From the Editor’s Desk

Contents: 

         (An Insider’s View of the Book Publishing Industry)

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Getting Published: 

How Much Control Do You Think You Have?

Now, we’ll say right off that as editors and publishers, we know first-hand that this is a sensitive topic for most writers.  It is a topic which, in our experience, many writers would rather not even think about unless they are forced to do so.  But the issue is an important one that needs to be brought out of the closet and aired-out for a bit.  And who better to take it on but us?

The first thing we need to do is to start out with a little background information on this whole business of control.  To begin with, most Americans love to think they are in control. The problem with this belief is that there is often a big discrepancy between our perceptions about personal control (the level of personal control we *think* we have), and the actual amount of control we have over any particular situation.  (Think: getting out of a speeding ticket, getting a raise or promotion, getting your neighbor’s cat to stop marking his territory on your welcome mat.)

Generally speaking, when it comes to beliefs about personal control over important life events, people tend to fall into one of two categories:  high or low.  Those folks who believe they have high levels of personal control over life events think that for the most part, they are in the driver’s seat…they believe that their own personal talents and skills are primarily the driving force in determining an outcome.  Those people who have low levels of beliefs about personal control view outside factors like luck, fate, chance, God, or powerful others as being what ultimately determines the outcome in any given situation.

Now, how does all this translate into getting published?  Well, regardless of whether one tends to be high or low (or somewhere in between) on other life issues, the amount of control writers believe they have for getting their work published can have a significant impact on (a) how much frustration they (and others in their lives) experience while attempting to get published, and (b) how much money they will spend in the process.  Let’s take a look:

 

 

High Perceptions of Personal Control and Getting Published

 

The Straight-Up Side:  Writers who perceive that they have high levels of personal control are real go-getters when it comes to trying to get their work published.  These folks always send out 20 or more queries at a time (more, if they have the postage) and the words *exclusive read* are not in their vocabulary.

Writers with high perceptions of personal control are often very proactive when it comes to marketing their work.  They are the ones shaking hands, smiling, and cajoling at the front of the lines during writers’ conferences (you can always count on them to know when and where the best conferences are), and they never hesitate to call agents and publishers personally to discuss any number of things from whether their manuscripts have arrived, to what they should plan to wear on television when their first book finally makes it out of the slush pile. (As publishers, we have experienced this *proactive approach* first-hand.  PS: Please take us off of your speed dial!)

When it comes to promoting their work, high control oriented writers think and act as if they are in the driver’s seat. We admire them for their positive, proactive, take-charge approach.  They have a plan and a mission.  And they are highly focused on accomplishing it.  They believe that their own personal talents and skills are what will get them published and do not hesitate to enlighten anyone who thinks differently.

 

The Down-and-Dirty:  Believing in one’s own talents, skills, and abilities is crucial for a lot of things in life, not the least of which is succeeding in the writing business. The problem arises, of course, when one believes that it is only one’s talent and skills that will get one published.  Such beliefs are not only faulty, they can be seriously problematic.  There are two basic reasons for this:

Such beliefs assume that ONLY talented writers get published (and, if this true, we are wondering why the mainstream publishing industry has the reputation for being as in-bred as an Appalachian family) and therefore those people who are having trouble getting published must not be talented, and (2) Such beliefs ignore factors like luck, chance, having inside connections, and the laws of probability.  (Statistically speaking, if you just consider the odds writers have for becoming successfully published with a book, they ought to all pack it in and go to plumbing school…at least plumbers have health insurance plans.)

The most troublesome factor for writers with beliefs of high personal control however, is what happens to them when the rejection slips start rolling in again.  When one ignores factors like statistical odds and the laws of probability, and eschews things like insider connections, fate, God (no, not the president of Random House) or powerful others (yes, THIS is the president of Random House), then one has nothing or no one but oneself to blame when the last *Z* in the literary agents/publishers guide comes back with a *No thanks.*

Sadly, while high control writers are a lively, directed, and ambitious bunch at the starting gate, they are the most likely group to experience depression, confusion, and self-doubt when the reality of the publishing industry sets in.  Suddenly, all of the rules for being *in control* in other areas of their lives flies out the window when it comes to publishing.  They find out that talent and skill may work for getting ahead at Home Depot, but it only amounts to one piece of the equation in this biz.

Fortunately, high control writers are often so confident about their talent and writing abilities that they seldom fork over outrageous sums of money to editing services.  Unfortunately, the belief that they are in complete control of their publishing destiny does not protect them from scams from unscrupulous agents.  Being so determined to get anyone asking for an SASE to recognize their overwhelming brilliance and talent as a writer makes these folks prime targets for the infamous, *Your book is Fabulous!  Please send your money at your earliest convenience* scam.  A word of caution: we hope these writers have good auto insurance.  Being in the driver’s seat is a pretty heavy responsibility if your plans to be a part of the New York Times Best Seller List crash and burn.

 

 

Low Perceptions of Personal Control and Getting Published

 

The Straight-Up Side:  Writers who perceive that they have low levels of personal control over their publishing destiny often place far less stress and pressure on themselves than their high control counterparts.  Low control writers believe that outside factors like luck, God, fate, or powerful others in the publishing industry are what ultimately determine whether their work will ever see the light of day.  These writers are often more laid-back and do not feel a sense of *urgency* to get their work published.  After all, there is little point in rushing or getting stressed if their guardian angels are not ready, or the planets are not aligned.

For these writers, whatever is meant to be, will be.  They have the luxury of taking their time with their writing, and therefore send out only a few queries at a time, always adhering to agents’ and publishers’ wishes for *exclusive reads* (and for this, we are grateful!).  Due to their laid-back approach, they may have better overall health and a sense of well being than their high control counterparts.  And, more importantly, if they are rejected by every agent and publisher in the western hemisphere, they have plenty of things other than themselves to blame it on.

 

The Down-and-Dirty:  Writers with low perceptions of personal control may go years before being published.  Just as likely, they will give up, believing after a time that becoming a published author is just *not in the cards* for them.

Though these writers may believe that outside factors are responsible for their *failure* to get published, it nonetheless does not protect them from becoming depressed and distraught over their situation.  Feeling helpless and hopeless to ever be able to do anything that can help them reach their goals to become successfully published, low control writers may be more likely to resort to things like Ouija boards, exotic prayers, early morning cocktails, smudging, and their friends at the psychic website to get them through.

Like their high control counterparts, low control writers may be vulnerable to unscrupulous people in the book publishing industry.  These writers, believing they have so little personal control to become successfully published in the *traditional* manner, may be particularly vulnerable to unscrupulous editing, publishing and agent scams that assure them that as new writers there is no other way for them to get published unless they pay for their special *service.* (This is where the *powerful others* factor kicks in.) Unfortunately, being taken in by such con-artists may often be all it takes to turn a potential J.D. Salinger into that oddly cantankerous employee in Lane 3 of your nearest tollbooth.  

 

Strike a Balance

(and a pose, if you like)

 

Luckily, most writers are not of one extreme or the other.  Instead, most writers hang around somewhere in the middle, and while writing success is important to them, they also know enough to move on with the business of living.  They do not put their lives on hold waiting for the next, *Yes, I’d love to see it. Send the entire manuscript* (or, the next, *Not for me, thanks*).  The important thing for all writers to remember is that no matter where you tend to be on the control scale…high, low, or a little of both…there are thousands and thousands of your fellow writers out there experiencing the same exact feelings and thoughts as you, and many of them will go on to become published authors in one form or another.

So, go on.  Get those queries in tip-top shape and contact those agents to let them know just how your book will turn the publishing industry on its side.  Just remember to rub your rabbit’s foot before you open your SASEs.

And, if the rabbit’s foot works, will you drop us a line and let us know?

 

 

-SC  ©Razor’s Edge Publishing,/Razor’s Edge Multimedia

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12 Writers’ Rules to Live By

Whether it is stagnation, rejection, depression, or just plain life itself, at any point in time, many writers would admit that they are not exactly where they want to be.  This can be true for both new writers as well as seasoned old-timers procrastinating about whether to even leave the starting gate again. So, in the spirit of encouragement and helping writers take a proactive approach to getting their manuscripts to that all important *next stage*, here, from one of our writers, is a list of things to remember…

~ ~ ~ ~

Writers’ Resolutions

As committed and dedicated writers, we resolve to:

1. 1)Limit our bouts of depression to those times when we (a) have no time to write, and/or (b) have received a minimum of five new rejection letters.  Whenever possible, we will also try to coincide this with times that the Today Show features new authors who have just received million-dollar advances (preferably for self-help books on learning to love failure).
   

2. 2)Resist the temptation to visit Psychic web sites to ask when we will be getting a substantial publishing contract.
   

3. 3)Let unscrupulous agents requesting our manuscripts know that SASE does NOT stand for Steam-And-Steal-Every-Stamp.
   

4. 4)Refuse, no matter how enticing, to send our manuscripts off to any agent whose only big sale was a nonfiction book entitled, *Everything I Ever Needed to Know I Learned From My Friend the Crack-Whore.*
   

5. 5)NEVER refer to ourselves as *writers* to: (a) potential landlords, (b) employers, (c) loan officers, or  (d) anyone who might ask the question, *Really? Have you written anything I might have actually read?*
   

6. 6)Acknowledge that Captain Morgan is NOT our friend, does NOT make our writing more creative, and, in fact, is not even a real person.
   

7. 7)Remember that the opening passage to the next chapter cannot, no matter how many times we look, be found inside the refrigerator.
   

8. 8)Start to actually appreciate that all the clerks at the post office know us by name and have taken to wishing us *Good Luck* every time we drop off a package.
   

9. 9)Stop expecting (a) speedy responses from anything called a *slush pile*, (b) anything good to come from agents who send back letters smeared with pizza stains, and (c) that our idea of 3-4 weeks will ever be the same as an agent’s.
   

10. 10)Remember that the IRS does NOT recognize the cost of coffee, Valium, or Absolut Vodka as legitimate business deductions.
    

11. 11)Reassure ourselves that the thousands of dollars we have spent on editing will be tax-deductible just as soon as those first royalty checks roll in.
    

12. 12)Always remember that the words, *The fantastic book you have written is sure to be a Bestseller and a box-office hit* should NEVER be followed by the words, *Send your check at your earliest convenience.*
    

 

(Reprinted with permission. This article has been previously published under different titles and has appeared in various venues including Writer’s Ink, the Frankly Speaking column, Publish or Perish, and the Write Connection.  Reprint/publication requests should be sent to: editor@razorsedgemultimedia.org

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Publisher’s Pick

 

The Scam, The Sting,

and The Dirty Little Secret

An Insider’s View of the Book Publishing Industry

 

 

Publisher’s Note: Thanks to the persistence of one of the three authors of this piece, the following true-life story caught the attention of not only the Attorney Generals of two states, but a major network news station in a large U.S. metropolitan city. The news station was so interested in the story that they sent a reporter on the trail of the literary agent in question, and ran a two-day feature of the story during their prime-time news hour. 

 

Though this story played out several years ago, it is as fresh and as salient today as ever before. The writers of the piece you are about to read have all gone on to become successfully published authors.  Their identities, as well as the identity of the literary agent, have been kept anonymous. The important point: they could be anyone.

 

 

The Secret

 

The book publishing industry has a dirty little secret.  It is a secret that is so well kept that few members of the book-buying public are aware of it. In fact, most readers curl up with a copy of their latest find, or browse the aisles of their favorite bookstore, completely oblivious to the pain and misery that is embedded within this industry.

 

The book publishing industry is really comprised of two businesses.  The first is in the business of producing and selling books to the general public.  The second arm of the industry is in the business of theft, deceit, and fraud.  This second, *scammy side* of the book publishing industry is surprisingly large, exceedingly profitable (conservative estimates are in the multi-million dollar range) and as protected from legal/penal consequences as their legitimate counterparts.

 

The legitimate side of the book publishing industry is a grueling one for most writers.  The vast majority of writers have realities that are nothing like the serene, confident, poised authors interviewed on television talk shows.  For most writers, the reality is one of constant rejection, negativity, and almost totally void of positive reinforcement.  With a business-as-usual 99% rejection rate by publishers and literary agents alike, it is a business that can cripple the faint of heart.  (Even for those writers who are fortunate enough to have their books published, the income from book sales for the majority of writers is usually far too meager to sustain life.) When you factor in the piranhas who prey on the already fragile hopes and dreams (not to mention bank accounts) of writers who have exposed their souls in their writing, well, let’s just say the effects can be devastating.  As one writer put it, “What is the most depressing to me now is that my writing self-esteem is completely deflated because the only agents I can land are scam artists who accept everybody!”

 

The book publishing industry’s alter-ego is not just causing financial loss to writers.  It is a grueling business filled with rejection.  (Overnight success stories are rare.) This makes writers an easy target.  With so much negative response to their work, many writers have a difficult time holding on to the hope of ever seeing their work successfully published.  Writers who fall prey to the all too common hustle of con-artists not only lose money, but pay a much higher emotional and spiritual price.  As one veteran writer and victim said, “I don’t remember how much she [the scam agent] bilked me out of.  It was too much. But even as a pretty broke writer, the killer for me is the way she played with my (and so many other people’s) hopes and dreams.  Writers, regardless of skill, invest hopes and dreams into every paragraph...I gave up a lucrative business career to become a struggling writer because of the hope she gave me.  I jeopardized retirement comforts, my kids’ college education, and, at times, undermined my own self-esteem...I remember my excitement over [hearing the scam agent’s talk of] best-seller and film possibilities, I felt vindicated. Now I know it was all bullshit.”

 

 

 

The Scam

 

The illegitimate side of the book publishing business is propagated by con-artists posing as literary agents, publishers, and independent editors.  Their victims are unsuspecting writers and their methods for financially duping and deceiving writers are very slick.

 

There are some commonly known scams that have been playing out within the book publishing industry for decades.  The first type is when the con-artist agent tells the writer that his/her work holds *a lot of potential, but needs some editing.*  In this same communication, the scam agent typically implies that once the editing services are sought out by the writer,  the agent will then represent the writer’s work.  These scam agents then recommend either their own editing services or an outside editing service which offers kick-backs to agents for the referrals.  The cost for these so-called, *editing services* often run anywhere from several hundred to several thousand dollars.  Once the editing services have been paid for, the scam agency just ignores all future communication efforts by the writer.  A similar scam has been popularized by unscrupulous literary agents who require a *reading fee* to consider manuscripts; after the fee is paid, the acceptance rate is zero percent for those who are true con-artists.  There are also scams run by a small percentage of unscrupulous publishers who charge entrance fees for questionable *writing contests* that never seem to be traceable.

 

The scam we will focus on here is just as insidious, but far more difficult to detect until the con has been run and the so-called agent becomes *unreachable.*

 

 

Method of Operation:  (a) The scam artist poses as a literary agent and pretends to read the potential client’s manuscript under the guise of possible representation.  (b) Next, s/he offers glowing letters about the book along with a contract to represent the book for publication and requires the writer to pay a fee for (insert your favorite lie here:  administrative fees, fees for so-called *photocopies* to send off to publishers, long-distance calls with movie producers, etc.).  (c) After the check is cashed, the so-called *agent* then disappears, moving on to the next victim.

 

This scam is very hard to detect because unpublished writers are often told that legitimate agents do, indeed, charge for expenses.  In this way, the scam artist’s request for such fees does not seem unreasonable.  However, those knowledgeable in the business can tell you that such expenses are normally charged to the writer after they are incurred and the charges are substantiated with expense logs and receipts.  Experienced writers sometimes may negotiate having these expenses deducted from their first advance.  Neither of these scenarios includes paying an agent an undocumented, up-front fee.

 

Unfortunately, new writers often do not realize this distinction.  Furthermore, many writers who have been victimized later admit that they figured no person in their right mind would bother carrying out such an elaborate scam just to receive a check for a couple hundred dollars.  However, literary agents report receiving approximately 250 to 500 queries and requests from writers to be represented each and every month.  Some agencies report receiving 250-500 such requests EACH WEEK.  If only a small percentage of writers *accepted* by these scam-artists writes a check, these so-called, *agents* may pull in $250,000.00 a year, with the possibility of even MORE...even if the scam agent only makes $100.00 to $200.00 per manuscript.  Pretty good money for only writing a letter offering to *represent* someone!

 

 

 

 

THE STING

 

 

The Set-Up:  In order to fully appreciate the following documents surrounding the sting you will need a little background information.  We had been busy working to inform and assist several federal governmental law enforcement offices, state penal/legal agencies, and media organizations to investigate certain so-called literary agents for fraud.  One agent in particular, we will call her Ms. X, who worked her scam out of the Los Angeles, California area, appeared to us to be a master at this fraudulent technique and particularly insidious in her method of operation.

 

Throughout our communications with investigative agencies we were repeatedly reminded that they needed proof that this agent was engaging in a *systematic effort to commit fraud and deceive clients.* While there were numerous victims willing to step forward to give testimony to the practices of this agency, we needed additional evidence to clearly demonstrate our claims that this so-called, *agent* was indeed, in the business of committing fraud.

 

We needed something more.  A hook.  Something that could demonstrate without a doubt that this so-called, *literary agent* does not even READ the manuscripts sent to her. 

 

Enter Richard Hulligan…as good a pseudonym as any. 

 

And then…the product. Using our own money, time and resources, we took four long nights to write the most incoherent, most absurdly ridiculous, absolute worst piece of garbage that ever passed through a printer.

 

Two of us wrote straight through from about 7:00 in the evening until 3:00 in the morning for four consecutive nights to complete an entire manuscript of 239 pages.  We used a combination of four types of writing techniques:

 

(1) Bad voice-recognition software. Voice-recognition software that had been *untrained* and recognized only 25% to 50% of the words spoken.  The other 50% to 75% of the time, it printed

out a string of bizarre and strangely-connected words and non-words that were not even remotely close to what we had said.

 

(2) Plain old-fashioned plagiarism.  For the *factual* portions of the manuscript we did a direct copy-and-paste, lifted straight from Microsoft’s encyclopedia software, Encarta. This portion was intentionally written in such a way that even a grade school child could recognize this most obvious *lifting* of text.

 

(3) Repeat, repeat, repeat.  We filled in a lot of the pages of the story by simply copying large portions of texts, and then pasting them over and over again in random parts of the manuscript.

 

(4) Good ol'-fashioned bad story-telling.  We created a story-line that rested on the premise of the Russian Revolution, as told from the perspective of a Cabbage.  We called our epic tale, *Quoth the Cabbage.* The plot unfolds as a poor cabbage farmer and his family enter into desperate times as the revolution nears.  The farmer grows mad from worry, leaving his wife and ten children to pick up the pieces. 

 

Meanwhile, the cabbages in the farmer’s field see they are the only ones who can save the Russian people, and begin to create a plan.  When a band of runaway orphans escape to the cabbage field one night, the vegetables seize the moment...as the orphans huddle together to stay warm, small dolls begin to emerge from the center of the Cabbage Patch and tell the orphans of the cabbages' plans. 

 

As the story unfolds, the orphans are instructed by the dolls from the Cabbage Patch to instigate and orchestrate the Russian Revolution.  Once this was accomplished, the orphans are caught and banished to Siberia.  Coincidentally, this is precisely where the farmer's wife has brought her children and husband she has reunited with to start a new life.  The story ends as the orphans (who now live with the farmer and his family) guard their special dolls from the Cabbage Patch and share hot bowls of sauerkraut.

 

 

DID WE MENTION THAT THIS MANUSCRIPT WAS REALLY  BAD??

 

 

 

The Good, The Bad, and the Editorially-Impaired:  We sent a query for this piece-of-garbage manuscript out to five *good* agents (agents with a long-standing reputation of being legitimate) and five suspected *bad* (or questionable) agents, including Ms. X and her Publication Group.

 

Not surprisingly, all five of the *good* (legitimate) agents took a major pass, while all five of the *bad* (questionable) agents requested to see either the entire manuscript or portions thereof.  Some were especially enthusiastic.  We couldn’t resist.  We packaged up copies of that manuscript and in a New York second headed for our local post office with the following:

 

COVER LETTER accompanying the manuscript, "Quoth the Cabbage":

 

 Dear Agent,

 

     Thank you for asking to review my book, Quoth the Cabbage.  It is lucky

for me to have found an agent who recognizes something good when it comes

along.

     I am sure you are going to think it is good.  Several of the guys over

here at the VFW think it is great, along with three of my neighbors.  The wife

thinks it is sure to be a bestselling novel and that it is the best way to

learn about such important history because the story is so interesting. 

   I have done many years of research on the Russian Revolution and the novel

is jam-packed with historical yet entertaining (according to the wife) facts.

At the same time, you will note I have taken artistic license in creating a

stream of consciousness type style to depict the insanity of the times.  I also

might say that I think I have done an excellent job at capturing what the

thoughts and feelings might be of a cabbage existing during these trying times.

     As for the future film rights, I am thinking that someone like that Steven

Spielberger fellow might really take a shine to it.  If you know him, you

migght want to think about contacting him first.  Though the Disney people

might also be a good possibility.

     I’ll close here because I am sure you are anxious to get to reading it

right away.  I have supplied a SASE for you to tell me how you like it.  I did

not put in one of those large envelopes because I am that sure you are going to

love it and will therefore not need to be returning it to me.

     I will be looking forward to hearing what you think

 

Sincerely, 

Richard Hulligan

 

 

 

 

 

Response to Our Manuscript:  Three of the questionable agents responded by referring the manuscript to an infamous editing service.  (This editing service was later busted by the New York Attorney General’s Office.)

 

Even better, two of the agents receiving the entire manuscript absolutely loved it!  But of these two, Ms. X took the cake. Ms. X and her Publication Group sent a contract offer for *Quoth the Cabbage* and wrote a rave review.  Here is an excerpt of what this so-called, *literary agent* said holds the potential for being the next Best Seller and Block-Buster Hit:

 

 

 

EXCERPT FROM THE NOVEL MANUSCRIPT “Quoth the Cabbage”

Page 9 (ms.  239 pgs.) 

 

Starving children, to a well who've cabbage and Leopold amazement.  Leopold

side than he called to who is why beliefs can lock them normal room me a half

that factor.  Let's see what to take that route.  It calls.  " What we see what

the bizarre how can this powerhouse so much what we absolute rule! It is there

is not right it stands now rights of blocked astounded.  Then they had

conducted a job as a Leopold rather

 

And they willing to ~ together in Moscow and the assault at a packed in army

troops of nails.  But now you weep, and their guns the law's ban.  It is true.

All is easy to see what color was up wheat belt will it.  It.  Why it's up and

what's it's to be?  What is the Russian way of life to come to?   It's yours to

uncover,  Leopold thought.  For as we meet state appears to get harsher and

harsher for the common man just trying to put food onto the table.

 

Ahh, but then the rotten colder to draw the snow in the Russian winter wheat

went by the wayside.  He would recall.  Leopold with that lot of vegetables;

and ten markets expect to win the cabbage.  Are cabbage happily for him was not

to meet all was nine and the cabbage can Play a news didn't a vegetable ago at

the wheel lock and Leopold would be quite happy but never to retire the

vegetables rate it seemed to want to Wall replies maybe they went to a better,

his colleagues cabbage tempo " toward new pair to cabbage wanted to use,

vegetables perhaps weeks Jacobs also lives.  Then what's the word.  It was

beaten disappear insulted a clever in its ability to help the czar."

 

 

(Quite a piece of work, huh?)

 

 

 

Ms. X’s RESPONSE TO THE MANUSCRIPT  “Quoth the Cabbage”:

 

Mr. Hulligan,

 

    I enjoyed "Quoth The Cabbage" immensely.  It has wit, and a charming

style, and considerable and fascinating information.  It is joyful and exciting

reading.

Congratulations!

     Contract is enclosed and self explanatory.

     I will do a multiple submission to five of the majors; it has become an

acceptable practice among my confreres, and it also tends toward possible

negotiating benefits in the event two or more express interest.

     We have a long-term arrangement with a copier who, at the rate of .10

cents per page, uses my signature quality heavy paper and includes packaging,

addressing and FedEx-ing (I pay the Fed-Ex).  Five copies of this manuscript of

239 pages (five copies = 1185 pages) at .10 cents per page is $118.50.  Adding

California's sales tax of $9.75 raises the total to $128.25.  If this

figure is comfortable for you, with the return of my copy of the signed

contract, please include a check in this amount, made payable to The XXX

Publication Group.

     There may be film possibilities, with a little luck.  Please--no

hurry--prepare a one page synopsis, and a more detailed one of perhaps eight

pages, for use as a screen presentation; we submit to both venues simultaneously.

 Warmest regards,

 

 (Ms. X’s signature)

 

 

(Wow!  Film possibilities?  Now that adaptation we would have paid to seen.)

_______

 

 

 

Not so funny if it happens to you 

Responses such as the one from the scam literary agent featured here speak for themselves.  Less obvious are the voices of the writers ripped off by these con-artists who pose as literary agents.  Those people whose confidence, trust and self-esteem have been seriously damaged by piranhas who prey on the hopes and dreams of others.  As one of the victims of the previously-mentioned agent said, *It’s not so much the money you lose.  That you can get over.  It’s really the way these scam agents leave a writer completely ‘Mind-F%&^ed’.*

 

 

A Final Word

The proof is in the cabbage soup.  As hard as it may be to do, when somebody tells you that your work has charm, wit, and film possibilities, don’t go writing that check and rehearsing your Daily Show interview until you check them out thoroughly.  There are a lot of sharks out there, and some of them are hardwired to bite at anything that moves. 

 

 

 

©Razor’s Edge Publishing/Razor’s Edge Multimedia

 

 

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Bookstore owner burns books in protest

KANSAS CITY, Missouri (AP) -- Tom Wayne has amassed thousands of books in a warehouse during the 10 years he has run his used book store, Prospero's Books.

His collection ranges from best sellers, such as Tom Clancy's "The Hunt for Red October" and Tom Wolfe's "Bonfire of the Vanities," to obscure titles, like a bound report from the Fourth Pan-American Conference held in Buenos Aires in 1910. But when he wanted to thin out the collection, he found he couldn't even give away books to libraries or thrift shops; they said they were full.

So on Sunday, Wayne began burning his books in protest of what he sees as society's diminishing support for the printed word.

"This is the funeral pyre for thought in America today," Wayne told spectators outside his bookstore as he lit the first batch of books.

The fire blazed for about 50 minutes before the Kansas City Fire Department put it out because Wayne didn't have a permit for burning.

Wayne said next time he will get a permit. He said he envisions monthly bonfires until his supply -- estimated at 20,000 books -- is exhausted.

"After slogging through the tens of thousands of books we've slogged through, and to accumulate that many and to have people turn you away when you take them somewhere, it's just kind of a knee-jerk reaction," he said. "And it's a good excuse for fun."

Wayne said he has seen fewer customers in recent years as people more often get their information from television or the Internet. He pointed to a 2002 study by the National Endowment for the Arts, that found that less than half of adult respondents reported reading for pleasure, down from almost 57 percent in 1982.

Kansas City has seen the number of used bookstores decline in recent years, and there are few independent bookstores left in town, said Will Leathem, a co-owner of Prospero's Books.

"There are segments of this city where you go to an estate sale and find five TVs and three books," Leathem said.

The idea of burning the books horrified Marcia Trayford, who paid $20 Sunday to carry away an armload of tomes on art, education and music.

"I've been trying to adopt as many books as I could," she said.

Dozens of other people took advantage of the book-burning, searching through the books waiting to go into the flames for last-minute bargains. Mike Bechtel paid $10 for a stack of books, including an antique collection of children's literature, which he said he'd save for his 4-year-old son.

"I think, given the fact it is a protest of people not reading books, it's the best way to do it," Bechtel said. "(Wayne has) made the point that not reading a book is as good as burning it."

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