Another Hollywood Scam

No doubt many of you are familiar with the news that Meta used sites pirating books to train their AI. But that isn't the only scam going after us writers. This month I've invited Sue Duff from my critique group to share her story of yet another grift in this publishing biz.

Too good to be true was never more true for me recently! 

Last month I received an email from an individual in Hollywood, posing as a literary agent. He claimed to have read my first novel, Fade to Black, in my SciFi/Fantasy series The Weir Chronicles, and loved it! He shared how it just had “that something that popped right off the page” and how, as he read my book, he could see it playing on the screen. Based on its cinematic adaptation potential, he claimed the material was “just what Hollywood is looking for right now” and asked for a date and time to have a real conversation about it. Below his signature it stated he was the literary agent Nate Winslow. BUT (in hindsight) it also said he could connect me with the people who could make this happen. I made the mistake of assuming it meant production companies. I mulled this over and emailed him the next day asking how my book came to his attention. 

He was able to give me specifics (his scout found it, tagged it and had him read it), and that my “story stuck with him after he’d finished it,” etc., He shared enough details to convince me that he had, indeed, read my novel. He wanted to submit it to production companies as a potential limited 8-10 episodic series with options for the other 4 books in that series. I found him online and he appeared to be legit. I decided to take the next step and emailed him my phone number and a time I'd be available. He said to expect a call from his production assistant, who online was listed as an executive at an L.A. based production company, had years of experience in TV production, etc., and by all appearances was also legit. 

When this assistant (Dustin) called me, he explained that they would need three things from me to develop a presentation packet. 1) a short author video of me talking about my book, 2) a cinematic book trailer for producers to see my vision of the story and 3) a three-page synopsis. Once they received those materials, they would meet as a team and decide how best to proceed with my book. At that point, Dustin sent a list of 60+ production companies that they head hunt for. He asked if I had any preferences about who I’d want them to submit to first. I checked out a few online based on how they wanted to receive my packet and they were all true production companies. At this point I double checked with a friend, a literary agent. There was another agent in her firm who handles cinematic adaptation contracts. Together, they, too, confirmed the individual was legit. 

I scrambled to assemble the required materials. A week later, I received an email that they had reviewed everything and wanted to connect me with a film expert to discuss more details. They also shared that they had gathered the presentation packet just in time to submit to a production company, Wonder Street (a legitimate production company) for March. But Wonder Street was a “pass” because they already had a SciFi series they had contracted for in 2025. During the week with Dustin, I emailed the literary agent directly a couple of other times but it was Dustin who always responded. With them already submitting my project, I noted that we needed to discuss terms of the literary agent/author contract which had not been sent to me. Dustin replied that I’d be hearing from their film expert. The next day, Kevin, a man from yet another agency, Writers Edge Productions (who I discovered was in New York) called me. Kevin jumped into a very elaborate, intense “sales pitch” from a marketing lens about what it would take to get my book the best exposure in Hollywood. He mentioned getting a minimum of 5 book reviews in the LA Times, and had already posted my author video and book trailer on their Writers Edge website to “start the process.” He also mentioned working with the LA Talent Agency to hire actors to create a lengthier, more cinematic book trailer complete with CGI effects and arrange for a consultation with an award-winning cinematographer. He claimed I could expect thousands of dollars, even implied over a hundred thousand dollars, to sell my rights (which I knew would not be the case from previous research). He would email the contract to get their ball rolling and market my book before the next submission window opened for the production companies in April, and that they would be in charge of my submissions from then on. 

His email ended up in my SPAM folder. By the time I found it, I had already done a deep web search about this new company. Sure enough, when I clicked a few places, I found reviews on Writers Edge Productions, titled LEGIT or SCAM? The site was scored low (most likely a scam) and a warning that, to share any financial information with them, would be at your own risk. I researched further about the original literary agent in Hollywood and found his Linked In account. I messaged him through that site instead of our previous email exchanges. He called me later from an LA area code. He asked if I was Sue, and I confirmed that I was. He then said that dreaded next line that smashed any crumb of lingering hope from the past month’s endeavors, “I’m the REAL Nate Winslow.” Oh, and that contract they pressured me to sign to push my book into the Hollywood spotlight? $6000 for a 6-month contract or $12,000 for a year contract (my money up front, of course) with the promise of only one submission of my book to production companies each month, with no guarantee of acceptance. 

These guys know the business because most of what they told me was true. I suspect Writers Edge may be trying to get a foothold in the cinema business by taking a deceitful approach to build their portfolio with unsuspecting authors and touting it as the “new way of doing the book promotion business in Hollywood.” I may have been one of their first because my author's video and book trailer was the only one posted on their site on Friday, the day Kevin called me with the “sales pitch.” But by Tuesday, the following week, there were 12 more authors and their content. When I called them on it, they STILL claimed they were legit and had submitted my book through “GreenLightMyMovie.com.” After sharing everything I had with the real Nate Winslow, within another 8-10 days, all information on YouTube regarding this Writer’s Edge Company, was removed. Someone else had posted a video, sharing they were a scam and not to fall for it. 

BEWARE of any literary agent claiming to be a legitimate Hollywood figure, or a real production company called Perspective Film House, or a New York based agency called Writers Edge Productions. 

Unfortunately, there are more scammers out there masquerading behind other named agents and companies. Remember, literary agents never ask for money; they only get paid at the backend, and it’s always based on you signing a contract with the production company. Luckily I knew this. But not everyone does. In hindsight: Speak directly with the literary agent, not just through emails, ask to see a contract early on, and be aware that to request a book trailer to include in a presentation packet is not standard practice. 

 

 Sue Duff Loeffler 

Author at CrossWinds Publishing and at Wicked Ink Books. Former President of Rocky Mountain Fiction Writers (RMFW) Coordinator of Youth Writers Programming and the Youth Writers Scholarships through RMFW. 

Sue grew up dreaming of dragons and spaceships before she chose her favorite genres as an author. She has written and/or contributed to 11 published novels, short stories, and anthologies. You can check out all of her work on her Amazon author page @Sue Duff - author

More on setting

Thanks to my fellow Type M'er Thomas Kies for his excellent discussion of one of my favourite topics: the use of setting in fiction. Setting is so much more than the location where the action occurs. As Tom says, it draws the reader into the story, engages their imagination, and allows them to live the experience along with the characters. It can capture many moods, from menacing to tranquil to uplifting, helping the reader to experience those moods as well. 

Setting is much more than the physical place; it is the season of the year, the time of day, the historical time period,  the weather, the people and culture of the place. The more vivid and specific these elements are, the more unique and powerful the story is. 

I love writing about Canadian settings not just because I know them best and can draw on all my experiences with them, but also because Canada offers endless possibilities. On the macro level, it has everything from rugged coastlines, rain forests, wide-open prairies, thousands of acres of trees and sparkling lakes, arctic glaciers and tundra. The farms, small towns, and big cities each have their own distinct flavour. The people of the Newfoundland fishing villages are vastly different from Alberta ranchers, British Columbian loggers, and remote northern hunters.

Trail riding in the Alberta badlands for THE ANCIENT DEAD

The four seasons are also very distinct. Setting a story against a backdrop of frigid cold, blinding snow, and long hours of darkness evokes a very different experience than the hot sun, gentle breeze, bird song, and lush green of summer. Autumn is a vivid tapestry of oranges, reds and yellows, the rich golden carpet of prairie wheat, leaves swirling in the air and crunching underfoot. Spring is soggy, muddy, brown and grey, with the excitement of little green shoots poking through the last traces of dirty snow.

The weather is an almost constant surprise, and therefore a pet topic of conversation among Canadians, whether it's the welcome spring sun or the third blizzard of the week. And we're not untouched by climate change either. Tornadoes, forest fires, floods, fierce thunderstorms– all of them can  ramp up the tension and drama in a story, and even play a pivotal character in it.

Kayaking in Georgian Bay for PRISONERS OF HOPE

Creating a vivid sense of setting works best when the writer has a vivid idea of it, and for me, that means  spending time there and experiencing all the things the characters do. Relying on book research, the internet, and other sources doesn't give me the visceral, five-senses impressions I want to capture. When I stood on a clifftop in northern Newfoundland, I could hear the thunder and crash of the waves, feel the fine spray on my cheeks, hear the cries of the birds wheeling overhead, and see the humbling vastness of the land. And I wanted the readers to experience all that too. An added bonus - it made a fantastic trip!

A Late Start

by Catherine Dilts

I’ve gotten a late start on gardening this year. Considering the weather this spring, perhaps I’m starting right on time.

Back in March, my husband and I did some yard clean-up. I prepped my containers, refreshing the dirt and pulling out last year’s roots. I also started a few seeds indoors.

In the past, I aggressively pushed the boundaries. Knowing when the last hard freeze occurs here (Mother’s Day), I would use elaborate covers to protect plants. The growing season is short in the Rocky Mountain foothills. Too short to realistically attempt growing hot, long season plants like okra and watermelon.

Yes, I’ve tried to grow both, with minimal success. It’s difficult enough growing tomatoes and peppers. Cold climate foods like kale and broccoli do well.

I’m tired of trying to fool Mother Nature. My experience has been that all that boundary pushing did not result in a significant increase in tomatoes. Peppers are a summer crop, and they won’t abide being rushed.

This year, I’m not going to extremes to get my garden started early. I’m also trying a few new techniques.

I am starting plants in larger pots, then transferring them to even roomier pots when I estimate the roots have filled the container.

Fewer plants, with more attention to those I do grow.

Another experiment is leaving the grow lights on 24 hours a day. So far, this seems to have improved the size and health of my plants.

Part of my reason for relaxing my approach to gardening is that other activities have taken priority.

My husband retired, kinda sorta. He might continue doing occasional contract work for funsies. He’s just that kind of guy, plus his work as a medical device engineer is interesting. So when he’s actually not working, he appreciates me being available for hikes and travel. And I'm happy to be able to do things mid-week, instead of cramming everything into a hectic weekend.

Even though I’m retired now, I really have to schedule my days. I’m embarking on a co-author project that’s consuming a lot of time. My own fiction writing continues. There just doesn’t seem to be enough time in a day for writing all the stories I want to tell.

Which makes gardening an important hobby. Stopping, going outside, pushing my hands in the dirt, provides balance. It connects me to the changing seasons.

It’s finally gardening season in Colorado. Unless it snows again.

Where the Magic Happens---Setting

 By Thomas Kies

All of my Geneva Chase mysteries take place in Fairfield County, Connecticut.  I like that setting because it allows me to show the broad disparity between the haves and the have nots.  Plus, it’s got a New England flavor and yet it's close to New York City.  The setting for my latest book, EXIT SIGNS, is upstate New York in the dead of winter.  I used to live there, and I know that from September until about April, it’s cold, gray, and spooky as hell. 

In mysteries, familiar tropes like quirky investigators, plot twists and red herrings often steal the show. But behind every great detective, behind every puzzle, there lies something equally important yet often overlooked: the setting. In mystery writing, the setting is not merely a backdrop. It is an active, breathing element that sharpens tension, deepens mood, and influences every layer of the narrative.

In almost any storytelling, setting is far more than a place where the novel takes place. It’s atmosphere. It’s tone. It’s the shadow in the forest, the strange noise in the attic, the musty smell of the basement, and the creaking of the floorboards that makes the reader’s heart pound. Whether it’s the fog-choked streets of Victorian London in the Sherlock Holmes stories or the idyllic yet sinister mountains in C.J. Box’s tales, the setting creates a framework for suspense to thrive.

Setting does more than add ambiance—it can be its own character. Think of the locked-room mystery (which can also be thought of as a familiar trope): a classic device where the confines of a space become the key to the puzzle. In these stories, the setting isn’t just where the crime occurs; it is the problem. 

The setting of a story helps build atmosphere.  Shadows falling across a motel wall, a thunderstorm rumbling in, a town filled with suspicious characters. They are tools to create a visceral reaction. Readers feel unsettled not just by the mystery, but by the texture of the world they’re navigating. In psychological thrillers especially, the setting often reflects the inner turmoil of characters. 

Cultural and historical settings also expand the possibilities of mystery. Stories set in unfamiliar locales or time periods bring with them unique rules, customs, and obstacles. The Edgar winning novel, FIVE DECEMBERS takes place just prior and during World War II, starting in California and ending in Japan. James Kestrel uses the setting to set the tone for a range of emotions, unease and terror. Stephen King set his book JOYLAND in an amusement park on the coast of North Carolina in 1973. There’s nothing spookier than an amusement park after it’s closed. I can vouch for that. I worked in a traveling carnival during the summer of... 1973.

Finally, setting helps readers suspend disbelief. When the world feels real, the stakes feel real. A well-rendered setting immerses the reader so deeply that even the most unlikely plot twist feels plausible. The setting anchors the mystery in a world that makes sense—until, of course, it doesn’t, and that’s where the magic happens.

Finding Stories in Popular Non-Fiction

Greetings Lovely Readers! 

This is Shelley, writing today about finding mystery story ideas in unlikely non-fiction places. I'm not talking about a "true crime" narratives or newspaper stories. I'm talking about pop science, pop psychology, or any other pop non-fiction books. Health and wellness? Personal finance? Technology? Yup, yup, and yup.

I've found ideas for various fiction stories from books on all three of those last topics. Today a mystery plot blazed into being while I was reading a book about technology. The 2018 book, Hello World: Being Human in the Age of Algorithms, led to a eureka moment this morning while I was casually drinking my coffee and reading on my balcony. 

In Hello World, author Hannah Fry wrote about how supermarkets first began using customer reward cards to collect data, the success of which led, eventually, to the huge data broker businesses and affairs we've heard about in recent years, including the infamous Cambridge Analytica scandal. Basically, we are being tracked everywhere online and then fed advertisements that our data indicates will most likely result in a sale. 

Or a vote, as it turns out.  

But I'm not here today to talk about political shenanigans. It was a supermarket data collection example Fry gave that set  my author antennae vibrating. Early on, sending coupons via email was a tempting and useful marketing strategy for supermarkets and other retail stores (still is, judging by my inbox). Data analysis gave retailers a way to pinpoint what offers and coupons to offer to which customers. But they didn't stop to think about how these rewards programs and subsequent offers would impact humans on the other end. 

One story was about an angry father who telephoned a company that had been sending pregnancy-related product coupons to his teenage daughter based on her online searches for products like vitamins and moisturizer for stretch marks. He accused the company of "encouraging teenage pregnancy." The company apologized and took a note to stop sending the coupons. 

I bet you know where this story goes. 

Yes, he called back later and said he'd had an interesting discussion with said daughter. In other words, the retail store knew before he did that he was gonna be a grandaddy. 

Immediately, an idea for a murder mystery short story popped into my head with the "twist" being that a "wronged" person finds "incriminating" email offers sent to someone in his family and takes drastic action...but of course, he's misinterpreted why his family member was getting those offers and he's now grievously ruined his family and his life. Now I just need to figure out who is solving the crime. 

I could write it from the criminal's pov. I've never tried that. On second thought, I think it might be more fun for someone else to figure it out. I don't do police procedurals. Maybe I'll try an amateur sleuth.

As authors we have to make all these decisions. It's hard to know ahead of time what will work unless you have a large body of work and a readership that expects a certain type of story. Then they might be upset if you tried something new. 

So, you see, there are pros and cons to every success or lack of. 

The point is, stories are everywhere, and fiction writers might think they are wasting time if they read about topics seemingly unrelated to their genre. Yes, we definitely should read great fiction in the crime genres. It's essential to do so if we want to improve on our craft.  

We also should consider cleansing our creative palates with some non-fiction every so often, as well. I think it stimulates brain activity in different ways. You never know when the next exciting plot will pop up in the pop non-fiction section of your local library, bookstore, or bookswap. 

Check out my revamped blog/writer journal at shelleyburbank.wordpress.com where I wrote more about my non-fiction reading this week. 

Also, check out the new look of my website, shelleyburbank.com. I'll write more on this change in my next Type M blog. I think this is going to be an exciting chapter in my writing life. Stay tuned! 

Prepping For Malice

by Sybil Johnson

No, I’m not preparing to commit bad acts. I’m heading to Malice Domestic next week (April 25-27). I am very much looking forward to it, even if there's a 3 hour time difference.

I love Malice. It’s a fan convention devoted to celebrating traditional and cozy mysteries, my favorite kind of crime novels. There are generally around 800 attendees. I would count it as a medium size convention. Some call it small. I’ve been to the California Crime Writers conference, which has around 200 people. I’ve also been to Left Coast Crime and Bouchercon a few times. The last time I went to Bouchercon was in San Diego. I heard it had a whopping 1700 attendees.

At Bouchercon and Left Coast, I feel like cozies get lost in the shuffle. Though this does seem to be changing a bit. They are also often degraded by some attendees. I know at Malice that I don’t have to worry about someone making snarky comments about the kind of books I write and love to read.

This time around I am doing the Malice Go-Round, aka Speed Dating with Authors. Two authors go table to table. Each has 2 minutes to talk about their books. Then it’s off to the next table. There are 20 tables plus a rest table. So the key is to start around table 10 or 11 so you get your rest halfway through. I’m hoping I’ll be able to do that this time around, but who knows.

Some people memorize a prepared script. After doing this many times, I’ve decided that just knowing what points I want to make works better for me. I am busy doing practice runs to see what I can get into 2 minutes.

The Agatha Award banquet is optional. I know people who attend Malice, but don’t go to the banquet because they aren’t interested in the awards. I do enjoy seeing who wins, but I mostly go because you never know who’s going to be at your table. I hosted a table once with Kathleen Valenti. We had a great time.

I pretty much root for everyone when it comes to the awards. I know a lot of the people nominated. This time, though, I contributed to one of the nominated books so I’m hoping it wins. Nominated for Best Non-fiction: Writing the Cozy Mystery: Authors' Perspectives On Their Craft edited by Phyllis M. Betz

I have been lucky to be assigned a panel every year I’ve attended Malice as an author. This year I’m on a short story panel on Sunday morning moderated by Barb Goffman who edited the anthology I’m in, Angel City Beat. The panel is called “Short Fiction – How Readers Influence the Craft. Also on the panel are Paul Awad, Tina Kashian, P.M. Raymond. I’ve never been on a short story panel before. Should be interesting.

I’m also looking forward to seeing people I haven’t seen in a while and meeting new fans and authors.

 Besides wandering the halls, I will be here:

• Friday, April 25: 10am-11:45am Malice Go-Round 
• Sunday, April 27: 10am Signing time 
• Sunday, April 27: 11 am-11:50am short story panel 

If you’re attending Malice, stop me in the hall and say hi.

Openings

by Charlotte Hinger

So what is the crazy group of people doing? I don't have the slightest idea. But nevertheless, that's the writer's job. To make a coherent pattern of disconnected elements. 

Screen writers have it made. In a single opening scene they can portray the weather, the family's income, relationships, time of day, the professions of the characters, pets the family has acquired. Easy peasy.

Those of us who have to wrestle with words to convey all of the above have a hard time getting the same amount of information across. Openings are critical to engaging the reader. Book buyers don't put up with much. They decide in a few pages whether or not to complete a purchase.

The classic opening gives the reader a glimpse of the ordinary world on the day everything changes. This applies to all genres; mystery, romance, westerns, literary novels, fantasy, children's books, and science fiction.

Think about it. Almost all successful books start this way. An owl shows up and gives an invitation to a small English boy who has been dumped on a family who resents his presence. An unhappy beauty watches her evil step-sisters' rejoice over an invitation to a ball. A mysterious narrator tells us to "Call me Ishmael." 

One of my favorite openings is from First Blood, the brilliant novel written by David Morrell. It's actually a literary book about the social fabric disrupted by the war in Vietnam. No, I'm not kidding. The movie--however exciting--is a rather flagrant departure from the manuscript. 

Never mind. Just consider all that Morrell accomplishes in a few sentences:

    His name was Rambo, and he was just some nothing kid for all anybody knew, standing by the pump of a gas station at the outskirts of Madison, Kentucky. He had a heavy long beard, and his hair was hanging down over his ears to his neck, and he had his hand out trying to thumb a ride from a car stopped at the pump. 

 The above is one sentence from the opening paragraph. It's all there: setting, characterization, conflict in one fell swoop. 

Portraying the "ordinary world" quickly and with vivid prose is hard. Unique details can set a book apart. Bits of action that incorporate the five senses can add depth to characters. These "beats" can enliven dialogue with a few well chosen words. 

The car that stops for Rambo is a police car. The man inside says "Well then, hop in." But Rambo did not move. He continued to sip his Coke. 

See how it's done? Just a few sentences and the scene is set. 

My advice to writers, both beginners and seasoned veterans, is go to the library and study opening scenes. Read! Think about the construction behind openingsthat engage you. 

Ha Ha Ha

 A writer can create drama and suspense since the writer is in charge of what the reader knows and when it's available in the story. As long as the writer plays fair with the reader, ie doesn't introduce the guilty character late in the story or flash a new clue that solves everything that only the protag knew about all along. Readers enjoy a fair surprise.

Humor seems impossible. It doesn't play by rules and it is ultimately subjective.  What I find funny, you might think is obscene, racial, crass or mean. 

We don't all "get it" at the same time and in the same way.

Humor depends on timing, delivery and a common background to find humor, but all readers read differently and the writer has limited control how that happens.

Writer's Digest has an excellent and brief article at https://www.writersdigest.com/improve-my-writing/comedy-writing-techniques-how-cliches-are-used-in-writing-humor     I recommend it.

They list seven humor categories: double entendre, malaprop, oxymoron, pun, reforming, simple truth, and take-off. Geez, I'm just trying to be funny and take a little tension out of my suspenseful story, not earn an MFA in writing.

A mystery story is not naturally funny. My genres of Hard Boiled, Noir and Private Eye are serious, logical, emotional, gutter, blood and brains. As the quotation (which I can't find, dammit) says, a hard mystery isn't hard "unless the threat of death is behind it."  My stories are about sour motives, human failings, the characters acting mean, the resort to violence, deep/hot/tragic emotions, double-cross and the Ultimate Price. What's funny about that?

Some readers of one of my earlier stories think a specific passage is funny. I can't see it. I wasn't "writing funny." Intentionally. Whenever I try to do that, it doesn't work unless the characters are funny to begin with. Murderers and the men and women who chase them are generally Not funny people. Puns and sarcastic comments can pass for humor, I guess.  

I intend to try a funny mystery story of five to seven pages. Let's see if anyone else gets it. 

Have you found a mystery story humorous?

Reflections on Point of View and Tense

 In my last post, I shared a few thoughts on guidelines for writing a short story. As I am not good at following orders, or rules, I have broken all those guidelines at one time or another, but nonetheless, they can at least help as a self-editing tool if the story you are writing doesn't work.

I have just completed the first draft of my latest short story. Not having written a short story in ten years, I'm a little rusty, and when I got the first draft mess up on my computer and read it, I was unimpressed. It felt flat and emotionally distant. I thought I was putting in enough tension, but it wasn't translating into an intense story. It's a simple story that followed most of my guidelines. A single setting, a short timeline, few characters, minimalist description,  a linear plot, and a single POV, with the backstory revealed not in flashbacks but in internal monologue.

I could turf the whole story and start a new one, but with the submission deadline looming, I didn't think I had time. And no brilliant ideas were coming my way.

I thought about POV. The story was in what I call "deep" third person; I stay in that character's head and delves quite deeply into their reactions, thoughts and feelings. It's a POV I like and have used for all my novels, because I find first person is too limiting when writing a 300-page novel. However, first person has the advantage of drawing the reader quickly into the world of the main character. This ramps up tension and drama because the main character is talking directly to the reader. The reader is "along for the ride" most vividly in a first-person POV story.

Another technique for ramping up drama is the use of present tense. Present tense can come off pretentious, but well done, it creates a sense of immediacy, because the action is unfolding right before the readers eyes rather than in some distant past.

So I decided to see what would happen if I simply changed to first person POV and wrote in the present tense. I am only halfway through this rewrite, so I don't know how it's going to work out and whether it's going to strengthen the story, but I've already discovered a few things. First, I can get rid of most of the "she said" and "she thought" phrases, which were in themselves creating distance between the character and the reader. Second, the language needed to be more colloquial, more like a person talking rather than writing a PhD thesis. People don't think in complete sentences or big words, especially when caught up in the stress of the moment. 

By the time of my next Type M post, I should be near the finish line and able to report on which version I will submit. Meanwhile I'd love to hear your thoughts and preferences about POV and present tense, 

LCC Lessons Learned from Readers

by Catherine Dilts

In March, I attended Left Coast Crime in Denver, where I picked up new ideas and information on the business of writing. Coincidentally, Thomas Kies just posted on Type M for Murder about small versus large conferences. I'm here to discuss what I learned at a reader oriented conference.  

The Left Coast Crime conference has an emphasis on readers and fans. Authors and readers sat on panels and discussed specific topics. There were a few one-on-one interviews. Other conferences focus on the craft and business of writing in more of a workshop setting geared toward writers. I found listening to readers at LCC as instructional as many workshops I’ve attended.

Here are four things I learned from readers:

1)  Readers like what they like. A thriller fan might dip into other genres, but the core of their To Be Read pile will consist of thrillers. Likewise with cozy, Western, romantic suspense, and detective mystery fans. The lesson for authors? Occasionally, you may persuade readers to partake in fiction outside their genre of choice, but unless you have a truly genre-bending story, you may be wasting your time in the long term. Stick to your lane. Focus your appeals to your designated audience.

2)     Readers use websites and blogs to find new reads. Popular sites listed – Jungle Red Writers, Lisa Holstine, Dru’s Book Musings, First Chapter Fun on Instagram and Facebook, The Saturday Reader by Sue Provich, The Mystery Readers Journal by Janet Rudolph, Goodreads, Book Series in Order, Mystery Writers Journal, and Fantastic Fiction (UK). The lesson for authors? Follow bloggers and websites appropriate to your genre. Seek out appearances on those sites to let readers know about your new releases.

3)   Readers can’t disguise their reactions. They are honest with their likes and dislikes. Sometimes painfully honest. The lesson for authors? Listen. During the Author Speed Dating event, I quickly learned which part of my pitch caused a smile or laugh, and when the attention of folks at a table wandered. In casual conversations with readers, I learned how strongly they feel about their chosen fictional interests.

4)    Readers find books online because of proper use of keywords. With more readers using e-readers and listening to audio books, they are obviously getting their fiction online. Less and less people browse physical library or bookstore shelves. Keywords are words and phrases that people use to search for content online. Z. S. Diamanti explained that keywords are a net-casting system. Lisa Matthews said “cozy” is a helpful tag among a list of tags. The lesson for authors? Learn about keywords, and how to use them to help readers find your work. If you don’t know how to define your story, you need to figure it out ASAP.

I discovered Goodreads several years ago, adopting it as a way to track my reading. When I became published, I started an author’s page. I enjoy using Goodreads, as a reader and as a writer. I also find Carstairs Considers a lot of fun, as Mark Baker reviews cozy novels, movies and television shows, and Disney decorations.

This brings up a point I’ve heard for many years: only focus your energy on websites, social media, and apps that you enjoy. Don’t shy away from testing out the newest thing, but if it’s not to your taste, don’t waste your time trying to force your enthusiasm.

Next month I’m going to my hometown workshop-based writers conference, Pikes Peak Writers Conference. The atmosphere will be entirely different from LCC. I’m hoping to absorb new knowledge on the business and craft of writing.

Big Conference vs. Small Conference

 

By Thomas Kies

I confess, I’m signed up to go to Bouchercon in New Orleans in September.  After attending the one in San Diego two years ago, and then again in Nashville last year, I was reluctant to commit to going to another.  It’s not that they don’t do a good job.  They work hard at making Bouchercon a good experience for everyone involved.

That’s part of the problem, however.  There are so damned many people there.  I think there were over 1,500 participants in Nashville last year.

Yes, I love seeing old friends again, and yes, I love making new friends.  But honestly, I feel lost in the shuffle. 

In March I attended the Suffolk Authors’ Festival presented by the Suffolk Virginia Tourism Bureau.  They limit the event to about 50 writers across different genres.  The one-day event was attended by about 550 readers, many of whom bought our books. 

I had a chance to interact with almost all the other authors and spend a lot of time with attendees.  Because it was so small, the folks who put it together spent a lot of time and effort to make sure we were all happy. 

That includes coffee and snacks in the morning, lunch, and then a really nice dinner, exclusively for the authors along with an open bar.  Anytime you have an open bar for authors, you’re making friends. 

That final evening, I spent drinking wine and talking with the likes of John DeDakis, John Gilstrap, K.L. Murphy, Jeffrey Higgins, and Bill Rapp.  Earlier in the day, I was on a crime panel with Maya Corrigan, Esme Addison, Jenna Harte, and Carrie Ann Knox, none of whom I’d ever met before, but were delightful.

The cool thing about the panels at the Suffolk Festival was there was only one panel at a time.  The room was filled with attendees.

 Don’t get me wrong, if I didn’t enjoy going to Bouchercon or Thrillerfest, I wouldn’t spend the money.  And those events, after the airfare, hotel, food, and bar tab, are pricey.  My publisher, Poisoned Pen Press/Sourcebooks, has always put together a wonderful book signing at Bouchercon.  The event organizers do their best to put as many authors on panels as humanly possible. 

The dilemma with so many panels is that there are multiple panels going on all the time. Some are very well attended…and some aren’t.

There are so many attendees that if you’re not an extravert, you’re going to get lost in the crowd.  And let’s face it, an awful lot of authors are introverts.  At the bigger events, you’ll have a better chance to meet editors and agents than at the smaller venues, but sometimes, it’s at an additional cost.  

The point of this piece?  Don’t overlook the smaller events.  The big ones are good, for sure, but it’s easy to feel lost in the crowd.

Tariffied: Impacts on Publishing, Writing, & Creativity

Hello, Type M Readers & Writers:

Shelley here reporting from an island in the Philippine Sea and feeling very weirded-out by everything going on over there on the mainland. Guam is a far-away outpost of the USA. My husband works for the Department of the Navy. We've been on island since January, trying to get our bearings. It would have been difficult in normal circumstances. 

Now I don't know whether to be grateful to be off the mainland or terrified. 

I'm a worrier. When my husband decided to apply for this position, November's election hadn't yet happened. I voiced some concerns about what if things go sideways while we're there, but we decided to take a chance. Yup. We chose this, so I can't complain or say it was totally unexpected. That it's toward the worse end of the spectrum of outcomes I'd considered saddens and alarms me. It's not the absolute worst. Yet. But we are darn close to China here. 

One thing I can say is that all this chaos and uncertainty is impacting my writing. I'm trying oh so hard to build a creative sanctuary in my head and my home, but short of turning off the news altogether and living in a fantasy world of there's nothing happening lalalalala puppies and unicorns, I don't see how I can ignore the sitch out there and concentrate on fictional narratives. 

Perhaps I should consider it a challenge. If I can manage to flex these concentration muscles now, I might be able to continue to create no matter what happens in two weeks, three months, or four years. 

I mean, haven't some authors written works while actually jailed? 

A quick Google search pulls up a list of ten best books written in jail. These include Le Morte d'Arthur by Sir Thomas Mallory, Don Quixote by Cervantes, and Justine by the Marquis de Sade. (Note 1)

Okay, so if Mallory could write while moldering in the not-so-cozy confines of a 15th-century prison, certainly I can write while holed up in an ocean-facing condo in the beautiful, tropical island paradise that is Guam. And honestly, diving into fictional worlds might be the best antidote to the news cycle if I can only get myself to ignore it. 

My new table, cushions, and pillows on the balcony

I'd love to hear how other writers are handling this. Feel free to comment. 

Publishing and Writing Community Impacts

I try to immerse myself in the literary life, but even the book world news is somber. I've somehow signed up for a ridiculous number of Substack newsletters, and one came in today from a new indie publisher of mid-life women's books, Empress Publications. They are just launching a new nonfiction book on mid-life women's sexuality written by a medical doctor. They contracted with an artisanal, women-owned press in China to create a pretty book on bamboo paper. (Note 2)

Now, because of the new tariffs and closing of the de minimis loophole, the book is going to cost a lot more to get into the hands of readers. Who wins here? Anyone? 

Maybe the environment? All this mail-ordering and purchasing cheap throw-away goods isn't so good for the planet. As someone concerned with sustainability and over-consumption, I take this as perhaps the only positive glimmer on a dark sea of awful. But books? We keep those. We pass them down. They aren't throw-away items. Not the good ones anyway. I digress...

The de minimis exemption was a bipartisan law passed by Congress that allowed shipments valued under $800 per person per day to enter the U.S.A. without duty charges or taxes. According to the National Foreign Trade Council, American small business plus consumers benefited from the exemption and provided low-income communities access to affordable goods...including books. (Note 3)

That's not the worst of it. Almost everything that is sourced outside the U.S., including paper and books and ink and parts for printing presses, etc. is going to have increased tariffs. That means production will slow or goods will cost more or both. I think the publishing industry at all levels is going to suffer. 

Between cutting funding to libraries and museums and now these new tariffs, one has to wonder if our country cares at all about readers, authors, booksellers, literacy, books, or the arts in general. Is America ditching reading and culture altogether? 

Some may protest: "It's not me that's doing this!" Well, I'm sorry, but we can't pretend we aren't part of the country that is making these decisions. When our country does something...WE ARE doing it. If we let these actions continue, we are doing it. If we don't gather together and tell our representatives to go in a different direction, we are doing it. 

😀 Maybe this will all turn out just fine, and I'm worrying about nothing. 

Some of you may sincerely believe this is just a small bump in the road and everything is gonna be okay. I sincerely hope you are right. If I'm worrying about nothing, that will be the best outcome. I'll have only grown some new gray hairs and maybe shaved a few days off the end of my life. I'll even give credit where credit is due. 

I may not be feeling the fiction writing right now, but I do seem to be capable of writing opinion essays. Maybe this is just where I have to dwell for now. Meanwhile, I'm researching for a potential series set in the 1960s, so I'm not completely wasting my time. I have books to read, notes to take, ideas to spin. 

Let's hope this chaos calms down before summer. 

Note 1: https://www.theguardian.com/books/2009/sep/19/books-written-in-prison

Note 2: https://open.substack.com/pub/alisajones/p/zippers-tariffs-and-the-price-of

Note 3: https://www.nftc.org/de-minimis-a-vital-tax-exemption/

 

Shorter

 I (Donis) am doing rewrites on a new book. The first draft came in at 108,000 words, mainly because this is a whole new setting and cast of characters for me, and I spent a lot of time wandering around and getting to know them. So that's done. Now I have to get the MS down to a manageable size, and believe me, it is not proving to be an easy task. I do love my own voice.

If you want to keep your readers' attention, however, cut to the chase. Especially these days, as many readers have no patience with description or exposition. In fact, I once heard a Famous Author say one of the best things he ever did to improve his novel-writing style and technique was to learn to write poetry. I've pondered this statement and I must agree that there is nothing like poetry to teach you to use the fewest possible words to make the biggest possible impact on the reader.

The amazing thing is that once you've written a few poems, once you've learned to fit your idea into the shortest possible form, your long-form style automatically changes without your having to even think about it. Your prose gains a vigor it didn't have before, because its power isn't dissipated in a miasma of unnecessary words.

That's the idea behind haiku, the style of Japanese poetry that strives to make a point, capture a moment, punch you between the eyes. To give you a powerful image in seventeen syllables, three lines of five, seven, and five.

I was looking for a few gorgeous haiku to use as an illustration of the beauty of brevity, a couple of gems about nature and mankind by great ancient practitioners like Basho. Instead I came across translations of several modern haiku written by software geeks in Japan for use as computer error messages. I think they show that an ancient form can serve modern sensibilities dandily.

Windows has crashed/I am the Blue Screen of Death/No one hears your screams.

Three things are certain/Death, taxes, and loss data/Guess which has occurred?

Yesterday it worked/Today it is not working/Windows is like that.

You step in the stream/But the water has moved on/This page is not here.

Serious error/All shortcuts have disappeared/ Screen. Mind. Both are blank.

Another Anthology Event

 by Sybil Johnson

I spent last Saturday afternoon at The Last Bookstore in Studio City for a Sisters in Crime/L.A. anthology event. As you may remember, I talked about the previous event for Angel City Beat that was held in Vroman’s in Pasadena.

I’m very happy to be part of this anthology and have really enjoyed these events. They were both a little different. At Vroman’s we each read from our stories and talked about why we chose the professions for our protagonists. This time around we talked about the inspiration for our stories and how it tied into the anthology theme. We also talked about how our protagonists are like us. For me that was being a bit analytical and loving libraries.

It was interesting to see where people get their inspiration from. There’s a good variety of stories in the anthology. 

The bookstore was also interesting. It’s a fairly new one, an offshoot of The Last Bookstore in downtown Los Angeles. The space used to be a prop house where TV and movies would get props for their projects so it’s quite large. There are various rooms and interesting sculptures, which seemed to be for sale. Here are some photos for you: 

 

Vanishing Book Reviews

by Charlotte Hinger

The mother of all book reviews is the New York Times. The lucky author whose book is reviewed by this prestigious publication will see sales leap. We should all be this fortunate. The other "best" places to be reviewed are Publisher's Weekly, Kirkus Reviews, Library Journal, and Booklist.

Kirkus Reviews gives a prize of $50,000 to the best fiction book, the best non-fiction, and young reader's literature. Wow!

But here's the rub when it comes to reviews. Library Journal gets more than 60,000 requests a year. So does Booklist. That's 5000 a month, 1200 a week, 250 books a day. Kirkus Reviews receives 200 submissions per day.

My Recent historical novel, Mary's Place, did not get reviewed by any of these publications. Previously, two of my mysteries received starred reviews from Kirkus, and all of my other historical novels had been received by at least one of the magazines.

I was disappointed. Dumb me, I had not realized how much the publishing world had changed. Review sections are much smaller. Magazines are thinner because of the price of paper and because of the decrease in advertising revenue.

All of the places which grant reviews have guidelines. Following guidelines is crucial. One of the most constant "rules" is to submit a book about four months ahead of publication.

Here are the guidelines from Kirkus Reviews:

The following guidelines are intended to help publishers get the right titles into the right hands at the right time so they can receive consideration.

WHEN TO SUBMIT Kirkus will consider titles that are submitted as digital galleys or e-books at least 4-5 months before publication date. As soon as a book is reviewed—usually 2-3 months before its publication date—the publisher is notified of the review rundate.

WHAT TO SUBMIT We consider all new adult hardcover or original trade-paperback fiction, general-audience nonfiction, and children’s and teen books. Editors make individual judgments about coverage based on merit or potential interest.

Kirkus does not review books in the categories listed below in its traditional program. (Kirkus Indie does not put genre or publication date limits on submissions; see more information about that program here.)

—already published books
—reprints of books that Kirkus has previously reviewed
—self-published titles
—print-on-demand titles
—poetry (except children’s and teen)
—cookbooks
—crafting books
—guidebooks, including travel guides
—personal finance
—textbooks
—specialized technical or professional works
—any work intended primarily for an academic audience
—reference books
—instruction or how-to manuals
—screenplays or other dramatic scripts
—computer and technology handbooks
—books of regional interest

Fortunately, there are oodles of websites created by book bloggers who might give your book the attention it deserves.

What I'm reading

 by Steve Pease/Michael Chandos

     I have a Really bad habit of reading in bed before submitting to the seduction of sleep. I like the quiet focus of night to dive deeply into a short story or novel. Why is it a bad habit?

     I have a nice recliner with a standing lamp on a swing arm to customize the light on whatever I'm reading, a light blanket for my legs (30 March and an inch of snow last night here at 7500 ft in Colorado), and a table full of future reads beside them. But I still read in bed.

     Unfortunately, I have been teaching my mind that, when we read, we soon sleep. Now, when I sit down to read something, I start yawning within ten minutes! You don't get much reading done in ten to twenty minute bites, and you don't get enough Story to appreciate depth. Short stories should be read in one sitting, and a great novel urges you to read another chapter and another. I must get to the chair.

     I like to have several very different books going at once. Mood selects what I read every night. Currently, I am working my way through a "complete" collection of Dashiell Hammett's short stories, including his Nameless Detective, the famous Continental Op. A researcher at the University of Texas Austin, which holds Dash Hammett's papers, recently discovered a handful of short stories under a previously unattributed Hammett pen-name, so maybe they aren't all in there. A thick book.

     When writers can write more stories than the market can bear or they want to write stories considerably off their known output or genre, writers change the author name, their "brand," for that separate series of stories. Compare Stephen King and Richard Bachman, John Swithen and Beryl Evans. I write my fiction as Michael Chandos. I'll explain why in the next blog.

     Dangerous Visions is a stellar collection of science fiction short fiction chosen by Harlan Ellison. His selection criteria demanded an excellently written story that meant something, that said something to the reader. These are stories that demand a reading venue other than the pillow. There are two subsequent volumes. I consider them graduate-level education.

     Starship Century presents concepts for spaceship design, propulsion technologies, and destinations for interstellar travel written by two well-known scientists that also publish fiction. It's not as technical as other books I have on the subject, but the concepts are deep and are not pillow fodder.

     Write Like Hemingway is an examination of Hemingway's writing style learned while he was a newspaper columnist for the Kansas City Star. He was assigned to major stories, but newspaper space was limited, so he learned to write without fluff, with exact words and precision. Good lessons for current-day fiction writers like me.

     Marksman is a collection of private eye stories from the 1930s Black Mask and similar "penny-a-word" markets. Not deep, but they are fully realized stories, with action and technicolor characters. My stories are, I hope, more like Ellison's, but there are lessons to learn here, too.

     Read with a purpose, read for fun always, mix it up a little, enjoy the buffet!

My short take on the short story

 Once again, I have been very remiss with my posts on Type M. There is so much rapid-fire news and chaos in Canada, the US, and the world that I am continuously distracted. And when I can tear myself away from that, there's always taxes to complete.

But in moments between these distractions, I have two short stories to write. Although earlier in my career, I have written over thirty short stories for various publications, I haven't written one in ten years and I am very rusty. But in the past couple of months, I've been invited to submit to two separate anthologies, so have been sharpening up my pencil. Literally, since I write first drafts by hand.

While scrubbing the rust off, I reminded myself of several guidelines that helped me in the past. I'm not a big believer in rules or "how-to" guidelines. In writing, everything is possible and what works for one person or one story won't work for another. That said, I offer the following "rules". Many of them are quite effective for novels as well.

First, a short story has to be tight and focussed. No wandering off into subplots or meandering flashbacks. You have to create a vivid, powerful story in a very few words so it's important to make each word and each paragraph count. You have to capture the crucial three pillars of a story – setting, character, and storyline –  in a few vivid pen strokes. To help keep the story focussed and tight, I prefer to have the whole story unfold in the same one or two settings in a short space of time. Not three months, sometimes only an hour. I keep characters to a minimum; only those that have to be there to tell the story.  I try to keep pure, static description to a minimum. Combine description with action that propels the story forward, and capture both character and setting in a few vivid, crucial words rather than detail. E.g., colour or style of hair is not important in itself; make it reveal character.

Luckily a lot of the overwriting can be fixed in rewrites. Be ruthless with the editing pen. Do I really need that word or sentence? Is there a single word that conveys the same thing with more punch? What is harder to fix is an overly complicated plot. I've found short stories don't lend themselves to the classic whodunnit structure. There isn't time to have a sleuth running around uncovering clues, following red herrings, and juggling suspects. There are too many characters and it's very difficult to make them distinct and vivid enough to engage the reader. In the hands of a very skilled short story writer, it's possible, but the result can feel emotionally flat and contrived. Most of my short stories have a whodunit element, but often there's also a thriller element too.

When I write novels, I'm mostly a pantser. The story evolves as I write it. But I find with a short story, I need to know the outcome and the basic premise before I start. If I start writing without knowing where I plan to end up, the writing is exploratory and unfocussed until I get an ah-ha moment and can settle down to serious writing. The process is still organic in that I discover things about the character or add in some extra twists and conflict as I go along, but I'm writing towards the goal. 

Here's one last observation. POV is very important to any story. I find a story (or scene) is more powerful and more engaging when the reader is drawn into a character's head.  Head-hopping distances the reader from the acton. In my novels, I often have several POVs but never within the same scene. In a short story, I find a single POV works best. It keeps me focussed and working forward. It allows for internal monologue and perspective. It can be first person or third person, whatever works for that story.

So far I have managed to write one of the two short stories and am working on the second, due next month. Once I get feedback from the editors, I'll have a better idea whether my technique for writing a short story worked, or whether I have to get out the rust remover again.

Left Coast Crime 2025

by Catherine Dilts

Even an introvert can have fun in a large group of people, if it’s the right crowd. I stepped out of turtle mode, poking my head out of my shell to attend Left Coast Crime in Denver. My experiences began early Thursday, March 13.

Lee and Leslie Blatt hosted 40 authors at 20 tables for the Author Speed Dating event. I teamed up with Jeff Schmoyer, author of the Snack Sized Mysteries. Two writers pitch their books to a table full of readers. Each is given two minutes to convince people their writing is fabulous. Then you scramble over to the next table. Although I was dreading it, the event was wild, noisy, and actually fun. The clanging of the cowbell left no doubt when your two minutes expired.

Author Speed Dating at Left Coast Crime 2025

After surviving Author Speed Dating, I dove into panels. It was less stressful being on the receiving end of the entertainment. The only problem was, deciding which to attend. A couple times, there were panels I wanted to see in the same time slot.

This was when my writing partner and I would divide and conquer, going to different panels and sharing notes later. Allow me to introduce my co-author and daughter, Merida Bass. We’re working on two projects together, in addition to our individual books and art.

At the Friday breakfast, author Mike Befeler hosted Meet the New Authors. While the audience enjoyed the buffet offerings and coffee – don’t forget the coffee – Mike introduced writers and their brand new books. I enjoyed hearing my former carpool buddy Maria Kelson chat up her debut novel.

At dinner Friday, I was delighted to meet up with fellow Encircle Publications authors. We talked business and future projects. Each is a multi-published and accomplished writer. Mike Befeler has written twenty-five novels, beginning with his Paul Jacobson geezer lit series. BJ Magnani is the author of a four book Dr. Lily Robinson series, using her expertise as a toxicologist and pathologist. CM Wendelboe is a retired deputy and Marine, and the author of over twenty books, including several Western series.

CM Wendelboe, Mike Befeler, me, and BJ Magnani

Participating in events was only part of what made Left Coast Crime a valuable experience. The conference was an opportunity to catch up with other authors, and to meet readers and librarians. It wasn’t all work and no play. Friday evening, the Sisters in Crime carnival was a blast!

Catherine Dilts, Ellen Covairt, and Merida Bass

Saturday, I was on the panel Mysteries with Animals. Although there are animals in almost all my stories, I haven’t written any turtles into my tales. Yet. We had a lively discussion of dogs versus cats.

Moderator Misti Berry, Nancy Coco, Darlene Dziomba, J. C. Eaton, and me

At the Saturday night banquet, I teamed up again with Jeff and author and editor Deborah Brewer. We were surprised to discover two other authors had been assigned to the same table. Not quite what we expected, but we enjoyed handing out swag and talking fiction.

Deborah Brewer, Jeff Schmoyer, Merida Bass at banquet

 
A surprise of the very nice variety was when fellow Type M for Murder blogger and accomplished author Charlotte Hinger sat next to me. She had just learned she was up for a Spur Award from Western Writers of America! Charlotte is a finalist in the Best Western Contemporary Novel category for her book, Mary’s Place, published by Bison Books/University of Nebraska Press.

Charlotte Hinger and Catherine Dilts

The banquet room was, as is typical at these sorts of events, very noisy. I couldn’t hear most of the speakers, although some were quite strident. My turtle self had a bit of a meltdown, so I left early, retreating to my room and retracting back into my shell. I had maxed out my turtle coping abilities.

Left Coast Crime was an intense, fun, inspiring long weekend. Now I am content to crawl back inside my shell until the next professional or social event. Turtle Power!

On the Pulse of Things

 Like any serious writer, I read a lot. The latest from my TBR pile are mysteries by two of my favorite authors, The Big Empty by Robert Crais, and Tell Me What You Did by Carter Wilson. Both novels lean into themes resonating in pop culture: wildly successful young female social media influencers and serial killers. Another similarity between the books is the design aesthetic of the covers: burnt orange fading into an abrupt dark foreground, each black space presenting a relevant element to draw you further in. The curve of highway in The Big Empty, alluding to movement and isolation amid urban clutter, and in Tell Me What You Did, the voyeuristic allure of a woman's silhouette framed within a yellow window. From those junctures, however, the stories differ quite a bit. 

Wilson's forte is the psychological thriller and he masterfully plucks at the narrative, driving the momentum with staccato beats that tighten the suspense with each new reveal. The protagonist, famous podcaster Poe Webb, is no angel and has plenty of skeletons in her closet, which the serial killer is keen to exploit. The ambiance is claustrophobic, and the mood stifling with menace and dread.

Crais delivers another episode in the exploits of Elvis Cole and Joe Pike, two PIs digging into intrigue and murder in the sweeping landscape of Los Angeles. In this quest, the influencer is the MacGuffin who draws Cole into the crosshairs of the serial killer. The plot unravels as a good noir mystery should, through the eyes of the detective as he peels back each rotten layer of lies and misdirection. There's much that I admire about Crais' writing: his sharp turns of phrase, his ability to present characters as they collide egos, his concise descriptions of time and place that put you right in the scene.

 

So Meta Stole Our Stories

On a typical tropical day in Guam beneath a shelter

I woke up this morning and saw my Facebook feed full of outrage about how The Atlantic created a new searchable database that allows authors to see if their books were used by Meta to train their AI. Here's how it worked. 

Authors and publishers uploaded their e-books to places like Amazon. Piracy sites (sometimes called mirror sites) stole these books and articles by either scanning the books and creating PDF versions or by stripping their codes and "recreating" the books which they could then sell to customers who were attracted by the low-cost or free books.

Meta, apparently, used these pirated versions of a magnitude of books and articles to train their AI. 7.5 MILLION books! 

Piracy of this sort is not new. Some of these book outfits (often overseas) are huge. When one gets taken down, another springs up to take its place. It's a massive problem. 

Or is it?

In a way, yes. Of course it is illegal as all get out, and authors feel cheated because someone stole their work, is selling it for cheap, and keeping the profit for themselves. That sucks. On the other hand--and please don't hate me for saying this--the people who are using pirate sites to get cheaper books were probably NOT going to purchase our books for the full price on Amazon or anywhere else. 

In other words, the piracy sites aren't stealing money that would have definitely gone into our pockets. but they ARE making money with our content, content they haven't spent countless hours creating, crafting, honing, sweating over. And that makes me mad. It's cheating. Kind of like big corporations cheat on their taxes while the rest of us have to pay ours. Both big corps and piracy sites are gaming the system and profiting while the rest of us stand helplessly by, do our work, accept with gratitude when we are paid, and pay what's demanded of us. 

The Author's Guild wrote an article about this and shared the searchable database link. You can find it at this LINK. 

Of course I jumped on to search my name, and sure enough, my second Olivia Lively title was listed. Honestly? I would have been more upset if I hadn't been included! 

However, piracy in low-wage countries preying on us is one thing. Having one of our own companies, in this case Meta, steal from us is a major betrayal! Our American economic and judicial and infrastructure system has allowed Meta to become the multi-billion dollar company it is. And this is how it repays our creatives? Our writers? With a total lack of respect for the people who,along with other artists, create the cultural wealth of our society. 

All this pounds into my brain, once again, that the time for ditching social media was yesterday. It's time for us to stop relying on Meta and other platforms for free promotion in exchange for our attention and our souls. I'm trying to figure out how to do this. I've been spending less time on Facebook, but I'm reluctant to give up my account because in some ways the author page, at least, works as kind of a Yellow Pages entry. 

On the other hand, how can we justify our continued support  of a broligarch who, according to a new book that just came out from whistleblower Sarah Whynn-Williams--Careless People: A cautionary tale of power, greed, and lost idealism--actually agreed/offered to collude with the Chinese Communist Government to spy on and report on people? Not to mention disinformation campaigns. And some sexual harassment stuff if what I heard on a podcast is to be believed. 

Of course, Meta went to court to try to block the author from promoting her book, which of course led to... SO MANY MORE SALES. Haha. Here is a link to an article. LINK

So that's two strikes against Meta in one week. Is it time to ditch it once and for all? 

-----

Shelley's most recent Pink Dandelions newsletter went out today. In it find an essay on designating and designing your own Creative Sanctuaries--both physical and mental/psychological--in these weird, chaotic, and noisy times. See The Creative Sanctuary.