by Lynne Marie Zerance

There’s no question about it: Writers, as a group, are among the most vulnerable of people. And let’s face it, we’re among the biggest dreamers, too. Perhaps that’s what makes us a prime target for those who make their living preying on people they perceive as naïve and gullible. After all, who better to tell (and sell) a tale to than a writer with a tale they’re trying to tell—and hopefully…someday…actually sell?

Making a business of exploiting aspiring writers is not a new game, but neither is it an old one, and unfortunately, it shows no signs of becoming a “lost art” any time soon. Unless, of course, we (meaning the publishing industry as a whole) crank up the volume to a decibel that can be heard by every hopeful writer who’s got his/her ears on, and share with them what we know about the publishing-related “enterprises” whose business practices are somewhat, shall we say, less than ethical—or at best, simply ineffective. Perhaps then we can tip the scales of justice to favor writers instead of the bottom feeders who feast on their vulnerabilities.

Hence, the genesis for this article about “the dark side of publishing”—which this writer hopes will wing its way across the Internet and be shared widely until it reaches every pair of uninitiated writers’ eyes.

My personal interest in this sinister subject came about as a matter of business. Christian Bertoni, a prospective client of The Editorial Department (TED), phoned one afternoon to ask whether we knew anything about the literary agency with which he’d recently signed, a firm known as The New York Literary Agency or NYLA, for short. He’d just finished drafting his first novel, Blue Jeans and the Rest of the World, and he’d been delighted to find that he was able to land an agent rather easily. But at the time of his call, he was beginning to question the firm’s integrity. Not knowing where else to turn for advice, he rang our main office to ask some questions. Read Christian's Story.

A quick background check on Preditors & Editors (a website the TED staff knows well, but with which many writers are apparently unfamiliar) produced information on NYLA, categorizing them as “Strongly not recommended.” And while that was enough for us to advise Christian to seek alternate representation, it also sparked curiosity at TED headquarters. Who are these NYLA agents? What’s their professional track record? Have they sold any books to publishers? Why does Preditors & Editors issue a strong advisory against using them?

By the time another of our prospective clients, Ketti McCormick, called a few days later with similar questions about the Children’s Literary Agency (CLA)—a firm that seemed eager to sign her, and as it turns out, is a division of NYLA’s parent company The Literary Agency Group (LAG)—the research for this article was well under way. Read Ketti's Story.

A LEGACY OF LITERARY SCAMS

As a reputable independent editing firm, TED had felt the sting of the backlash unleashed by the unethical practices of Edit Ink back in the 1990s, so we were aware that scandal exists in the field. But aside from ensuring that we frequent the major online resources to perform agent background checks (as part of our Agent Matchmaking Policy), we had no reason to step foot onto the shady side of the publishing street and thus hadn’t learned about LAG, NYLA, or CLA until our clients started tripping over their land mines.

Since two writers affiliated with TED had done so within the space of a week, we decided it was time to stand tall next to the watchdogs that have been dedicated to tracking publishing scams for the past decade or so, and raise our voices with the choir of integrity.

MEET THE WATCHDOGS

Fortunately for writers, as the numbers of unethical, ineffective, and exploitative publishing-related businesses have increased, so too have the numbers of industry watchdog entities. The leaders of these organizations were all spurred into action for similar reasons: They’d either been exploited themselves, they knew another writer who was, or they simply couldn’t stand by and do nothing.

If you’re an unpublished author who’s still learning the lay of the publishing landscape, you’d be wise to familiarize yourself with the lists below so you don’t waste precious time or money (or both) traveling on the dark side of the road to publication—it will never lead you where you want to go.

Allow me to introduce you to the scam-hunting posse, as I’ve come to think of them, and their watchdog and resource sites. (I recommend bookmarking these sites on your browser for future reference.)

Heading the list is Jim Fisher, a Vanderbilt University Law School graduate and former FBI agent who can be credited as the forefather of the literary scam-hunting movement. His groundbreaking study of bogus literary agents, book doctors, and vanity publishers, The Fisher Report, ultimately led to the FBI investigation and subsequent arrest of Dorothy Deering. If you haven’t done so already, you can read the thrilling story of Dorothy’s decade-long reign as a corrupt publishing maven in Jim’s book: Ten Percent of Nothing: The Literary Agent from Hell. (I read it twice straight through and highly recommend it. Not only is it a page-turner and extremely well written, it will give you insight into how sleazy and unscrupulous some of these shady operators are. You’ll be shocked, amazed, and wiser for the read.)

Next comes Dave Kuzminski, editor of the aforementioned Preditors & Editors, who threw his hat in the scam-busting ring about ten years ago, nearly by accident. “I was operating a forum for writers, and they kept asking me for tips about good publishers, agents, magazines...and where do I find this or that? So I started a one-page resource that had about thirty entries.” Today, Dave’s website is one of the best-known online writers’ resources, praised for its warnings and recommendations feature.

Victoria Strauss & A.C. Crispin also play a stellar role in the scam-hunting business with the website Writer Beware. Victoria’s professional affiliations include The Author's Guild, Novelists Inc., and the Science Fiction and Fantasy Writers of America, where she is vice-chair of the Writing Scams committee. She dedicates a great deal of time to waging a vigorous campaign against the literary schemes and scams that prey on writers.

James MacDonald’s claim to fame, aside from being a full-time writer since 1988, is as the mastermind behind the Atlanta Nights PublishAmerica sting—and if you haven’t read about it, follow this link; it was an ingenious plan. James got involved in investigating scams when another author called him to tell him how he mortgaged his house to get his book published with Commonwealth Publications. Today, James is active on a number of writers’ forums such as Absolute Write’s Bewares and Background Check, in which he is/was a moderator. (Author’s note: As the final draft of this article was being prepared on May 23rd, Absolutewrite.com was forced to move to a new host when the site was pulled as a result of action taken by literary agent Barbara Bauer. As of this writing, the Bewares and Background Check forum is still down.) James also took it upon himself to conduct an in-person investigation of the NYC headquarters location of LAG (which he found to be just a mail drop). His sage advice to new writers: “There are only two places in publishing that money can come from: the readers or the writers. If it’s not coming from the readers, it’s coming from the wrong place.”

Teresa Nielsen Hayden, an editor for Tor Books, has reveled in her role as a scam hunter for years. She runs an excellent blog called Making Light in which the topic is sometimes literary scams. (See Teresa’s comments on the Absolute Write site pull-down incident here: Making Light.) “Writers are so very, very easily crushed. If you tell them that they’re worthless, a lot of them will just fold up and not fight back afterwards. That’s one of the good things about online discussion forums. They provide a safe place for writers to tell each other, “Hey, it’s not your fault.”

Isis Riley does her part in sweeping the publishing streets clean by maintaining a free comprehensive searchable database of agents at AgentQuery.com. Isis started the venture when she got frustrated trying to find a good online resource for literary agents after she’d written her first book. She polices her own site, ensuring that only legitimate agencies appear in her 800+ agencies database.

Bill Martin also offers a free search service on his website Agent Research & Evaluation Verification Service. The site also offers numerous paid services to help you narrow down your agent search, and Bill assures me that no scammers get through his solid screening process. AR&E will search their database for an agent’s sales and alert you if there have been any complaints.

MEET THE AGENTS

Now that you’re acquainted with the watchdogs, here’s a list of currently operating agents to familiarize yourself with. If any of these agents are on your submission hit list, or if you are contacted by any of them regarding representation, watch out. (Many thanks to Victoria Strauss who has given TED permission to rerun this.)

Writer Beware's 20 Worst Agencies List

Below is a list of the 20 agents about which Writer Beware has received the greatest number of advisories/complaints during the past several years.

None of these agencies has a significant track record of sales to commercial (advance-paying) publishers, and most have virtually no documented and verified sales at all (book placements claimed by some of these agencies turn out to be "sales" to vanity publishers). All charge clients before a sale is made—whether directly, by levying fees such as reading or administrative fees, or indirectly, for editing or other adjunct services.

Writer Beware recommends that writers avoid questionable literary agencies, and instead query agencies that have verifiable track records of sales to commercial publishing houses.

Note that while the 20 agencies listed here account for the bulk of the complaints we receive, they're just the tip of the iceberg. Writer Beware has files on nearly 400 questionable agencies, and we learn about a new one every few weeks.

THE LIST:

• The Abacus Group Literary Agency
• Allred and Allred Literary Agents (refers clients to "book doctor" Victor West of Pacific Literary Services)
• Capital Literary Agency (formerly American Literary Agents of Washington, Inc.)
• Barbara Bauer Literary Agency
• Benedict & Associates (also d/b/a B.A. Literary Agency)
• Sherwood Broome, Inc.
• Desert Rose Literary Agency
• Arthur Fleming Associates
• Finesse Literary Agency (Karen Carr)
• Brock Gannon Literary Agency
• Harris Literary Agency
• The Literary Agency Group, which includes the following:
  Children's Literary Agency (CLA)
  Christian Literary Agency
  New York Literary Agency (NYLA)
  Poets Literary Agency
  The Screenplay Agency
  Stylus Literary Agency (formerly ST Literary Agency)
  Writers Literary & Publishing Services Company (the editing arm of the above-mentioned agencies)
• Martin-McLean Literary Associates
• Mocknick Productions Literary Agency, Inc.
• B.K. Nelson, Inc.
• The Robins Agency (Cris Robins)
• Michele Rooney Literary Agency (also d/b/a Creative Literary Agency and Simply Nonfiction)
• Southeast Literary Agency
• Mark Sullivan Associates
• West Coast Literary Associates (also d/b/a California Literary Services)

And since our intrepid client Christian Bertoni stumbled across another agent with a questionable reputation after he’d done business with NYLA and sent his synopsis to Mocknick (also listed above), I’d personally like to add a “caution” entry about literary agent Nancy Ellis-Bell. Here’s the scoop on her from The Authors Guild website: New Judgment Against Agent Nancy Ellis; Information Sought

STAYING ON THE SUNNY SIDE OF THE STREET

There’s loads of excellent, free online advice on how to avoid signing with a less-than-kosher agency—if you know where to look for it. Below are a few of the best articles I’ve found on the subject with links to the sites in which they originally appeared.

Twenty Tips from Jim Fisher

Beware of agents who:

1. offer you a contract for representation shortly after receiving your manuscript. This suggests that the agent, particularly if a fee is involved, is more interested in your money than your work. Ask questions to determine if the agent is familiar with your manuscript. Remember, real agents, when accepting a manuscript, don’t use form letters.
2. solicit your manuscript for representation out of the blue. Some agents get your name from copyright registration files. This kind of manuscript-chasing is not the way real agents obtain clients. Again, beware of the form letter.
3. refuse to disclose whom they represent and what books they have recently sold. Why would an agent want to keep this type of information a secret? Maybe they have no sales to report.
4. offer wild but general praise for your manuscript. Agents who are fast-buck artists don’t have time to read manuscripts. Ones who charge big reading fees won’t look at your work until you’ve paid them to read the manuscripts. Even if you have paid a reading fee, that doesn’t mean that the agent has read your work. These agents are entrepreneurs who pay others to read and evaluate the manuscripts that come to them. Take praise from fee-charges with a grain of salt.
5. brag about how successful they have been as literary representatives. Truly big-time agents do not boast to unpublished authors; it’s the other way around. The aspiring writer must impress the agent. When it comes to fee-charging agents, do not believe everything you read or hear – especially when it comes from the agent.
6. issue fancy, expensive brochures advertising their agency. The agent might be selling you a costly service that will not help you find a publisher. Don’t forget why you wanted an agent in the first place. You don’t need a friend, you don’t need a coach or a cheerleader – you need a royalty-paying publisher. Don’t buy what you don’t need. Remember, a costly agent who can’t find you a publisher is worse than no agent.
7. are hard to reach personally by telephone. Agents hiding behind answering machines and services might be avoiding former clients. Some fee-charging agents, once they realize they can’t get any more money out of you, vanish into the night, Don’t be a pest, but don’t be afraid to talk to your agent when you need to.
8. write poorly. Some of the fee-chargers, even ones who sell editing services, are borderline illiterate. Run from any agent who can’t spell, write a solid sentence, or use correct grammar. If writers would quit paying these people fees, they might go back to selling used cars.
9. change their business trade names and/or business addresses frequently. Some fee-based agencies have had five addresses in the past ten years. What are they running from? If the agent you’re considering has been around a while, check old publishing directories to see if they had ants in their business pants.
10. advertise for fee-paying clients on-line, in newspapers, and in magazines aimed at aspiring writers. Many of these agents are in the reading fee business rather than in the business of selling manuscripts. Notice that many of these firms, rather than bearing the names of literary agents, have catchy trade names.
11. place their clients regularly with subsidy publishers. Such agents might be taking kickbacks from these vanity publishers. Some of these agents are nothing more than branch sales offices for these publishers. This is a conflict of interest and should be outlawed. Remember, nobody needs an agent to get subsidy-published. Also remember this – in the literary world, the publisher pays you, it’s not the other way around.
12. own or have a financial interest in a subsidy (vanity) publishing company. This includes publishers that require authors to purchase a number of their own books. If you seriously want to have a career as a commercial author, stay away from any kind of subsidy publisher. It’s a bad deal.
13. make outlandish claims. Some agents who have never sold a manuscript have claimed to represent Stephen King and Tom Clancy all in the same year. One such agent claimed kinship to a famous publishing empire, while another said she was Rosie O’Donnell’s half-sister. Agents under attack by a number of clients who caught onto their lies and demanded their money back have been known to become seriously ill, only to quickly recover when the pressure was off.
14. have no record of sales with Bill Martin’s Agent Research and Evaluation (AR&E) database. If Bill Martin (http://www.agentresearch.com) has never heard of the agent you’re considering, think twice before signing a contract, especially if the agent wants up-front money.
15. seem more interested in editing your manuscript than submitting it to a publisher. Book doctoring is big business, often offered by scam agencies at substantially less than a professional editor would charge. If you want a professional editor, you should hire a person or firm with a solid reputation in that field, not a book doctor posing as an agent.
16. are not located in or near the East or West Coast publishing centers. New York City is the hub of the publishing world. Most successful commission-based literary agents have offices in the New York area. Close proximity to editors is vital in the agent business. Other publishing centers include Los Angeles, San Francisco, Philadelphia, Boston, and Washington, D.C. Although modern communications, including the fax machine and the internet, have made having an office actually in one of these locations less essential, an agent from outside these areas still needs to take regular trips for face-to-face contact with acquiring editors.
17. were not part of the writing/editing industry before becoming agents. Don’t be afraid to ask agents to outline their professional credentials for the job. If they clam up or become indignant, look for another agent. This especially applies to fee-charging agents.
18. use form letters to correspond with you. This is a sign that the agent is not actually giving your manuscript individual attention. Some of the worst agents package up several manuscripts and with a single form cover letter, drop them over the publisher’s transom. This is just going through the motions. You’d be better off writing a good pitch letter and sending the manuscript yourself.
19. are rude, disrespectful or downright hostile. Some of the fee-chargers, once they get their money, don’t want anything more to do with you. An agent who has no respect for you as a writer is not going to be a good salesperson for your work. Look for an agent who truly enjoys working with new writers.

And from Dave Kuzminski, editor of Preditors & Editors, comes these guidelines:

Some General Rules for Spotting a Scam Literary Agency

• Openly advertises for writers in print or online publications or both.
• Claims that it has new methodology for gaining access or acceptance with book publishers, but never explains why other successful agencies aren't utilizing it.
• Does not list any sales or refuses to divulge the titles of sales for “confidentiality” reasons.
• The only sales it lists are for vanity or subsidy publishers or the sales it lists were made by the author before the author signed with the agent, often years before representation.
• Sales it claims to have made cannot be found listed in any reference lists of books that were printed by the supposed publisher.
• Sales it made were mostly to a publishing house wholly or partially owned by the agency.
• Requires an upfront payment for administration or for a web display or for later postage and copying.
• Online forum postings never include anyone who was rejected.
• Online forum criticism is frequently responded to by a defender of that agency.
• Representation is usually granted in less than a month or even less than a week.
• Representation acceptances are usually worded identically.
• The agency name has changed, but the same personnel still work at the same address and there was no conflict with another agency with the same or a similar name and no merger to warrant a change.
• The agency never provides original comments from publishers that manuscripts were allegedly submitted to.
• The agency never provides original invoices or receipts for postage or copying expenses it claims were made on behalf of the author.
• The agency suggests that it will grant representation if the manuscript is first given professional editing. Frequently, it will suggest who should do the editing or offer to make its own in-house editing service available for a discount price.
• The agency threatens to blacklist its authors within the industry should they mention leaving.

P&E recommends that writers keep in mind that these rules are based on the known behavior of scammers, but that some legitimate businesses occasionally skate close to some of this behavior in their own normal activities. Writers should keep in mind that most scammers will follow or break more than a few of the rules we recommend for spotting them.

And last but not least, here’s one of my favorites—Teresa Nielsen Hayden’s somewhat humorous take on the truth about agents. This really brings it all home to me:

On the Getting Of Agents

Here we open an institutional-size can of worms.

A bad agent is worse than no agent at all. A really bad agent is worse than not being a writer. Getting past the “no unagented submissions” barrier is not sufficient justification for hooking up with a bad agent.

The easiest time to get an agent is when you've just gotten an offer on a book. The editor phones you and says, “I want to buy your book.”

“Wow! Gosh! Gee whiz!” you say coherently. Then you thank the editor, make sure you have their correct phone number, and tell them you'll get right back to them. Call the agent who's your first choice. Politely explain that you've just gotten an offer, and would they be interested in having you as a client? If they say they're not interested, call your second choice. It's hard to imagine your having to call a third choice. You're offering them a commission on a book you sold.

It's harder if you haven't sold a book. Selling short stories helps. Having a really good novel in hand also helps.

(If you've never sold anything, and one of the top agents in the genre not only takes you on as a client but gives you his Saturday-night dinner time slot at the next Worldcon, please believe that he's taking your prospects very seriously indeed. You know who you are.)

Least appreciated fact about agents: There are very few real ones. Of the gormless, the not very helpful, and the confirmed scammers, there are a great many.

Real agents learn how to be agents by working for other real agents. It's like a medieval apprenticeship, except the authorities don't bring back the ones that run away. After a while the young assistant becomes a sort of junior agent (I'm a little vague on this part) and starts taking on authors. Eventually they decide to set up on their own, taking some fraction of their former employer's client list with them. This is not always accomplished without friction, but as far as we can tell, that's part of the natural life cycle of the agent.

Gormless agents aren't consciously dishonest. They just think it would be a swell thing to be a literary agent, and they don't see why they shouldn't be one. Trouble is, they don't know how agenting and publishing work. They trade ignorance with others of their kind. Many of them have gotten their ideas about how the industry works by reading websites maintained by scammers. They may have the best intentions in the world, but they can't figure out a standard contract, much less negotiate an advantageous one, and they don't know who's who and who's doing what.

Note: Sometimes benign-but-gormless agents metamorphose into scam agents, kickback book doctors, or vanity publishers. There may be one or two who've metamorphosed into real agents, but if so I've never heard of them.

Not very helpful agents have some knowledge of and connection with the industry, but what they know isn't current, and the people who were their best connections at various houses no longer hold those positions. They tend to have one or two notable clients plus a bunch of small fry and marginal types. These agents have two virtues: they won't deliberately cheat you, and they can get you past the “agented mss. only” barriers. It's still a bit like marrying someone you don't care for because at least that way you'll get laid: the imagined benefits will rapidly pall, while the underlying discontents will only become more irritating.

Scam agents are legion. The wiliest ones are constantly refining their approach, and the merely sneaky ones steal riffs from them, so I won't even try to describe their current cabana acts. Meanwhile, observe the following rules:

1. Never pay them. The real ones make their money by collecting a percentage of what the publisher pays you, and they collect it after the publisher pays it out.

2. Ask to see their client list. If for any reason they refuse to show it to you, run away. If you don't recognize their authors, be suspicious. If their authors turn out to be published by vanity or subsidy outfits, run away even faster.

3. If they try to refer you to a book doctor or freelance editor, start edging away. If they tell you that “No publisher will look at your book unless it's been professionally edited,” see earlier remarks regarding fast getaways. (Note: It's okay for them to do some editing—it's a normal if not an invariable practice—as long as they don't charge anything and it's a competent edit.)

4. If they try to place your book via a deal that has you paying anything (that includes PublishAmerica's deal), vide supra.

5. The internet may have given scam agents a vast new playground for their operations, but Google is on your side, not theirs. Use it.

6. In a pinch, Victoria Strauss and Yog Sysop (a.k.a. Jim Macdonald) will always give you the straight dope. If they're not available, ask at The Rumor Mill, specifically the “Caveat Scrivener” section. They may not know the answers right off, and you sometimes get scammers posting bad information there, but the board has a good track record for collectively muddling through to the truth.

ABOUT THE LITERARY AGENCY GROUP

In the introduction of this article, I mentioned that two of our clients had crossed paths with LAG (in the guise of its affiliates NYLA and CLA) and that I was spurred into investigation after talking with them. If you’re wondering where my research led, allow me to enlighten you. (None of this was difficult to find, by the way, which just goes to show that doing a little up-front homework before responding to an advertisement can go a long way toward keeping you on the road to successful publication.)

All of the watchdogs I spoke to while researching this article had heard of Robert Fletcher, the president of LAG, which as it turns out is actually a ring of seven separate agencies—or as Victoria Strauss calls it, “the seven-headed hydra.”

A Google background search on Robert Fletcher turned up this documentation, excerpted below:

“In late 2001, a cease and desist order was issued against ByteAudio.com, Inc., its president, Robert M. Fletcher, and two other officers, Frank M. Dolney and Fred C. Kriss, charging them with offering and selling unregistered securities in Washington via the internet. The orders seek fines totaling $50,000 in addition to imposing injunctive relief and ordering restitution. A default order has been entered against Fletcher ordering him to pay the $50,000 fine and restitution to Washington investors. See orders SDO-021-01 and SDO-063-01.”

To learn more about this charge, read the full document: http://www.dfi.wa.gov/sd/pdf/internetfraudnr.pdf

This was the same year, according to Victoria Strauss, that Fletcher bought out the literary agency that eventually became LAG. “Of all of the people that we are currently tracking, he is the one about whom we receive the most complaints,” Strauss says. “At this point, they number in the hundreds. By comparison, the average file has between 20 and 30 complaints.

“To the knowledge of Writer Beware, he has made no commercial sales of books. He claims to have sold a book to Globe Pequot Press (a travel book by an Italian writer), but we have information that the book was bought directly from the writer.”

To read what Robert Fletcher (the president of what was then ST Literary, formerly Sydra, and is now Literary Agency Group) had to say for himself in January 2004, follow this thread and scroll down to post #13, titled: "President of ST Literary/Sydra Offers a Few Thoughts" (Author’s note: Due to the recent immigration of absolutewrite.com to a new server, this is currently linked to a cached version of the original forum post, which works as of this writing but may be subject to change. Scroll down until you see the name Robert Fletcher on the left column.)

Another tip from Strauss led to the discovery of this Publishersmarketplace.com advertisement submitted by Robert West, a “contact” for The Literary Agency Group. Here’s the direct link to the ad, also excerpted below: www.publishersmarketplace.com

5 Manuscripts Our Literary Agency Will Pay You $2500 Each to Publish 7 Nov 05

Author: Physician, Professor, Veterinarian... Description: Joint Venture Publisher

Wanted: Our 'out-of-the-box' thinking literary agency is willing to assist you with printing costs or publicity costs up to $2500* per book to publish and promote our authors' work.

What? Huh? A Literary Agency pays $2500? To a publisher? Did I just read that correctly? A literary agent wants to partner with a publisher and pay money on the author's behalf?!?. .. wait a minute.. ... what is this? it's not self-publishing..it's not vanity either.. what is this?

Ok, here's the deal, by putting my money where it counts, SELLING BOOKS, the publisher wins, the author wins, and my agency wins. I call it 'priming the pump', it's a simple concept really, and I wonder why no one has thought of it before. Put yourself in my agent shoes for a minute. I could pay an employee-agent $5,000 per month to sling manuscripts at the publishing community with only sporadic results, AND the negotiation is adversarial. However, if I can put that same money behind a book that I believe in, well, that creates a serious win-win-win for the author, the publisher, and our agency.

And, I Guarantee the Quality and Commercial Viability. I believe in these books and authors. I'm guaranteeing it with my money, aren't I? Every book that I would support has been formally edited and is ready to go. Take a look at these sample bios and books.

* * * * * . The author is a Fellow of the Royal Colleges of Physicians of Edinburgh, and of Canada, and a Member of the American Societies of Hematology, Clinical Oncology, Blood and Marrow Transplantation and the International Society for Cellular Therapy. For the year 2004-5 he was a scientific advisor to the Cancer Vaccine Consortium. He was a past recipient of the Elmore Research Scholarship of the University of Cambridge. * * *

* * * * The author was born in Baltimore, Maryland and is a Professor at a major university. She is an author and editor of 16 books and 12 proceedings and monographs. She has written 50 chapters and 100 papers, and given more than 150 presentations nationwide. She has graduate degrees in Music, Science, and Education. She and her husband are now living in the British Virgin Islands, where her time is spent sailing and writing. She has published scientific articles and written more than a hundred concert reviews as a freelance music critic. * * *

My Goal is to Do 12 Books In This Program Next Year: I would like to do one a month, first come first serve. I will do up two deals with any one publisher in twelve months. I'm also building relationships with innovative publishers as a sub-goal and if this is my price of entry, so be it. I believe that if I seed 12 great books, at least one will go all the way, so I am extremely committed to the program.

The Offer is Not Limited To Just These 5 Books, What's your sweetspot? Our Agency has "depth off the bench" in quality authors for every subject matter imaginable. I believe I can supply books of this caliber in every genre. If you have a niche, let me know and I believe I can quickly fill it under this program. Just let me know what kind of book you would LOVE TO SEE and if I have it, we can do a deal. I'll pay the freight .

What I am NOT Looking For: Clearly this is not open to any self- or vanity publisher. You must be able to demonstrate that you have a decent sized organization, and have been in business more than 2 years. The more success you've had the better. You should clearly know your vertical niche. I am looking for mid-sized publishers but will consider small, aggressive publishers as well. There's no risk in letting me know your shopping list and if I can fill it and reduce your cost of acquisition, that's another win-win for you.

THE NEXT STEP: Please e-mail me and let me know what kind of manuscript you'd LOVE TO SEE, or let me know if any of the above are of interest to you. I also have a list of another couple of dozen candidates that I am compiling now. Send me your company's background as well. Within 2-3 e-mails I'm sure that we can determine if we have the basis to work together. At a minimum we'll have some fun brainstorming possibilities and exploring a new industry model.

Best regards, Robert West The Literary Agency Group, Inc. robertw@theliteraryagencygroup.com

* There is no catch. If we can do a real deal, I will pay up to $2500 to your company on my author's behalf. I have 3 of these in early stages as we speak, and I'm only doing 12 next year, so only 9 are left. If you think you are remotely interested please drop me an e-mail and let me know what you might be looking for. Let us work for you and reduce your risk and cost of acquisition.

Rights available: All Rights Already sold: None Contact: Robert West

~ The Literary Agency Group

After following the paper trail on Robert Fletcher and his companies, reading the company’s client correspondence, and perusing their websites (all seven of them), I’ve concluded that the Literary Agency Group isn't likely to lead a writer down the road to traditional publication any time soon.

WHAT'S THE SOLUTION?

Now that the problem has been defined, the die-hard idealistic journalist in me begs the question: Is there a solution? What about some form of licensing or formal industry policing? Wouldn’t that help?

Jim Fisher doesn’t think so. “Agent licensing might help, but scam-agenting would still go on as a black market. The only real solution is for aspiring writers to handle rejection the right way. When your manuscript is rejected by a real agent or publisher, make it better. And if you can’t do that, get out of writing. Writing is just one of those vocations where you’re on your own. There are people doing right now what Dorothy Deering did. If you’re unpublished and unknown, getting an unknown agent does not make for a good team. The more unknown you are, the bigger the agent you need.”

And when asked about the likelihood of new scam literary agencies continuing to spring up and flourish in the years to come, Jim said: “Setting up a scam literary agency is a gold mine. There are thousands of manuscripts coming on the market every day; it never dries up. My advice is for aspiring writers to wise up, or face becoming a cottage industry for borderline con artists.”

Author’s Note: Lynne Marie Zerance encourages you to post this article on your website, send it to writing groups or organizations to which you belong, and pass it along freely across the Internet to fellow writers.