I’ve been invited into a few charity anthologies recently. Most of them looked pretty good on paper. Like communism the equation looked sound, but once you got into the details they tended to fall apart.
One of the anthologies is in defense of a website for writers that is getting sued for, frankly, telling the truth. It happens. Probably a lot, too. Here’s the premise in this case. I and a lot of other writers are supposed to donate stories for the anthology. An editor will donate his time for the anthology. A publisher will publish the book and the monies that would have gone to the writers and the editor will go to the charity. After expenses are taken care of, naturally. But that’s cool. The expenses can’t be that high, right? I mean, we’re talking about a print-on-demand endeavor here, so a few hundred dollars for the layout, and then the public can swarm in, pay fifteen dollars a pop for the books and save the website from certain death caused by legal fees.
Of course, there’s no agenda for advertising. It’s possible that the advertising budget might have to come out of the profits for the book, too. That could slow things down. I mean, okay, so they can announce it on the internet, hit a few bulletin boards, maybe even get a banner up for free at the site they’re going to help through their legal problems. So a few more people will find out about the anthology and order it.
Right?
Sure. I’ll get right on that. After I’m done paying my bills. Oh, please don’t misunderstand me. I am rooting for the website. They’ve never done me any harm and I’m all for letting people know what companies to avoid, what “agents” are out to screw authors over and which publishers are managing to mishandle their books hard enough to make sure their authors never get paid. I’m very much all for that. I’ve never been to the site myself, but a lot of people swear by it.
I have to look at this from a business perspective, because as I’ve said before, this is my business. I’m dealing with a commodity. It may not be much as commodities go, but it’s all I have. At one point or another I’m obligated to look at what’s in it for me. For those of you who’ve grown tired of my rants, you might want to skip ahead to my closing statements. This is probably going to get ugly. First off, there’s nothing in it for me.
But wait, Jim! There’s exposure, isn’t there? It’s for a good and worthy cause and public perception will make you look like a champion of the downtrodden!
Um. No. Sorry. It doesn’t work that way. First off, there’s already something like 30-35 contributors, most of whom are tossing in stories that are under 2,000 words. My name won’t stick out in that lot. Also, I don’t tend to write short short stories. I tend to write 7-10,000 word long pieces for my promotional works, what the hell makes you think I’m even capable of a smaller piece?
Secondly, most of the people offering stories, at least according to a few of the comments I’ve seen, gave over stories that hadn’t been sold or that they hadn’t been able to sell. Nothing personal but I don’t want my stories printed with a bunch of other tales that apparently weren’t making the grade with the paying markets.
Yes, I DO sound like an ass when I say things like that, but it’s true. Because a good number of the names associated with the anthology so far are also unpublished authors. That doesn’t mean they aren’t any good, but it does mean there aren’t a whole lot of names going in there that will increase the awareness of the anthology. Get an original story by Dean Koontz, Anne Rice or Stephen King in there, and the world will know of the collection. Mortimer Pipkin, Aloysius Hammesfar and Dirk Hatrack on the other hand are not going to boost public awareness. With apologies to all three, should they happen to be fledgling authors whose names match the ones I just yanked out of the ether.
The editor is also, frankly, someone completely unknown to me. I’ve seen his name on a few boards, read an occasional post (and often disagreed with every word said editor wrote, but that’s neither here not there) and otherwise have never heard of our esteemed editor. To me that means said editor probably doesn’t have the chops to carry this off properly.
God, I hope I’m wrong and end up with egg on my face. I’d love to see the anthology kick all sorts of posterior and make money hand over fist for what I believe is a worthy cause. I’ll eat that serving of crow with gusto, boys and girls. No hesitation at all. I mean that.
So, let’s see, what else….Oh, yeah. The publisher. Print on demand. No budget for advertising, second string or volunteer layout….Yeah. Not looking any better in my eyes. Sorry, but there it is. Probably get a decent piece of clip art for the cover, unless they can convince one of the professional artists hanging on the bulletin boards to throw them a bone, or the editor’s sister is halfway decent with a pen and ink kit.
Hey, I’ve seen plenty of fly by night micro presses cranking out some truly, truly hideous covers lately and they’ve survived, haven’t they? Well, some of them, maybe? Damn. Hard to say without research and I don’t have the time to look into that, so let’s pretend a few of them are still doing well. It could happen.
So let’s do the math. 30 writers. One editor. One maybe artist. Possibly even a decent layout by someone with a clue. What the hell, we’ll call it thirty-five people minimum involved in what could be a phenomenal anthology that will pay away all the financial woes that a lawsuit has cast upon a website that helps writers by warning them about the scum waiting to prey on them in their moments of weakness or in their early naiveté.
Hell, how could I not want to step right into that project?
Oh wait. Bills to pay. Now I remember. Got a novel due. Just finished editing another novel. Been doing some freelance work as an associate editor (That means first reader, line editor and a few other hats that I have to wear in addition to writer.). Got several projects I want to get off the ground and a few collaborations I’m toying with. Still have the day job to consider, because we’ve already discussed the evils of the American medical system and how not being insured guarantees your financial destruction, haven’t we? Or is that a subject for my next essay? I can’t remember. Still have to finish a short story that I promised last October. It’s been named and half written, but I really, really need to finish it. It’s a paying market, too. I need the cash. Let’s be honest here. My short story could fill my gas tank a couple of times and it would be really, really cool to actually fill the tank for the first time in half a year. I have two novellas contracted that have to be written soon. I’ve promised a foreword to an author I admire, who for some insane reason thinks that my words at the front of his novella will help it sell. Who am I to disillusion him? That’s due next week and I haven’t finished reading the story yet. Got this essay to finish in the next fifteen minutes or I’ll be ticked at myself. No, the essay doesn’t pay, but as I’ve said before, if someone wants to believe my opinions on the writing process can be of assistance, who am I to ruin their fantasies? And if you’re reading this, you might be the someone I’m trying to help. That, or you really, really need to find new ways to amuse yourself.
I don’t have the time to give away a story for a charity anthology that will probably not sell anywhere nearly as well as I and others would like. I don’t have any spare tales floating around and I simply cannot justify losing a couple of days or more when I can barely keep up with what’s already on my plate.
I’ve got a protégé who’s been waiting patiently for me to finish reading the manuscript he sent me 6 months ago. Seriously, I feel like a worm about it, but I haven’t had the damned time.
so does skipping the charity anthology make me a bad person?
Maybe.
But it also makes me at least a little responsible to the people I already owe works to, and it makes me a little closer to being able to pay my bills.
But if I hear good things about the anthology when it comes out, and if I have the spare change, I’ll buy a copy and eventually read it. That way, when the time comes, I can lie to myself and say that I contributed to helping that website that’s always helping out the writers and stumbled into some legal problems caused by telling the truth about a few small press publishers with an attitude problem and enough money to get bitchy about it.
This comes down to the other side of professionalism. This is the part no one likes to talk about or think about. It’s a business. I would love to find the time to help out on a few charity anthologies. Show me one with an editor I admire, a publisher I respect and a few names I think will actually do some good and I’ll be there, or at least think about it while I’m catching up on my deadlines.
I don’t give free stories to webzines, I don’t accept anything below a certain amount per word when I sell stories to published magazines, I don’t sell novels to new publishers who are trying to prove their love of the genre while simultaneously not paying me. Yes, there are a few markets where I’ve broken my own rules. Yes, I’d gleefully sell a story to All Hallow’s knowing full well that there wouldn’t be a penny to be made for giving up my first print rights, because I know the exposure would be worth it.
I don’t do charity anthologies for editors I’ve never heard of or publishers that have no track record, because I can’t waste my time on them. Nothing personal. It’s business.
Pastry chefs don’t give away wedding cakes to everyone coming in off the street. They charge for their services, with exceptions for promotional reasons. I’m the same way with my stories. If there’s something in it for me, I might give away a story, but if the only thing it’s getting me is my name in print, I’ve had better offers.
Besides, the last time I did a story for free I was promised a copy of the magazine as payment and the publisher on that one screwed me. (Yeah, you know who you are. We’ve exchanged a few e-mails before you stopped responding. Can’t pay me a contributor’s copy? Don’t ask me for references….) Want to be a professional act the part. That includes deciding to say no to charities now and then. It sucks, but if you don’t follow the rules you establish for yourself, how can you expect to make a living at a job where the average writer makes less than five grand a year?
James A. Moore
26 Comments, Comment or Ping
Robert Jones
Thank you for the very-well-done taste of realism.
RCJ
May 12th, 2008
eric wilson
Thanks for the cautionary tale. Yes, as these sorts of things become more common, it’s hard not to get sucked into them. We want to pass it on, pay it forward, and all that. But, at some point, we’re also doing a job. It’s a tough balance.
May 12th, 2008
JG Faherty
Jim, I agree almost 100% with what you say, and I’m one of the contributors to that anthology. I, too, don’t normally give away stories for free (although I’ve previously done just that for an anthology devoted to helping animals abandoned after Katrina), but in this case 3 things changed my mind:
1. I did feel the cause was important, as the website in question has been a real source of information for me in the past, and helped me to not make some dumb mistakes.
2. I was able to submit a piece of flash fiction that had been published not once but twice previously, meaning that odds are I’d never get much money for it again anyhow.
3. When I saw that some people who I respect in this business were involved - including Gary Braunbeck, Stephen Mark Rainey, and Lisa Morton - I decided it would be okay to get involved.
Does this mean all charitable anthologies are worthwhile? Not to me, no. I skip plenty of them. I also don’t submit to low-pay and no-pay markets, not since I’ve reached the point where I can regularly earn pro rates for my work. That’s why I agree with your column in principle, if not in consistent practice.
Thanks for a great column.
May 12th, 2008
Joe Nassise
Great post, James. And I’m 100% in agreement with you.
May 12th, 2008
Gerard Houarner
One of the benfits of rarely being asked to contribute to professional closed anthologies is that I’m even more rarely asked to contribute to charity anthos. I’ve done a few in the past and they’ve done well for their causes (Gina Osnovich handed over a big check from what she raised with SCARS, and Brett Savory’s West Memphis Three project at least raised some awareness)but I agree that unless someone along the way is willing to make a big time/financial commitment and put a lot of energy behind the project, it’s not going to fulfill the cause’s need. And then, of course, there are the practical realities you talk about. So yes, there’s a lot to consider before jumping in, not the least of which is keeping yourself off of someone else’s charity contribution list.
May 12th, 2008
Adam
For the record, Daniele Serra did the cover art free of charge, and it’s amazing. To each, their own. I just thought I’d add that.
May 12th, 2008
Bob Weinberg
Great column, Jim. You hit the nail right on the head. For the average writer (people like you and me), charity begins at home. Besides, I suspect most charity auctions rarely earn back their cost, much less raise any real money for their cause. Do it for the exposure? The only names that guarantee exposure are Stephen King, Dean Koontz, and Anne Rice. That’s it. And to be frank, being in an anthology with Stephen King isn’t going to make you famous or get you a better contract. The publishing world doesn’t work that way. Exposure is highly overrated.
May 12th, 2008
Brian Hodge
It’s not always easy to say, but yeah, sometimes a guilt-free “No” is one of the more effective tools at your disposal.
May 12th, 2008
Jim Moore
Yeah, everyone in the industry knows exactly which anthology I’m refering to, but I deliberately did not name names.
Again, I believe in the cause, but remain a bit dubious as to how effective it will be int he long run. Also again, I hope I’m completely off my rocker on this one, because it’s a very worthwhile cause.
One author I know who shall not be mentioned by name, siad that the odds are good the entire anthology will make less than if each contributoe just threw five dollars into a pot and then mailed off a check.
It’s hard to know until it’s all said and done.
And Gerard, Gina’s anthology was a damned fine piece of work. That was one occasion where I would have gleefully given a tale, too.
Jim Moore
Great to hear on the cover.
May 12th, 2008
Lee Thomas
Well said, Jim. I imagine there will be some backlash on this, but don’t sweat it. Though good intentions may have kick started this project, the publishing realities don’t offer much in the way of hope for a success here. Sad but true. Unless the printing is donated or its costs subsidized, I don’t see how this project can bring in a substantial amount of money for the charity. Even if it does benefit from such donations, sales on these projects are rarely high. Hopefully, they’ll prove me wrong.
Then it’ll be a sunshine day. (Private joke. No need for folks to think too much about it).
May 12th, 2008
Brian Keene
GREAT post, Jim! Bravo.
May 12th, 2008
Shadowtron
I know a trio of idiots who should not only read this essay but have it tattooed to the insides of their eyelids as well. Great work, Jim!
May 12th, 2008
Bill Lindblad
Jim, you want to contribute to the cause, but not enough to submit a story? Do something which will cost you far less time, not tie up rights to a revenue-bearing work, and possibly bring some enjoyment: buy a copy when it comes out. If you like it, recommend it. Word of mouth is worth more than most other forms of advertising. If you don’t like it… well, you donated a little cash toward a worthy cause. That’s the reason I almost always buy something from the CBLDF tables, even if there’s nothing they’ve got that looks particularly interesting.
May 12th, 2008
Michele Lee
IMHO if they wanted to help these causes they’d have a fundraiser or a raffle. Many of these recent charity anthos, even if I agree with the cause, just seem to be putting the writers’/editors’ careers in the high position of importance.
May 13th, 2008
David A. Riley
An excellent column, with a lot of sound commonsense to it. It’s given me plenty of food for thought.
I have only been involved with one charity anthology, which was published in the US. I submitted a long story to it (9,000 words), which was accepted. I had already arranged for it to be reprinted, though, seven or eight months later in a British anthology, whose editor was not concerned about its prior appearance in the States.
So, on this basis there was no problem. Except that, although I did get a contributor’s copy to the charity anthology, when I tried to order and pay for an additional one, nothing came of it - and the weblink disappeared a few months later. Which makes me seriously wonder just how much money the charity concerned ever had donated to it. Probably next to nothing - mainly, I think, because the editor concerned had lost interest in it or become involved in other, bigger things in the meantime.
May 13th, 2008
Bev Vincent
Or, David, it simply didn’t make any money, which would be my fear about projects like these. They are, essentially, royalty-only anthologies, and we all know that the vast majority of them never generate royalties, so there would be nothing to give to the charity.
May 13th, 2008
David A. Riley
It did also bother me that even when I tried to buy copies - which would have been money in the pockets of the charitry concerned - I couldn’t even do that. On which basis, I doubt they sold any. I don’t suppose all charity anthologies are as bad as that, but you are almost certainly right. Being essentially royalty-only anthologies, most of them probably do earn nothing anyway. What are the potential profits on a POD anthology anyway, even when all the stories are free?
May 13th, 2008
John Morris
I happen to disagree. First of all, if people want to donate monies to help an organization do so. If they want to buy the anthology to help the organization do so. I saw the anthology in question and it has some pretty huge names attached to it. Why would I not want to buy it? And just because a writer feels he is to important to not donate to a cause, doesn’t mean other writers of higher caliber also should be. I think the men and women putting this thing together are honorable. There should be more people out there like them, rather then sitting back and complaining, maybe you should help.
May 13th, 2008
Jim Moore
John,
I deliberately did not mention names and editors because I wanted to avoid causing insult. YOu on the other hand have apparently decided what “caliber” of writer I am based on this article. Have you read my works? Have I offended you because you offered a story for this anthology? What makes you assume that I feel I’m “too important” for a cause? How do you know I don’t already have a check cut for the very same purpose as the anthology? This is an advice column, sir. I give advice. I do not expect the world to bow and scrape to my great wisdom (especially since I don’t have any) and I don’t expect that my words will change the career paths of anyone. They are merely advice. Whatever the case, there’s hardly a reason to be rude about this. Apologies if I inadvertantly ruffled your feathers.
Jim Moore
May 13th, 2008
Jodi Lee
Jim,
Great article. I’d let someone push a button, thinking I should have bent my rules for a certain anthology (guilt trippin’ what a ride). After reading your article, the guilt has abated. I’ll like as not send my next royalties down their way.
May 13th, 2008
John B Rosenman
Jim, yes, a great article. You know, the world is filled with causes. At least half the world has its hand out, asking for a helping financial hand. Don’t want to seem callous, but you can’t help ‘em all. As Jesus shouted in Jesus Christ Superstar, “There’s too many of you.” A worthy cause does NOT always justify your giving them a free story.
As you say, it’s a business, and as noted above, most writers make less than 5 K a year. Settling for exposure can be very costly, in more ways than one.
May 14th, 2008
David Rass
I’m sorry, while the concept is good, I disagree with the way this article comes across. We all know that the individuals involved in the making of this anthology are frowned upon (everybody knows who they are), and this particular column seems more like a form of spite towards ‘them’, rather than a learning experience for ‘others’. You might as well name the column: “Authors you should stay away from, only without the names!” But then, of course, I guess something like that might put STU in legal hot water.
I also noticed this entry copied on Shocklines and linked to another bigger author’s blog, and it seems that there was some kind of personal grudge between the person putting this production together and the bigger author. Right away, this should have nothing to do with ANY charitable anthology; it leaves a bitter taste in the mouth, especially where personal gain is concerned. It was also on the bigger author’s MySpace. However, twenty-four hours later ALL blog entries disappeared and it was said that they would be compiled into a non-fiction collection for gainful purposes. I can’t help but feel somehow that there was a publicity stunt behind this. Either for the bigger author or for the people behind this anthology to push extra copies. Ironic is that the same big author criticized the people behind the anthology and not “The Cause”, yet said author, along with some friends years ago, stuffed the ballot box of “The Cause’s” annual reader’s poll to have a handicapped author win first place.
May 14th, 2008
Jim Moore
David Rass:
Really?
Sigh. Once again. I deliberately left the names out to avoid anyone getting egg on their faces. I really don’t much have time for conspiracies, and I’ve never once had any dealings with the editor in question. I’ve just observed him in a few discussions and disagreed with him on some of his comments. Doesn’t mean I have feelings about him one way or another. Frankly, I don’t KNOW him, which was one of the points I was trying to make. What has he done in the past that should lead me to feel he’s qualified to edit anything? Why would I put a story out for someone I’ve never seen edit or publish anything before? What are his credits? If I’ve missed a long line of legitmate novels, anthologies, short story collections and magazines that he has contributed to, edited, or even written then the fault is mine. If I’ve missed his plethora of mass market credits, then consider me properly chagrined. Otherwise, where is the reason for me to offer my works to someone without the experience necessary to do justice to the work? For the charity? Fair enough. I’ll send them a check.
Allow me to be blunt: Either you’re very misinformed, I have, again, offended you with comments that were designed to be anonymous (though obviously not well veiled enough)that have hurt your feelings or those of a friend (and if so, again, apologies), or you have severely overestimated the significance of the editor in question while simultaneously deciding that backing him will gain you favor in the deeply Machiavellian politics of genre fiction.
I don’t frown on ANY of the people working on the anthology. I happen to be friends with many of the contributors. I was making an example using a fairly timely project that has received a decent amount of buzz.
As for lawsuits: Over what? An opinion? I’m sorry, you apparently think the First Amendment went out the window. Much as the fellows who started the lawsuit feel that the First Amendment went out the same opening in the wall.
I have never been a proponent of giving away the work that you do without knowing the consequences of your actions. Look over my past articles (there are a LOT of them here) and you’ll find a similar trend. You’ll also find several occasions where I have made exceptions.
It has nothing to do with altruism, nothing to do with who’s editing what. It has to do with business sense, common sense and a desire to see authors succeed in a field that is not exactly user friendly.
May 14th, 2008
Mark
Jim, your article is pretty much on the money. Now, I contributed to the antho because it is something I believe in. I also contributed a tale that’s already been reprinted twice, but the editor was happy to get it. So fine; not exactly a big risk on my part. Write a new story for the same project? Not a chance, I’m afraid.
May 17th, 2008
John Morris
Yeah, you did miss his qualifications.
But I don’t think according to the website that author is editing the book. Another person is. The person in question who a big author attacked has a mass market novel out called ” Tell Me Your name.” and is with a bigger publisher then your own. http://www.teriwoodspublishing.com also, he is an active member of the HWA a place I aim to one day frequent. I’ve researched him since my last romp here and he is well respected in certain areas. He also has a novel coming out that has major reviews from different sources.
According to a few websites, his stories have been featured in professional paid anthologies.
i agree with the above post. Although you Jim I have not a problem with, the article seems pretentious and is aimed towards this particular author rather then the anthology at hand. I also find it funny that the bigger author canceled all his blogs and myspace blogs once he realized he may have made a mistake.
May 18th, 2008
James A. Moore
John,
While I’m sure that a few would tell you I have acted unprofessionally in the course of this particular list of comments associated with the essay, most would agree with me when I say you have. Aside from your need to throw in underhanded insults (Implying, among other things, that I am somehow a cronie to another writer) you simply haven’t checked your facts.
I know all about the HWA. I was the secretary for three years and also did a stint as the vice-president, serving with Brian Lumley.
As for myt credentials as a writer, while I would certainly not want to belittle Teri Woods Publishing, I feel confident when I say that a few of the houses I’ve been with would qualify as not only larger, but substantially so.
I do not write the essays I post here under anyone’s dictation. Nor do I post them to belittle anyone. You think the advice is ”
pretentious” and aimed at offending someone. That’s your prerogotive. You’re wrong, but by all means, feel free to disagree with me.
However, I’d advise you to check your facts, sir, before you attempt to fling mud. mud in the future.
Vampire: The Eternal Struggle: House Of Secrets (With Kevin Andrew Murphy) Released by White Wolf Press May 1995.
Werewolf: Hell-Storm Released by from Harper-Prism books May 1996.
Under The Overtree (Limited Edition) Released by Meisha-Merlin Press, released March 2000
Fireworks (Limited Edition) Released by Meisha-Merlin Press released June 2001.
Under the Overtree (Mass Market Paperback) Released by Leisure Books September 2002.
Serenity Falls (Limited Edition) Released by Meisha Merlin Press released January 2003. Limited Edition Trade Paper Back.
Buffy The Vampire Slayer: Chaos Bleeds Released by Simon and Schuster August 2003.
Fireworks (Mass Market Edition) Released by Leisure Books August 2003.
Newbies Released by Smooch in November 2004.
Possessions Released by Leisure Books released June 2004.
Newbies Released by Smooch Publications November 2004.
Rabid Growth Released by Leisure Books in April 2005.
Serenity Falls: Writ In Blood (Mass Market Edition) Released by Berkley Ace May 2005.
Serenity Falls: The Pack (Mass Market Edition) Released by Berkley Ace July 2005.
Serenity Falls: Dark Carnival (Mass Market Edition) Released Berkley Ace September 2005.
Blood Red Released by Earthling Publications in October 2005. Limited Edition of 250 Copies - Signed & Numbered.
Blood Tide - Limited Edition Chap Book from Earthling Publications - 250 Editions only.
Bloodstained Oz - A short novel by Christopher Golden & James Moore now available for pre-order from Earthling Publications
Blood Red, Mass Market, released 2007 from Berkley Books.
May 20th, 2008
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