashioned screamo scream. learn to play the solo for demolition lovers and go nuts, do that song both guitar and singing. figure out how to use the multitracker thing i have and learn how to actually record stuff. i can't be "productive" by societal standards right now. i gotta create. i don't like how we live in a culture of guilt with that type of stuff. if art is supposed to come out of world crises there shouldn't be any shame in that.




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    CEDEC Event Moves Online Due to COVID-19

    Online event still takes place on same September 2-4 schedule as previously planned physical event




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    Cardcaptor Sakura: Clear Card Happiness Memories Smartphone Game Ends Service on June 30

    Game launched in October 2019




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    Wordsmiths That Lit People Up Online

    Oh yeah, we've got a fresh collection of fiery banter and insults from the online world's most tenacious wordsmiths. Some people take it upon themselves to deliver all kinds of reality checks, witty insults, etc, to others in the online world that seem to be in need of a quick wakeup. Never underestimate the power of the written word. These folks definitely got humbled. 




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    PostSecret Saves the Nation’s Suicide Hotline, 1-800-SUICIDE

    Almost 14 years ago to the day, Reese Butler, the founder of HopeLine, asked me if I thought the PostSecret community could raise enough money to prevent the nation’s suicide prevention hotline from closing. The crisis-line needed over $25,000 to continue its mission. I posted a plea on this website and one week later over […]




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    Mysterious ‘Planet Nine’ on the solar system’s edge may not be real

    Strange orbits of distant space rocks have been used to infer that the solar system has an unseen ninth planet, but those orbits may be less strange than we thought, meaning there is no need for a new planet




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    BCG vaccine being trialled as potential protection against covid-19

    A long-standing hypothesis suggests the BCG vaccine also serves to generally enhance the immune system, meaning it could protect against covid-19, and trials are under way to find out




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    Robots with 3D-printed muscles are powered by the spines of rats

    Robots made of 3D-printed muscle and rat spines could help us understand conditions like motor neurone disease and the technique may eventually be used to build prosthetic devices




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    Why it’ll still be a long time before we get a coronavirus vaccine

    Trials of experimental coronavirus vaccines are already under way, but it’s still likely to be years before one is ready and vaccination may not even be possible




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    BCG vaccine helps fight infections by boosting immune cell production

    The BCG tuberculosis vaccine boosts the production of immune cells and this may explain how it protects newborns from dying of sepsis




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    The ‘elites’ will be fine, the merely competent will suffer

    We sometimes speak of the American university, as if it is all one thing, where you’ll attend and be pampered for four years and pop out at graduation to a job and a well-paid career. Corey Robin exposes the inequities of the university system by comparing City University of New York, a massive public university, […]




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    Quarentine




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    Friday Polynews Roundup — Triad storyline on "The Connors," Black Poly Nation gets TV rep, loving polyfamily profiles, community dreams, and evangelical worry that this all hits too close to home



    • Friday Polynews Roundup
    • poly and christian
    • polyamory on TV
    • tabloids



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    Friday Polynews Roundup — "Social power and quarantine in polyamorous relationships," Roswell TV series, more.