Writer Beware and

I originally wrote this blog for, but it’s important enough to post again on my site.

Naiveté, desperation, eagerness. What does that spell to you? To me it spells V-I-C-T-I-M. It can also spell W-R-I-T-E-R.

A writer eager to find a publisher, desperate for an agent, naive enough to sign any contract that seems to promise an agent and publication. And that’s just the dirt on top. Dig a little deeper and you’ll find all kinds of “opportunities” to promote, sell, distribute or otherwise handle a writer’s opus—for a fee.

I have been a writer all my professional life and a publisher for the last twenty plus years. I know how eagerly a writer wants to be published; I know the anguish of being rejected again and again by uncaring and by, obviously, ignorant agents who can’t seem to grasp my vision. And I have been naive enough to hand over thousands of dollars for publicists who did nothing, distributors who charged more in fees than my publishing company made in sales, cover designers who cost more than the going rates or who never heard of “work for hire.”

Contests, awards, marketing consultants, advertisers, unscrupulous agents and editors, even reviewers, all add to the pile of “writer-get-rich” snares out there. Writer Beware.

In fact, google “writer beware” and you’ll find a number of websites under this name, usually owned by Ann Crispin, who wrote as A.C. Crispin, and/or Victoria Strauss. Many thanks to both of you. I once heard Ann Crispin speak on this subject at an annual conference of the Maryland Writers Association. It was an eye-opener, and the “writer beware” websites are well worth a visit.

Crispin and Strauss compiled a list of 20 agents about which they had received the greatest number of advisories or complaints. I won’t repeat that list (you can look it up) since it is dated 2006, but her advice remains the same. None of the agents on the list had a significant track record of sales to commercial (advance-paying) publishers, and most had virtually no documented and verified sales at all (many sales claimed by these agents turn out to be vanity publishers). All charged clients before a sale is made, whether directly, by charging fees such as reading or administrative fees, or indirectly, for “editing services.”

Writer Beware suggests that writers searching for agents avoid questionable agents, and instead query agents who have actual track records of sales to commercial publishing houses.
Best of all is to find an agent who is a member of the Association of Authors’ Representatives, which has a code of ethics. If they want you to pay “reader’s fees” or anything else upfront, raise a wary eyebrow.

One website I always check to find out the facts about agents, editors, awards, contests, etc. is It stands for Preditors & Editors and it’s a nonprofit whose sole purpose is to provide writers with information and contacts for the purpose of seeking publication of their work. Artists, composers, and game designers will also find the same information useful.

Go to this site, look up agents, and you’ll find some surprising comments. “Not recommended.” “Charges fee, not recommended.” “Under indictment.” Eye-opening, yessirree.

The first few years we were in publishing, we kept receiving requests for review copies from a Joan Orth. The letterhead seemed to have been cut out of a potato and stamped, so it didn’t quite look right, but eager for reviews, we sent her copies. Finally, one of our publisher acquaintances asked on a publishers’ chat room if anyone had ever seen a review by Joan Orth anywhere. The response was a resounding “No.” In response James A. Cox, Editor-in-Chief, Midwest Book Review, wrote a series of articles on how to spot a fake reviewer. Bless him.

So no matter how eagerly you want that book contract and a bestseller, watch out. You don’t want to become another pigeon.



I enjoy watching interviews with actors on The Actor’s Studio, TCM, and other shows. The actors usually make two points. One is the importance of every member of the creative team. The actors may get most of the attention and the kudos, but they must depend on the director and all of the other people who make up the production crew.

The second is the importance of encouragement and support. As one actor said, “The director knows that if he wants the best out of the actors, he has to encourage, praise, and provide a safe environment for creativity. Threats, bullying, anger, sarcasm and putdowns will only shrivel and thwart an actor’s efforts. Most of us have had managers, bosses—and parents, too—who didn’t understood this, and we all suffered for it.

These two points apply to writers too. The popular image of a creative genius pounding out a best-selling classic alone in his garret is fish poop. Writers also need their creative team to produce a polished, error-free, literate book. That team includes readers, critiquers, agents, editors, designers, publisher, and marketing and promotional professionals.

Connections are important too. Connecting to other writers through writers’ associations helps develop the professional knowledge and network to advance in this highly competitive field. Association members set up critique groups as a step toward saleable work, organize meetings and conferences to share expertise, bring in agents and editors to look at our work, and offer their own experience to help the rest of us.

Publishers associations are useful too, especially if you plan to self-publish. What is required to publish a saleable book? What is an ISBN? LCCN? CIP? How do you get them? How do you get into bookstores? Libraries? How do you get reviews? Why do you need them? What kind of cover would sell best? What about subsidiary rights? Foreign rights?

Publishing has a steep learning curve. Many states or regions have state publishers associations affiliated with a national group such as the Independent Book Publishers Association ( Their websites are full of useful resources. They offer networking and information exchange, cooperative marketing opportunities, and low-cost access to national and international book shows, such as the Frankfurt Book Show and Book Expo.

You can’t afford to ignore these connections.

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