Saturday, 31 October 2009

A Horror Story For Halloween

Over the years I’ve read lot of publishing-related horror stories. I’ve read about writers who cheated and were cheated, publishers who ran away with wives as well as money and rights, and literary agents who ended up in prison for their sins. But the one story which stands out for me is the one about a writer who in her attempts to get published managed to hook up with a dangerously clueless agent, an incompetent ghost-writer (who also happened to be an incompetent literary agent), a vanity publisher and a plagiarism charge. Along the way she attracted negative attention from just about every publishing- and writing-related website, offended many people including the high-profile writer whose work was plagiarised, had a few wiccan curses thrown around on her behalf, insisted none of it was her fault as she had high blood pressure, and provided me with one of the most absorbing demonstrations of How To Look Foolish On The Internet that I have ever encountered. I have to admire her dedication: but her determination to be published no matter what, and her refusal to even consider that she’d done anything wrong makes her attempts to be published a failure of quite epic proportions. I give you the story of Lanaia Lee.

Two years ago, a writer called Lanaia Lee sent her novel, Of Atlantis, to the Dear Author site for possible review. One of Dear Author’s readers duly began to read it… and wondered why the text seemed just a touch familiar. After not much digging at all, the reader realised that Lee’s opening chapter was almost word-for-word identical to the best-selling David Gemmell’s book, Dark Prince. Compare the two:

Lee: The golden-haired child sat alone, as he usually did, and wondered whether his Father would die today

Gemmell: The golden-haired child sat alone, as he usually did, and wondered whether his father would die that day

Dear Author reacted with typical style and published a fantastic blog post in place of its review: its now-infamous Top 10 Tips For Plagiarists. The post was quickly picked up by Making Light, and by Absolute Write, and slowly the story unfolded.

It turned out that Lanaia had paid a ghost-writer $400 a month for nearly two years to write her book for her, and that the ghost-writer had been responsible for the initial plagiarism. That ghost-writer was Christopher Hill, of the Hill and Hill Agency, a Scotland-based literary agent who had worked hard at making no sales at all.

For some time Hill had represented Lee but had failed to sell her books: with hindsight this is not surprising as although Hill reported in some depth to his author-clients, listing publishers’ comments and providing detailed lists of revisions which those publishers had apparently asked for, he never once made a sale. Many of his clients believed that they were on the brink of being published by major houses but shortly before the Lania Lee story broke one of his clients learned that the publishers who had, according to Hill, offered him a book deal, had never even heard of him, his book, or Hill. A little investigation revealed that this was true for all the writers Hill represented, most of whom believed they were about to be signed: at that point Hill claimed to have left the country, although I’ve been told that he actually remained at home in his Scottish bungalow throughout the whole fandango.

Meanwhile, back to Lee. Because she hadn’t committed the initial plagiarism by copying Gemmell’s work into “her” book, Lee insisted that she was not guilty of plagiarism. She left Gemmell’s chapter up on her website to showcase “her” work and when she was urged to take the work down she issued the following statement on her website intended for her (by now, many) critics:
I have erractic hypertension, you keep dogging me I could have another stroke, contact my agent and attorney, I’m sure no one wants mt blood on their hands. [sic]
And then Lee’s new literary agent stepped into the ring: one Cheryl Pillsbury, an author who had published one of her own books with XLibris, another with Outskirts Press, and two more with PublishAmerica. Those three publishers have more in common than just publishing Ms Pillbury’s books: they’re all vanity presses. Accounts of Pillsbury’s agenting sales vary: but all report a very low number, and all report sales only to vanity presses. Perhaps realising that she couldn’t make a living with such a paltry record Pillsbury began AG Press, the pay-to-play imprint which was going to package Lee’s book in order for it to be published by Roval Publishing which was, you’ve guessed it, another vanity press. With this grounding in publishing quaking beneath her, Pillsbury arrived at Making Light with her fists up, and commented,
For people who throw stones at glasses houses should be very cautious about speaking before they know the truth. Slander can cause a major lawsuit from the author and the publisher mentioned, because I will make sure they know about this and dear Jane will have nightmares in 10 fold. Yes, I'm Wicca.

I was just informed, the author has already set the motions for the lawsuit, be prepared. You were told by the lawyer not to post anything related to this issue, first amendement does not apply. I have made a copy of this site for proof, see you soon. Have a ducky day.
(The Jane who Pillsbury referred to there is from Dear Author.) While several online writing communities were outraged by Lee’s actions, Victoria Strauss took a kinder view. She had already written extensively about Christopher Hill and when the Lee story broke cover, Victoria wrote,

I find it completely plausible that the ripoff of Gemmell was Hill's work, not Lanaia's. It would be absolutely typical of Hill to do something like this to screw over a client--especially one who'd twigged to his scam.

Even today, Lanaia Lee is promoting that plagiarised book, Of Atlantis. A book she paid Hill thousands of dollars to write; which was represented by a fee-charging agent with a history of vanity publishing; which was published by fee-charging Roval Publishing. She is a wheelchair-bound stroke victim who has wasted thousands of dollars on this book and in the process has become infamous. I doubt, however, that she’s sold more than a few copies of “her” book.

See, I told you it was a horror story.

Friday, 30 October 2009

How To Test A Copy Editor

A good copy editor can significantly improve a book in all sorts of subtle and beautiful ways; a bad one can slash-and-burn their way through a manuscript and render it almost unreadable.

If you've ever considered hiring a copy editor to look at your work before you send it off to publishers or agents, here's a handy list of questions to ask before you trust them with your book. Read every word. Learn it off by heart. This is why professional editors are to be respected and adored.

Thursday, 29 October 2009

How To Find A Good Literary Agent

A couple of weeks ago, a thread began at Absolute Write about a new and as-yet unproved agent. Said agent rocked up; questions were asked; a magnificent bun-fight ensued. After a few frustrating days the uproar moved to a part of Aboslute Write's forum which is not Google-cached (I doubt that the agent concerned realised how lucky he was with that); and it culminated in this particularly unprofessional tweet from him here.


This witty and concise livejournal post from Beth Bernobich provides a treasure-trove of linky background about the agent concerned: it's pretty safe to say that he has a history of being argumentative and confrontational online which doesn't bode well for how he might behave when negotiating a particularly difficult contract, or when dealing with editors who reject the books he represents; and I'm not convinced that a few years working in the book division of a product-licensing company is extensive enough experience, or is even appropriate, for anyone intending to embark on a career as a literary agent.


If you read through all the links supplied, you'll find plenty of reasons not to submit to the agent concerned: his lack of experience, his argumentative nature, and the extraordinarily bad advice he gave about children's books all count against him. But without all those things on a plate in front of them, how can writers avoid the agents who might not serve them best?


To paraphrase James McDonald, the job of a literary agent is not an entry-level position. If you're looking for a literary agent you'd be wise to avoid submitting to the new and unproved, no matter how well-behaved they are online. Wait a year and see how well they do: the bottom line is that a good literary agent will make sales to good publishers, at no up-front cost to the authors they represent.

Wednesday, 28 October 2009

I Think I'm Back

Many apologies for the long break in transmission.

Thanks to odd things happening with my blogger account, my ISP deciding I didn't really know who I was, and a particularly nasty troll, I've been unable to do anything with my blogs for a couple of weeks now.

I think I've got everything nearly back to normal: forgive me if you've commented over the last few weeks but your comment hasn't yet appeared, I'll be trawling through all comments and slowly approving them as I get time. I've lost a couple of weeks' worth of planned blog posts, so have some work ahead of me to get back on track: meanwhile, I appreciate your patience. I've been venting a little on Twitter if anyone's interested.

Now, where were we?

Saturday, 10 October 2009

How I Got Published (Part II): Daniel Blythe

A little later than planned, here's the second part of Daniel Blythe's account of how he became a professional, published writer (you can read the first part here). Read and it and boggle.


No publisher, no new book on the horizon and a dearth of new ideas and enthusiasm – that's where I was when we left my publishing career in 2000, with a new baby taking up a lot of the spare time anyway. I was down, but didn't really have time to think about it.

During this time my agent tried, and failed, to sell my novel for 8-to-12-year-olds to every children's publisher in town. They just didn't want to know. I had no idea what I was doing wrong. It felt like when you get on a losing streak at Scrabble and just can't get back into that winning groove. I wanted to scream from the rooftops "I am PUBLISHED, for God's sake. Four novels! Count 'em! Do you think I am some newbie wannabe?" At one point (such was the state of my confidence) I remember saying to my agent, "You are *telling* them about my previous books, aren't you...?"

However. One of the publishers with whom my agent had made connections was David Shelley at Allison and Busby, and I started to talk to him about an 80s film book – which turned in to an 80s music book. Despite David being a few years younger than me we shared similar musical tastes and the book, a 500-page whopper, slowly took shape during 2001 and was published, first in hardback and then in paperback. It got extensively reviewed in regional papers up and down the country, got me lots of radio interest and even, thanks to an enterprising chap at BBC Leeds called John Ryan (who is now running BBC Radio Manchester) a co-presenting slot on an Eighties radio show. Suddenly, I was not only a non-fiction writer but also a DJ too!

Thanks to The Encyclopaedia of Classic 80's Pop, I had re-invented myself. More non-fiction followed – Dadlands: The Alternative Handbook for New Fathers for Wiley, about my experiences of fatherhood, and I Hate Christmas: A Manifesto for the Modern-day Scrooge for Allison and Busby. Both still get a bit of media interest to this day. My agent was doing a great job – putting me out there, matching me up with editors who liked my ideas. And now, a new novel finally came to fruition, in the form of a manuscript called Cruel Summer which I had been working on since 2003. Another 500-page whopper, it ended up being called This Is The Day (my agent suggested Cruel Summer was "a bit too Bananarama") and it was sold to Allison & Busby in 2006, appearing as a trade paperback in 2007 and – hooray! – this time, finally, a paperback a year later. A wine-and-nibbles launch at Blackwells helped shift a few copies, as did some more radio slots. Although the half-promised Richard and Judy appearance for I Hate Christmas hadn't materialized, I had good reason to be thankful to my new publishers.

Diversity, survival, eclecticism – these were my new watchwords. I started up a novel class for the Workers' Educational Association, still running to this day. A chance encounter with some Writers In Schools and a conference workshop by the inspirational Two Steves got me inspired to go into primary schools, delivering workshops and doing author "appearances". The paying gigs began to pile up. More non-fiction commissions came along – the latest being two books for Pen & Sword. My agent sold my idea for X Marks the Box: How to Make Politics Work for You, a political book for non-political people, to Icon Books – a small publisher in the Faber distribution network. That was written with the support of the Authors' Foundation, and will be out soon. And I successfully applied for an Arts Council award in 2008 to write my new children's book – which my agent still believes in, and is still trying to find a home for.

I also returned to the Doctor Who fold when the BBC's Creative Consultant, Justin Richards (himself a writer of hugely popular books for young people) invited me to write one of the Autumn 2009 books featuring David Tennant – last chance to write for the Tenth Doctor before he stands down! I jumped at the chance, and wrote Doctor Who: Autonomy in an intense 7-month period. The "Doctor Who" books are a very different proposition now – they are written by invitation, rather than the editors accepting unsolicited ideas. They are shorter and punchier than the chunky 90s novels and aimed at a younger readership. They have, of course, a huge publicity machine behind them, "Doctor Who" now being a massive, populist, multi-media success story (rather than the slightly embarrassing anachronism it was seen as in the early 1990s). And – somewhat less in the authors' favour – they now pay on the basis of a fixed fee, rather than an advance and royalties. So, not much wiggle-room for my agent to negotiate on. But it is a good fixed fee, and there is a bonus built in once the title sells over a certain number of copies. And, for goodness' sake, I needed the work, and I know I can write "Doctor Who" – I have been a fan since I first cowered behind a cushion at Davros in 1975.

So now, here I am – a working and teaching writer, an educator, an Author In Schools, a sometime radio presenter, and still a would-be children's writer. What have I learned from all this? That you need to diversify to survive, and never take anything for granted. That you just keep plugging away. And that if you have a good agent, hang on to them through thick and thin – this spring, I mark thirteen years with mine, and I'm hoping neither of us is going anywhere else in the foreseeable future.


My thanks to Dan for suggesting this series to me, and for kicking it off so very well. If any publishers are reading, Dan's two excellent children's books (both with good series potential) remain unpublished; and if any writers reading this have a good publication story to tell, I'd be very pleased to hear about it.