ter

News: Guest Strip - Terry Blas

By
Published On :: 2020-05-05T17:45:00+00:00

Scott R. Kurtz: Today's guest comic was written and illustrated by my good friend Terry Blas. Not only is Terry the inspiration for Max's boyfriend, he's also an accomplished writer and cartoonist. His books Hotel Dare and Dead Weight are available on Amazon and are sure you lift your spirits during the quarantine. And his Instagram account is full of his amazing art. I think we're going to work together on more Max and Terry strips, so stay tuned.


Full Article

ter

Vanity Radio: Why You Should Think Twice Before Paying For an Interview

By feedproxy.google.com
Published On :: Wed, 11 Dec 2019 17:52:00 +0000


Posted by Victoria Strauss for Writer Beware®

In a super-crowded, hyper-competitive marketplace, one of the main challenges for book authors is to stand out. And where there's a need, there are always unscrupulous operators waiting to take advantage. The internet is awash in worthless schemes and outright scams designed to profit from authors' hunger for publicity and exposure.

I've written about a number of these--Hollywood book-to-screen packages, the hugely marked-up PR options offered by Author Solutions, the plague of marketing scams originating in the Philippines. Others to watch out for include book fair display packages (publishing industry expert Jane Friedman has a good article on why these are not worth your money), pay-to-play book review services, and what I'm going to talk about in this post: vanity radio.

What's vanity radio? In the "writer beware" context, it's radio air time that you, the program guest, have to pay for. Such schemes have been around forever in various forms, aimed at experts and creatives of all kinds, from services that explicitly sell pay-to-play interviews, to show hosts that charge interview fees to defray the fees they themselves have to pay their platforms.

The main selling point is the promise that your interview will be heard by a large and eager audience, giving wide exposure to you and your book (see the pitches that I've pasted in below). But vanity radio is primarily online radio, delivered via platforms like Blog Talk Radio and Spreaker, and streaming services like iTunes, iHeart Radio, and SoundCloud. Online radio listenership is steadily rising, but unless there are subscriber lists (as on YouTube, for instance), there's usually no way to determine the audience for any given host or show--or to authenticate any listenership claims the show may make. Lots of people may be tuning in...or no one at all.

As a result, the only verifiable benefit authors may receive for their money is an audio or audio-and-video clip that they can post to their websites and social media accounts. Whether that's worth it when it costs $99 or $150 or $200 is debatable enough. But when the price tag is four figures?

As always in the realm of junk marketing aimed at writers, Author Solutions has been both the pioneer and the primary practitioner. All its imprints sell vanity radio in some form: here's AuthorHouse's offering, for instance (just $1,099!). iUniverse's is identical. Xlibris and Trafford currently sell teasers rather than interviews (for significantly more money), but through 2017 they too hawked interviews.

Recently, however, AS's leadership in the realm of predatory marketing services has been challenged by a flood of scammy imitators. These copycat ripoff factories have adopted vanity radio in a big way, and they aggressively hawk it to authors, both on its own and as part of costly publishing and marketing packages. Here, for instance, is an offer from Book Vine Press (cost: $1,500):

From Author Reputation Press (cost: £1,500):


From Parchment Global Publishing (cost: $1,499):


The copycats re-sell the services of a number of show hosts (there's a list below), but the three personalities noted above--Kate Delaney with America Tonight Radio, Ric Bratton with This Week in America, and Al Cole with People of Distinction--make the most frequent appearances on the copycats' websites and in their email solicitations. Delaney and Bratton have substantial, legit resumes in TV and radio; Cole is a bit harder to research, but he too seems to have a sizeable track record as a talk show host.

What, if anything, do they know of the reputation and tactics of the copycats that are re-selling their services? I contacted all three for comment last week. Cole's assistant responded in email that "Al Cole knew nothing about this....Our office will certainly look into this." As of this writing, I haven't heard back from Delaney or Bratton.

Given that the copycats routinely charge an enormous markup on products they re-sell (see, for instance, this warning from the Combined Book Exhibit, whose book fair exhibit packages many of the copycats re-sell for hugely inflated prices; the copycats also seriously jack up the fees for paid book reviews such as Kirkus Indie and BlueInk Reviews), it seems a fair bet that the interviews' hefty price tags are substantially inflated as well.

Apart from the question of such interviews' value for book promotion, that seems like reason enough to avoid them.

******

Author Solutions copycats that sell interviews from the individuals mentioned above:

BookVenture, ReadersMagnet, Maple Leaf Publishing, Parchment Global Publishing, Rustic Haws, Branding Nemo, Creative Titles Media, Paradigm Print, Stampa Global, Books Scribe, Matchstick Literary, PageTurner Press, EC Publishing, WestPoint Print and Media: Ric Bratton

LitFire Publishing, Author Reputation Press, ReadersMagnet, BookTrail Agency, Book-Art Press, Box Office Media Creatives, IdeoPage Press, Book Agency Plus: Kate Delaney


ReadersMagnet, Author Reputation Press, Rustik Haws, URLink Print & Media, Workbook Press, Parchment Global Publishing, BookWhip: Al Cole


BookTrail Agency: David Serero

BookTrail Agency, Book Agency Plus: Angela Chester


UPDATE 1/9/19: Parchment Global has added the disclaimer in red to its solicitations for Al Cole interviews (it might want to do some proofreading):


I don't know if this was at Mr. Cole's behest (remember, he's the only vanity radio host who responded--if not very expansively--to my request for comment) or is just CYA by Parchment Global itself, but hey--it lets me know that the scammers are still reading my blog.

Do I believe Parchment Global has stopped taking a cut? What do you think?


Full Article

ter

Writer Beware: 2019 in Review

By feedproxy.google.com
Published On :: Wed, 08 Jan 2020 19:11:00 +0000

Posted by Victoria Strauss for Writer Beware®

Happy New Year! It's that time again--time for a look back at the schemes, scams, and issues Writer Beware covered in 2019.

PUBLISHER TROUBLES

Sadly, there's never a shortage of stories like these.

Scandal Engulfs Independent Publisher ChiZine Publications: Arguably the biggest small press story of the year, the spectacular collapse of Canadian indie ChiZine Publications--amid allegations of non-payment, financial mismanagement, and a horrifically toxic work culture rife with bullying, sexual harassment, racism, and more--posed thorny questions for the small press community about cultures of silence, the treatment of whistleblowers, and the tacit enabling of unprofessional behavior.

Authors' Concern Grows Over Late Royalty Payments At Dreamspinner Press: Multiple author complaints of nonpayment and other problems, for which Dreamspinner has provided confusing and conflicting explanations. (Dreamspinner has become part of the implosion of Romance Writers of America, with RWA accused of failing to assist Dreamspinner authors who requested help.)

Fireside Press Cancels Multiple Contracts: Mass contract cancellations don't generally bode well for publisher health.

Complaints At Month9Books, Nonstandard Business Practices at Black Rose Writing: Long-standing issues, including late payments and bullying, appear to be ongoing at Month9. As for Black Rose, it presents as a "traditional" publisher but, vanity publisher-style, sells a large menu of marketing services to its authors.

Trouble at Dog Ear Publishing: Multiple, long-standing author complaints of nonpayment by this assisted self-publishing company (this publishing model is in trouble generally).

AWARDS TO AVOID

If you've been reading here for a while, you'll know that I'm no fan of contests and awards--not just because they often involve big entry fees (even the legit ones), but because they so often have author-unfriendly rules and guidelines. Here are a few I encountered in 2019.

Can We Get a Do-Over? What do you do when you get caught with predatory language in your contest guidelines? You hastily switch it out, of course. That's what Harper's Bazaar did when the copyright grab in its annual short story competition was outed on Twitter.

Rights Grabs by the Sunday Times Audible Short Story Award: Another prestigious (and rich: the winner gets £30,000) contest with a predatory rights grab.

The Pressfuls Short Story Contest: Why not to enter a contest that doesn't post rules and guidelines: you may discover, as writers who entered this contest did, that your work has been published without your permission.

SAVE YOUR CASH

The shady underbelly of the publishing world is chock-a-block with those who scheme to take authors' money, by fair means or foul. Here are some especially foul examples.

Seven Prolific Vanity Publishers: A look at the vanity publishers about which I get the most questions, including Austin Macauley, Page Publishing, and Christian Faith Publishing.

Anatomy of a Book-To-Screen Scam: One of the most unlikely outcomes of publishing a book is selling film rights. Book-to-screen scammers--who purport to turn your book into a screenplay, shop it to Hollywood, and more--don't want you to know that.

Vanity Radio: Why You Should Think Twice: Should you ever pay for a radio interview? Like paid book reviews, this is an iffy proposition--even if you're not being solicited by a scammer.

A Pack of Scammer Lies: Dissecting the highly deceptive pitch by one especially egregious publishing and marketing ripoff.

ADVICE YOU CAN USE

When a Publisher Claims Copyright on Edits: This predatory practice is a big publishing contract red flag.

How Predatory Companies Are Trying to Hijack Your Publisher Search: Among other sneaky techniques: fake publisher matching sites that purport to guide you to appropriate publishers but steer you to vanities and self-publishing companies; deceptive use of Google ads to do the same thing; fake facts and statistics about traditional publishing designed to make the vanity model seem preferable.

Awards Profiteers: How Writers Can Recognize Them and Why They Should be Avoided: Profiteering awards programs have a secret agenda: making money for the sponsor with huge entry fees. They're not about honoring writers.

GENERAL BEWARES

Be careful out there!

From the Philippines, Not With Love: A Plague of Publishing and Marketing Scams: This is one of the biggest new scam trends threatening self-pubbed and small press authors. Some background on how the scams came to be, plus a list of the nearly 70 scammers I've discovered so far.

Issues at Audible's ACX: Including attempted rights fraud and inexplicably withdrawn promo codes.

Caution: Turkish Publisher Mavifil Publishing (Mavifil Yayinlari): Old scammers never die; they just change their names. A non-paying publisher that stalked writers in 2011 returns to stalk them in 2019.

AMS Literary Agency: Approach With Caution: Old scammers never die; they just change their names. Whoops, didn't I just say that? The owner of one of the most notorious vanity publisher scams ever returns in the guise of a literary agent.

Beware: Wid Bastian aka Widtsoe T. Bastian/Genius Media Inc./Kairos Phoenix Company: A convicted felon, an ebook promo and box set scheme. What could go wrong?

Publishizer: Do Authors Really Need a Crowdfunding Literary Agency? Yet another of those reinvent-the-wheel attempts that are so common in publishing: a crowdfunding site for writers that claims to represent manuscripts to publishers, but is mostly used by vanities and other fee-chargers (some of them seriously questionable).


Full Article

ter

What You Need to Know About How California's New Law AB-5 Affects Writers

By feedproxy.google.com
Published On :: Wed, 15 Jan 2020 17:35:00 +0000


Posted by Victoria Strauss for Writer Beware®

Scroll down for updates

Last year, California passed a new law, AB-5, intended to make things better for gig economy workers, such as Uber and Lyft drivers, by forcing these companies to provide employee protections and benefits for their freelance workers.

However, the narrowly-written law, which went into effect on January 2, has created unintended consequences for freelance writers, most of whom are independent by preference. If they sell 35 or more pieces to the same company in a year (which can easily happen with short blog posts or  product reviews), the company must treat them as employees rather than freelancers and pay payroll taxes as well as unemployment and other insurances. Even before the law went into effect, companies were laying off California freelancers and seeking replacements in other states.

Book writers may be affected too, under certain specific circumstances.

The article below was originally published by the Authors Guild; I'm re-printing it with permission. This is an issue all writers need to be aware of, as similar laws are under consideration in other states, including New York and New Jersey.

******

We have been receiving inquiries about California’s new law AB-5 and similar pending legislation in other states that require companies hiring individuals on a freelance basis for labor or services to treat them as employees, unless the individual’s work falls within one of several exceptions. Laws like AB-5 (which goes into effect on January 2) are meant to aid gig economy workers, such as Uber and Lyft drivers, who work for a single company and have no employee protections. They are well-intentioned pieces of legislation, but unless they are narrowly written, they can go beyond protecting gig workers and disadvantage many traditional freelancers who wish to remain independent by overriding existing state agency law.

To be clear, the Authors Guild fully supports employment protections for freelance journalists and authors, and will be lobbying for collective bargaining rights in 2020. Like Uber drivers, writers have no benefits and are often paid less than minimum wage. But forcing writers to work as employees, especially on a state-by-state basis, is not the way to go about it. The situation in California speaks to the importance of deliberation, careful drafting, and getting buy-ins from the various industry groups. Similar “gig worker” bills are in the works in New York and New Jersey. The new draft NJ bill includes a strict, sweeping version of the ABC test. Those working closely on the bill are concerned that freelance journalists will in many cases be treated as employees. We will watch the bill and do our best to ensure that the necessary protections for freelance journalists are added.

* The NY bill attempts to exclude freelance journalists, and we have provided comments to the drafters to make it clearer.* (correction 12.30.19)

AB-5’s 35-Submission Cap

As many of you are aware by now, much of the debate surrounding AB-5 comes down to its 35-submission cap applying to the contributions of freelance journalists, editors, and photographers. When the bill was being negotiated, a coalition of writer and photographer groups, including the Authors Guild, was able to get an exception for freelance writers. Unfortunately, Assemblywoman Lorena Gonzalez, who sponsored the bill, added a cap of 35 pieces per company—meaning that once a freelance journalist or editor submits 36 articles or jobs for the same company in one year, the freelancer must be treated as an employee and the employer must pay California State unemployment and employee insurances.

Many full-time writers today patch together a living from different sources—and they want to keep it that way. Because of AB-5, California freelance journalists writing 35 or more pieces for a single company fear losing clients to writers in states with laxer laws. Indeed, some publications have already stated that they will not hire California freelance writers because of the new law. 35 articles might seem like a lot, but there are plenty of writers who write more than that. Writing a short weekly blog piece for a client could easily put a writer over this limit.

Another problem with treating writers as employees and not freelancers is that employee-writers do not own the copyright in their work; instead, the employer is considered the “author” under copyright law and automatically owns the copyright in its creation. Of course, as most major publications today insist on an assignment of copyright anyway, the practical effect, unfortunately, is the same: the writer gives up copyright. Still, freelance writers who assign copyright can reclaim it after 35–40 years, which is a benefit that employee-writers lack.

Does AB-5 Apply to Book Contracts?

Authors have raised alarm that AB-5 will apply to book writers as well. The Authors Guild has been reviewing the bill from that perspective since it was first introduced. We were assured by those working on the bill that trade book authors are not covered, and we do not see a basis for disagreeing since the bill clearly states that AB-5 applies only to “persons providing labor or services” and authors provide neither “labor” nor “services” under standard book contracts—they instead grant copyright licenses or assignments. Additionally, royalties—even in the form of advance payments—are not considered wages. It is difficult to imagine how a court would conclude that a typical book contract is for labor or services.

Writers with Service-Like Obligations Should Get a Legal Opinion

There are, however, some book-writing agreements that could be considered service agreements and arguably would fall under AB-5, such as work-made-for-hire agreements and contracts where the author has ongoing obligations and the publisher has greater editing ability or control over the content. Authors and writers working under multi-book contracts are most likely to encounter such a situation. These authors’ contracts should be reviewed by an attorney to determine whether they are subject to AB-5. Publishers and authors who want to be certain to retain a freelancer relationship should be careful to make sure the contracts are written as simple license grants and not as services agreements. For instance, the agreement should be written as a copyright grant of a defined work without interim or ongoing obligations, and remuneration should be in the form of royalties and advances against royalties. The writer should also have full control over their work and use their own workspace and tools. As a general rule, it is also recommended that freelance editors and journalists have written contracts that allow them to work when and where they want with no oversight other than approval of the finished work product.

If you have such a contract and are an Authors Guild member, remember that we do review members’ contracts for free. You can send us the agreement using our online form, and our legal team will get you comments and let you know if you need to revise the agreement.

UPDATE 1/16/20: Washington (State, not DC) is contemplating a bill like this as well. From the comments, below:
WA should be on your watchlist, too. An AB5-like bill was just re-introduced in the Senate there, even though it had been defeated last year. It, too, requires writers and other freelancers and independent contractors be hired as employees when their works contribute to the normal business of their clients. The bill ignores a study of independent contractors that was prepared by the Dept of Commerce after the bill's defeat. The study documents that 3/4 of the independent contractors in WA don't need or want the employee benefits touted by the bill's advocates. Between their own efforts and those of their families and friends, they're doing fine. Read the study yourself then write to Sen. Karen Keiser about your opposition to being made employees against your will.

The study: https://app.leg.wa.gov/committeeschedules/Home/Documents/26113?//20902
Senator Keiser: karen.keiser@leg.wa.gov
A similar law may be in the works in Illinois.

UPDATE 1/20/20: This article from Digiday explores the negative impact that AB-5 is already having on freelancers and publishers in California.


Full Article

ter

Mass Contract Cancellations at Mystery Publisher Henery Press

By feedproxy.google.com
Published On :: Thu, 27 Feb 2020 17:24:00 +0000


Posted by Victoria Strauss for Writer Beware®

Beginning on Friday, February 8, dozens of authors with mystery publisher Henery Press received some version of this email.
Dear ________,

Before entering 2020, we felt it prudent to review future projections for _______ series, taking into consideration recent releases and overall performance. To provide an unbiased professional opinion and guidance in our 3-year strategic plan, we hired a consulting firm with experience in the industry. This allowed us to analyze not only your specific series, but also the competitive landscape and industry as a whole.

Unfortunately the sales of _______ series do not justify the publication of future titles beyond 2020. We know this is disappointing. The market has become beyond saturated (especially in mystery fiction), with all leading indicators pointing to even more intense competition for consumer dollars in the next cycle and beyond....

Although we don’t have a pathway forward with your new titles, we will continue to sell and support your backlist titles as usual under the terms of our original publishing agreement. To be clear, we will not be reverting the rights on any of your already published title(s), only future titles specifically outlined in the addendum to follow in the next week.
A number of the cancellations affected books that had been completed, turned in, and scheduled for publication, with some authors having already made promotional plans. Others interrupted series whose first installment hadn't yet been published--with Henery holding on to the yet-to-be-published book and reverting rights to the rest. Cancellation of a series before it's completed can be tough--another publisher may not want to buy into a series mid-stream, and while followup titles can be self-published, it's difficult to promote a series when it's split up like this.

The cancellations came out of the blue (nothing had been said about any strategic plan or consulting firm). But while some writers were blindsided, others weren't hugely surprised. Although they have praise for the company's early days, Henery authors say that problems have been increasing for some time, with staff departures (interns are reportedly used to do a lot of the editing, with sometimes substandard results), late royalty checks and reports (several authors told me that they feel there are discrepancies in their sales figures), diminishing marketing (according to multiple writers, virtually no promotional support is provided), ordering problems (writers cite non-returnability and nonstandard discounts), and difficulty with communications.

"Over time," one author told me, "Henery Press’s business model started to look more like a company that assists with self-publishing and less like a real publisher." (In fact, Henery uses CreateSpace for printing, and Barnes & Noble lists Henery ebooks as "indie".)

I've gotten a variety of additional complaints, which I'm not able to share here because they could compromise confidentiality. There seems to be considerable fear among Henery authors that they will be penalized for speaking out--which may be why almost no word of the cancellations has escaped. There's also the gag clause in the rights reversion addendum that authors are receiving:


One writer told me, "HP payback tactics (they're so vindictive) are hell. [Authors are] afraid if HP even suspects they've contributed, the books they have will go down." I truly wish this weren't such a common component of publisher implosions.

So is Henery imploding? Mass cancellations are never a good sign, and often indicate financial distress. Some Henery authors don't feel that's the issue, though, or not the only issue: they speculate that the owners intend to retire, and are keeping the company alive in order to retain the income stream from existing titles.

I emailed Henery's owner, Art Molinares, for comment. As of this writing, he hasn't responded.

Mystery Writers of America (where Henery is listed as an Approved Publisher) is aware of the situation, and is monitoring it. If you've been affected, you can contact MWA here. Be sure to put "Henery Press" in the subject line. All communications are confidential.

I will post updates as I receive them.


Full Article

ter

Beware: Pigeon House Literary / Druella Burhan

By feedproxy.google.com
Published On :: Fri, 13 Mar 2020 18:27:00 +0000


 Posted by Victoria Strauss for Writer Beware®

The internet and social media have transformed writer/agent/publisher interactions in many ways, one of which is the proliferation of Twitter pitch events, such as #PitMad, #DVPit, and others.

While no online innovation has (so far) managed to supplant the traditional query-and request route, these events do attract plenty of reputable agents and publishers--unlike other purported shortcuts (*cough*Publishizer*cough*). However, inevitably, they are also stalked by marginals, amateurs, and even scammers.

For instance, Eliezer Tristan Publishing, which charged a $500 fee and went out of business just months after opening up, haunted #PitMad. Ditto for GenZ publishing, which charges authors $2,500. Burchette and Ferguson, a brand-new publisher staffed by people with zero relevant experience, participated in pitch events before they even launched (and went out of business shortly thereafter).

Then there's this:


I've gotten many, many other questions about approaches by dubious companies and individuals as a result of pitch events. All in all, therefore, it pays to be careful, and if you haven't heard of an individual or publisher who approaches you, to research them before responding. (You can contact me; I may have heard something.)

Which leads me to the subject of today's post. I might not normally devote an entire blog post to one marginal agent, but this one is such an egregious example, and seems to be so active on social media--including #PitMad--that I think she's worth a special feature.

Pigeon House Literary Agency launched just this past February. It's run by Druella Burhan, whose resume includes none (zero, zip) of the relevant background experience you typically want to see from a new literary agent--such as a professional writing resume, or having previously worked for a reputable agency or publisher.


The lofty claims Burhan does make are either unverifiable, or provably false. For instance, here's Harvard Medical's publication on its 2011 MD-PhD graduates. Surprise! There's no mention of Druella Burhan.

Here's some of Burhan's agenting philosophy:


The logo (for lack of a better word) at the top of this post provides a preview of the rest of the Pigeon House site (a Wix freebie), which is amateurishly formatted and clearly not proofread (several pages have fully-justified text, with words cut off at the end of lines--I mean, it's a Wix freebie, it's not like you have to be an expert to get it right) and rife with typos, grammatical errors, and bizarre word use. For instance,


That's bad, but here's what it originally looked like. Burhan changed it shortly after I tweeted about it:


There's more: the Who We Are page, which bafflingly proclaims that the agency will "strive to bring a supreme appealingness and picturesque style of books from darkness to life"; the Foreign Rights page, which erroneously cautions writers that "If a literary agent does not agree to take you on as an international client/author, you will not be able to sell books overseas"; the Referrals page, where Burhan bizarrely invites other agents to send her clients. And here's the contract she is sending out, which includes the same formatting/proofreading errors as her website, and is really just an embarrassment.

It's a perfect carnival of amateurism.

Am I being mean here? Maybe, but before you whip out the "everyone has to start somewhere" argument, consider Burhan's false claims about herself and her aggressive use of social media to recruit clients despite her obvious ignorance and complete lack of relevant qualifications (I first heard of her because she was trolling on Reddit, and she is actively inviting queries on her Twitter feed).

The damage an amateur agent can do is considerable--squandering clients' chances with substandard submissions, submitting to disreputable or incompetent publishers, inadequately understanding publishing contract language and therefore not capable of effectively negotiating it. An amateur agent may not drain a writer's bank account the way a scammer would, but the bottom line isn't that different: no sale, and lots of wasted time.

Writer Beware.


Full Article

ter

Writer Beware in the Time of Coronavirus

By feedproxy.google.com
Published On :: Mon, 16 Mar 2020 17:27:00 +0000

My home office, with feline assistant.
Posted by Victoria Strauss for Writer Beware®

I rarely make personal posts on this blog. But, as I don't need to remind anyone, these are scary times.

My husband and I are physically fit and in general good health, but we are both 64 and he has an underlying health condition. Based on everything we're seeing and reading, we've concluded that our best covid-19 strategy is either a) not to get sick, or b) to delay getting sick as long as possible in hopes of more treatment options or at least less hospital crush.

Our social distancing began last weekend. We've completely withdrawn from face-to-face social interaction, and are ordering non-perishables and household items online. No more routine doctor or dentist visits. No more stores, library, restaurants, or gym (we're in Massachusetts, where a lot of things are shut down anyway). I'm still on the fence about careful, non-peak hour grocery shopping for fresh produce--but I certainly won't be going while shelves are bare from people's absurd panic buying (some of the same people, probably, who are still having parties and crowding into bars *eyeroll*).

Sarah, my other assistant. Kittehs are a comfort.
We're acutely aware that this is MUCH easier for us than it is for most. We both already work from home. We have decent financial resources. We don't have kids. Elderly relatives are all dead. Family and many friends are geographically distant, so we're already socially distanced there. We can still go out for walks and runs. I can still garden (one of my major passions).

So the changes to our routine are relatively small, compared to many. It's tougher for my husband than for me--the majority of my social life is online, but he is a gregarious person with a wide circle of friends, colleagues, and peers. But there's always Zoom and Skype, and he's making use of both.

For us as for many, stress and fear are daily companions. This is not the zombie apocalypse; there will be a vaccine eventually, and civilization will survive, as it survived the flu pandemic of 1918. But...how bad will it get? How long will it last--will we have to live this way for a year? More? What will happen to friends and family? What will happen to the people who are thrown out of work by widespread (and, I'm guessing, soon nationwide) business closures? The people who have no insurance? The people in prisons and ICE jails, the immigrants packed together at the border? And what about the election? I didn't think, back in innocent December, that that could become more crucial. But, as I stand in horror before the shitshow happening in Washington, it's clear to me that it has.

These and other questions haunt me on a daily, sometimes an hourly, basis. I suffer from depression--have done since childhood--and one of my fears is that I'll sink into a clinical episode. I can feel that possibility stalking around the edges of everything now. I am doing my best to resist. My husband, thank goodness, is more resilient. We work to keep each other's spirits up.

At a time like this, ordinary activities--like maintaining this blog--start to feel irrelevant. But they're not. Life goes on, even in the face of catastrophe. I seriously doubt that covid-19 will put a dent in the volume of schemes and scams that target writers who will still be writing, still seeking agents, still publishing. And one of the most important strategies for resisting helplessness and depression is work, for those of us who are still lucky enough to be able to do it.

Emily: Why are you taking my picture _again_?
So Writer Beware will go on. I'll continue to be active on Facebook and Twitter. As much as possible, I'll post here as I usually do--not always weekly, but as often as I find things to write about. And I urge you to continue to email me with your questions, concerns, reports, and complaints. Please, keep the emails coming.

And: wash your hands.

Don't touch your face.

Cough or sneeze into your elbow,.

Keep your distance: 6 feet is optimal.

Stay home if you can, especially if you're sick (I know this is tough for many to do).

Check on your elderly neighbors (from a distance).

Resist panic buying.

Don't share health information unless you're sure it comes from a reputable source (Facebook, oh my God).

Be safe.

I'll be seeing you.


Full Article

ter

Space Kadet: The Twisted Tale of a Sad, Sad Internet Troll

By feedproxy.google.com
Published On :: Thu, 26 Mar 2020 16:44:00 +0000


Posted by Victoria Strauss for Writer Beware®

Scroll down for updates

A couple of weeks ago, my Twitter warning about an amateur literary agent received a fairly curmudgeonly response.


Mistaking it for a serious (if misguided) comment, I responded with a thread about why it's, well, bad for an agent to lie about their credentials. Which prompted this:

Ooookayyyy then.

After a couple more exchanges in a similar vein, plus a not-so-subtle threat (I do give this person credit for knowing the difference between slander and libel), "Dr. Mudgett" flounced.


Soon after, several alert individuals messaged me to let me know that "Dr. Mudgett" isn't just a rando with an inflated sense of self-worth and a profile named after an infamous American serial killer, but one of the sockpuppets of an astonishingly prolific Twitter troll possessed of awesome vitriol and seemingly unlimited free time to indulge it.


The troll's full name is Gary S. Kadet--and though I'd never heard of him before he decided to call me out, he is well known in the Twitter writing community as someone who, via large numbers of fake accounts (most of which have been suspended by Twitter), hijacks popular hashtags like #amquerying, #mswl, and #WritingCommunity to launch vicious unprovoked attacks against writing and publishing people of all kinds, especially new writers and literary agents. So copious is his output--we're talking daily, even hourly tweets--that sometimes he runs out of new insults and has to recycle them. (Sample, if you can stomach it, the stream-of-invective narrative of his Dr. Mudgett Twitter feed.)

I'm always interested in the bizarro side of writing and publishing, and Mr. Kadet certainly seemed to fit the bill. So I put out a call for contact.


I got a perfect flood of responses. I heard from agents and agency interns whom Mr. Kadet had targeted for insults, mockery, and general harassment--especially if they were women, and in some cases after they rejected one of his manuscripts (Mr. Kadet is a [currently] frustrated novelist). I heard from writers he'd savaged for nothing more than posting positive comments about something, or announcing a book sale, or just for talking about writing. Much of his trolling seems to be of the drive-by variety, but I also heard from writers for whom he has conceived a deeper grudge--some of whom he has been stalking and attacking for years, and not just with nasty tweets, either. Some of these individuals told me that he has doxxed them, and made public things about their personal lives they would have preferred not to share. One of his targets was forced to seek help from the police.

Several people have written about their encounters with him (prompting him, in at least one case, to send a laughably bogus cease-and-desist). More personal accounts of Kadet encounters are here. Also here. In fact, he's so famous--at least, as a troll--that he has inspired a parody Twitter account. I guess that's some form of validation, right?

Sockpuppet accounts Mr. Kadet has used in the past (all deleted or suspended): @JohnnyRacetrack, @JimboRockfordPI, @JacktheTrippe11, @JacktheTrippe12, @GaryKDarkLord, @GaryKadet, @RealGarySKadet, @CastleMurder,  @MudgettMania, @MudgettRedux, @FrugSigmund, @Joe_Nesmith. @JoeChristmas6, @ImmortalGSK.

Socks he's using currently (that I know of): @JackMcVea, @KatzProserpine.

Mr. Kadet loathes a lot of people, but for one agent in particular, his hatred burns with a white-hot flame: Gina Paniettieri of Talcott Notch Literary Services. In 2018, Talcott Notch rejected one of Mr. Kadet's manuscripts, to which Mr. Kadet took extreme offense, and he has been targeting the agency and its agents ever since. In addition to a veritable tsunami of noxious tweets, promises to sue, accusations of violating his "IP confidentiality" (apparently because Gina revealed the rejected ms.), and bogus bad reviews wherever he can place them (not always successfully, since they are so demented that they get flagged), Gina tells me that he has called her home to harass her, and that he's currently demanding that she "settle" with him--i.e., pay him off--so that he'll stop.


Here's an interview with Talcott Notch agent Tia Mele about toxic writers in general and Mr. Kadet in particular.

So who is Gary S. Kadet IRL? There's not a great deal to be found on a websearch, but he did publish a novel in 2000 with Forge, and was apparently an editor with the Boston Book Review. He has lived in Cambridge, MA and Providence, R.I. Twitter isn't the only place where he has been accused of stalking.

Soon after my call for contact, Mr. Kadet's @KatzProserpine sock account DM'd me this:


Ooooh, scary! Not to be outdone by his alter ego, Mr. Kadet reached out to SFWA under his own name. Of course, he couldn't resist mentioning Talcott Notch. Also note the date: more than a week before I put this post online.


Mystery Writers of America, one of Writer Beware's supporters, received an identical "complaint" on the same date. Fortunately, both SFWA and MWA know how to handle trolls.

So what's the bottom line here--other than the bigger issue of the toxicity that flourishes on social media and the inevitability of encountering it if you're active online? I guess it's really just the familiar advice: "Don't feed trolls". Starve the energy monster. The thing with trolls is that, for the most part, it's really not personal. They don't care about you; it's your reaction they need. They thrive on your distress, and draw strength from your response. Depriving them of these things may not shut them up--they can't really control themselves--but it is probably the single most frustrating thing you can do to them.

So if you find yourself targeted by Mr. Kadet--or, indeed, if any random tweet of yours receives a nasty or belittling response from an account you've never heard of--the best possible comeback is simply to block the account and move on.

UPDATE: I learned this evening that Mr. Kadet today sent his "bad writer Strauss" message to Horror Writers Association, another of Writer Beware's supporters--and for good measure, sent it to MWA a second time. He has also weighed in in the comments here.

UPDATE 4/10/20: Sockpuppet account @KatzProserpine has reached out again on Twitter, alleging, as it often does, that Mr. Kadet has no Twitter presence...


...and claiming that it is not Mr. Kadet's sockpuppet account...

...while exhibiting Mr. Kadet's twin obsessions (Talcott Notch, nefarious "IP practices"--see Mr. Kadet's complaint about me, above).


Full Article