Doing the Unthinkable

0383 Lee Goldberg ecover King City_14There was a turning point when I realized that I’d completely shaken free of all of my previous, deeply held perceptions and beliefs about publishing….and fully embraced an entirely new publishing model.

It wasn’t when my out-of-print backlist, which the publishing industry deemed played out and worthless, started pulling in $70,000 a year for me in ebook royalties.

It wasn’t when I signed a 12-book digital, print and audio deal with Amazon’s 47North imprint for The Dead Man, a monthly series of original books that Bill Rabkin & I created, and that we are writing with a dozen incredibly talent authors, and that we began in February as a self-publishing venture.

And it wasn’t last week, when I agreed to a two-book digital-print-audio deal with Amazon’s Thomas & Mercer imprint for my new novel King City and a sequel.

It was Tuesday, when I delivered Mr. Monk is a Mess, my 14th Monk tie-in novel to Penguin/Putnam and informed them that my 15th book, the last in my current contract and due this coming May, would also be my last book in the series.

In other words,  I quit.

They were surprised, of course.

I am walking away from a hugely successful book series, one published in multiple languages around the world, and from the certainty of another three-book contract and an increase in my advance.

There was a time, not so long ago, when the idea of ending a hit book series, in hardcover, with a major publisher would have been inconceivable to me and just about every author I know.

But the publishing world has completely changed.

The Monk books, like the Diagnosis Murder novels that I wrote before, were licensed tie-ins. That means I was hired for an advance, and given a tiny royalty, to write books based on characters that belong to someone else. I was a hired hand…albeit one paid very well by tie-in standards.

I had a great fun writing those books, took enormous pride in them and, until recently, considered myself very fortunate to have the gig.

And in that old world, I was.

But now, in this new world, my attitude has completely changed.  0460 Lee Goldberg Dead Man Series_V2_3

I am still very proud of the books…which is why I find it incredibly frustrating that I have written 22 novels that I dearly love but that don’t belong to me.

They belong to studios.

It’s frustrating because if they belonged to me, I could be earning so much more money from them now…and, more importantly for my family, in the future.

I won’t make that mistake again.

Instead of writing two books a year for Penguin/Putman, I will be writing that many books… or more…for myself that I own.

Some I will self-publish, others I will write for Amazon’s imprints.

But they will be mine.

I know what you’re thinking. What about those books for Amazon? Haven’t you just traded one master for another?

Every aspect of  the deals that I have with Amazon’s imprints on The Dead Man series and the King City books are far, far, FAR more author-friendly and potentially lucrative than anything I ever had before…as are my chances at success with such a savvy partner, one who, incidentally, operates the biggest and most successful bookstore on the planet.

And I own King City. If I end up writing 15 books in that series, all of those books, now and in the future, will be mine.

Ah, but what about all those writers who are doing The Dead Man books for us? Aren’t we exploiting them? Aren’t they making the same mistake I’d have made if I’d signed to do more Monk books?

Nope.  

That’s because unlike the old school publishers (and, let’s face it, publishers are what Bill and I have become with The Dead Man), we have thrown away the old rules of doing business with writers on licensed properties.

In fact, what we are doing is revolutionary in the tie-in world.

We are splitting all of the publishing royalties from digital, print, audio, and foreign translations on The Dead Man books 50/50 with the writers.

Our success is their success…and vice-versa.

We’ve made them our partners.

(And publishers of tie-ins should follow our lead…or there won’t be any tie-ins anymore, because it won’t make any financial sense for writers to write them).

The Dead Man series relaunched on Oct. 24th and is already doing amazing business. Our next book comes out later this month.

And King City is coming in May.

It’s a bold, exciting new world for authors and I haven’t been this excited about writing since I was a teenager.

 

Jones Harvest is Dead

Bonnie Kaye reports on her Jones Harvest Fraud Victims blog that Brien Jones' sleazy vanity press is finally dead and buried. She writes, in part:

Brien Jones is a predator. He had his staff calling people in nursing homes to solicit them for money. Some of his past employees have called me with the horror stories of how horrible they felt doing this. Children of three different elderly authors have contacted me after their parents died waiting for books that were never printed. 

[…]Some of you are aware that Jones opened a bookstore in a strip mall in the middle of nowhere. Since he was unable to get author books into real bookstores, he rented his own with the money donated by two authors in order to have the store named after them, Bidwell Moore and Merlene Byars. […]I called several stores in the shopping strip where the store was located and they confirmed that Jones “snuck out” in the middle of the night due to non-payment of rent.  

Brien Jones has given up snookering elderly people out of their savings to "publish" their books to reportedly concentrate on becoming an author himself. I only wish he was writing his books from a prison cell.  The real tragedy here is that law enforcement officials in Indiana let Jones continue with his sham publishing company until it finally, and thankfully, crumbled under his staggering incompetence.

The Wit and Wisdom of Brien Jones

Yesterday, I wrote about the apparent demise of Jones Harvest Publishing, huckster Brien Jones' notoriously sleazy vanity press. Today I stumbled on his blog…and his posts are very telling. Here are a few samples…

Yesterday, he wrote a post that began:

Sorry I’ve been AWOL. I got caught up in legal proceedings. Not against ME (for once) but an actual-factual criminal. 

A few weeks earlier he wrote, in part:

THIS subject is closest to my heart it will probably not be terribly amusing—ESPECIALLY if you’re underpaid and stuck in a dead-end job with AN ASSHOLE for a BOSS.

Recently I was HORRIFIED TO LEARN that was precisely how my colleagues viewed ME.

THAT’S MY FAULT. As with EVERY rule, law, or responsibility IGNORANCE IS NO EXCUSE. In fact, NOT knowing makes the situation WORSE.

THAT’S NOT how things USED TO BE. If you spent a day working in our office last year you wouldn’t have thought BRIEN JONES was in charge of ANYTHING.

My wife and co-founder Brandy (who remains UNIVERSALLY REVERED) had clearly been at the helm.

Then I stepped in and made a couple VERY BAD DECISIONS. As a result of those decisions what had been a vibrant, happy and even slightly profitable little company augured into the ground…

We can only hope. Also, about a month ago, he wrote, in part:

About once a year I have the following conversation with our attorney.

“Hi counselor, one of our author friends is SUING US.” 

[…]So I hope you understand why I don’t go OUT OF MY WAY to sign CONTRACTS. In fact I try to avoid writing ANYTHING down.

[…]Ironically I learned this lesson rather late. During the five years I lived in California I kept a journal. When I moved back TO INDIANA I went straight to Lake of the Woods.

It was there Gramma saw me writing in my big black book. She asked me what it was. I told her it was my daily journal. That’s when that wonderful woman gave me PRICELESS ADVICE I still live by TODAY.

She said, “If you don’t HAVE a journal then THEY CAN’T SUBPOENA IT.”

And a month before that, he wrote about dealing with angry authors:

I don’t know about YOU but the whole time I worked for other people’s companies I had an overwhelming urge to tell rude customers to ‘GO JUMP IN A LAKE!’

Sometimes customers say really mean things to employees. And if that employee was me, I wanted to say mean things right back. But had I responded in any way, that customer might have asked to “speak with my supervisor.” You know what THAT means…

The risk was just too great. I had to remain polite. Otherwise I could have LOST MY JOB! But OH, how I wanted to say something like ‘GO FLY A KITE’ to those JERKS.

Now it’s MY COMPANY and that changes EVERYTHING. Only NOW do I understand the true gravity of the situation–that the wrong response could have dire consequences for everyone.

It really changes your perspective. In fact, no matter how impolite or unreasonable a customer is, I remember it’s critical to remain polite and professional. Right?

I had you going right? RIGHT? DIDN’T I? C’MON I HAD YOU GOING! ADMIT IT!

I say “GO FUCK YOURSELF” at least ONCE A WEEK!

And at MY COMPANY if somebody asks to talk to one of MY PEOPLE’S ‘supervisor’ and they get ME? GOD HELP em’!

We got a call this week from an author I’ll call MARY JONES-DURBIN (because it’s her name) the author of “Words From My Soul.”

THIS IDIOT called to DEMAND the money we were making from selling HER BOOK. Never mind the fact that WE DIDN’T PUBLISH her book, nor EVER HAD ANY COPIES. I listened to one of my people spend 10 MINUTES trying to explain that. I did it in 10 WORDS!

“Are you listening moron? I DARE YOU TO SUE ME!”

That reminds me, of the CONSEQUENCES. Aside from breaking the phone by slamming it too hard, here is the COMPLETE LIST of the consequences in order of DIRENESS.

1. People say mean things about me on the internet.

THAT’S IT! But GOOGLE ME or my company you’ll discover I am a REALLY BAD PERSON.

2. I am not ONLY publishing books in a FIENDISH manner but also the MASTERMIND behind the MADOFF SCANDAL as well as THE BOSTON STRANGLER!

3. It goes without saying I was NOT born in HAWAII!

In fact, one woman created an entire website JUST FOR TRASHING ME! I know! AWESOME RIGHT? You can’t BUY that kind of PUBLICITY!

What a lovely guy. Let's hope Jones Harvest doesn't rise from the dead…and that Brien Jones finds a new way to earn a living that doesn't involve talking senior citizens into dipping into their retirement fund or social security income to "publish" their books.

Amazon Launches 47North Imprint with THE DEAD MAN

The Dead Man Face of EvilToday, Amazon announced the launch of their new sf/fantasy/horror imprint 47North…and one of the premiere titles is THE DEAD MAN series. Our kick-off is coming in just a couple of weeks…in a very big way…and we can't wait!

UPDATE: Publisher's Weekly also wrote about it. Here's part of what they said..

Amazon has added another genre to its publishing stable, with the launch of 47North, a science fiction/fantasy/horror imprint that will publish original and previously published works from new and established authors as well as out-of-print books. “We are especially happy to have a diverse list at launch, and look forward to publishing across a wide range of subgenres,” said Victoria Griffith, publisher of Amazon Publishing’s west coast group.
 
47North has signed 15 titles at launch with its first title coming from Lee Goldberg and William Rabkin, the authors of Successful Television Writing and who have written and/or produced scores of highly successful network television series, including Diagnosis Murder, Spenser: For Hire, and Baywatch. Their digital-first novel, Face of Evil, will be published this month; four more installments will also be published in October, with a new adventure following each month thereafter. A print compilation of the first three novels will publish in January 2012.
 

Let’s Dance on The Grave of Jones Harvest

It appears that Jones Harvest Publishers, the vanity press run by huckster Brien Jones, has finally died in shame.  His company website has disappeared and he's reportedly closed the pitiful  little storefront that he operated to convince his gullible "authors,"  primarily senior citizens, that their poorly-printed books would be available in brick-and-mortar stores.  

Bonnie Kaye, who operates the Jones Harvest Fraud Victims blog and the Jones Harvest Fraud Victims site, reports:

I have been receiving letters from people who are customers of Jones Harvest stating that there is no way to contact them. So I did some of my own investigating and found out they were right–the website has been down for at least a week. The emails are being returned. No one is answering the phone… 

Kaye was one of the victims of Airleaf, the disgraced vanity press scam that once employed — you guessed it — Brien Jones, who then scurried off to start his own print-on-demand press.  By then, he was an old hand at selling empty dreams of publishing success to wanna-be writers. Before Airleaf,  Brien worked for Bookman Marketing, an even more notorious publishing scam. Some people never learn…and that includes the suckers. Many victims of the Airleaf scam actually followed Brien to Jones Harvest, only to reportedly suffer the same disappointment and financial loss all over again. 
Frankly, I'm surprised Brien and his shabby operation lasted this long.  CreateSpace and Lulu, which allow people to publish their paperbacks for free, and Amazon and Barnes & Noble, which make it easy to self-publish ebooks for nothing, have been the Black Death for outfits like Jones Harvest.  I'll miss Brien.. only because his lame-brained schemes, like asking you to hire his staff of "expert" screenwriters to adapt your unpublished books into hit screenplays, were so much fun to ridicule.   
 
Let's hope the long-overdue, well-deserved demise of Jones Harvest will be the last time we see Brien Jones laughably passing himself off as a publisher.

Rumor has, he's decided to become a writer instead…

UPDATE 10/11/2011 (11:41pm): Maybe I spoke too soon. Here's what Brien Jones wrote a few weeks back on his blog:

So, You want to start your own company? It’s lonely at the top…

As far as THIS SERIES is concerned EIGHT is DEFINETLY ENOUGH.

Also because THIS subject is closest to my heart it will probably not be terribly amusing—ESPECIALLY if you’re underpaid and stuck in a dead-end job with AN ASSHOLE for a BOSS.

Recently I was HORRIFIED TO LEARN that was precisely how my colleagues viewed ME.

THAT’S MY FAULT. As with EVERY rule, law, or responsibility IGNORANCE IS NO EXCUSE. In fact, NOT knowing makes the situation WORSE.

THAT’S NOT how things USED TO BE. If you spent a day working in our office last year you wouldn’t have thought BRIEN JONES was in charge of ANYTHING.

My wife and co-founder Brandy (who remains UNIVERSALLY REVERED) had clearly been at the helm.

Then I stepped in and made a couple VERY BAD DECISIONS. As a result of those decisions what had been a vibrant, happy and even slightly profitable little company augured into the ground.

Clearly I’m no good at running things.

For example MY LATEST HIRE has failed to meet every benchmark and quota imaginable (aside from FARTING) and often appears only long enough to ask if we’ve RECEIVED ANY CHECKS.

THAT ATTITUDE is not unique.

Over the past five years we’ve had QUITE A FEW PEOPLE that think MONEY JUST RAINS IN OUT OF THE SKY and we’re not CATCHING IT RIGHT.

Huh. Maybe they're onto something, after all…

Now we’re losing our last and BEST COLLEAGUE. And THAT is a CRISIS.

It is well known that the word ‘CRISIS’ in Japanese, (危機=kiki) is a combination of ”danger” and 機=”fucking up completely.”

ALL SUMMER I have been busting my ass to pay people that are just farting around, LITERALLY. (And THEN listening to THEM lecture ME about responsibility!)

That’s all over now kids!

But JONES HARVEST PUBLISHING is very much alive. It’s just going to be UNDER OLD MANAGEMENT.

I’ll still be around! AFTER ALL, if you read about me on the internet THE WHOLE THING WAS MY IDEA.

No matter WHAT happens we’ve already beat the odds!

According to Business Week, “The data show that, across sectors, 66 percent of new establishments were still in existence 2 years after their birth, and 44 percent were still in existence 4 years after.”

OCTOBER 24, we begin our SIXTH YEAR! I can’t WAIT to see the new DEATH-THREATS!

The Publishing Cart Before the Storytelling Horse

I wish I could take credit for that headline, but it belongs to Chuck Wendig.  He makes a very good point in a recent, and controversial, blog post about the obsession self-published authors have with striking it rich, boosting their rankings, voting on tags, etc. and how little attention they pay to the really, really, REALLY important part…

 In self-publishing, I see so much that focuses on sales numbers and money earned, but I see alarmingly little that devotes itself toward telling good stories. After all, that’s the point, right? Selling is, or should be, secondary. The quality of one’s writing and the power of one’s storytelling is key. It’s primary. It’s why we do this thing that we do. Any time you hear about the major self-publishers, it’s always about the sales, the percentage, the money earned. What’s rare is a comment about how good the books are. When the narrative was all about Amanda Hocking, everybody was buzzing about her numbers, but nobody I know was buzzing about how good those books were. Focus less on the delivery of the stories and more about the quality of what’s being delivered.

The problem is, if more self-published authors did that, they'd have to acknowledge how insanely awful most of the "indie" stuff really is. Josin L. McQuein, one of the commentors on Chuck's post, summed up the problem perfectly:

…self-e-publishing is a lot like the atmosphere on a fanfiction site. It’s mostly garbage, and everyone reading it knows that. Among that garbage, there are pockets of gold and diamonds that, if found, will draw readers. (I wouldn’t be at all surprised if some of the more popular fanfic authors make a serious go of self-e-publishing. They’ve got a built in audience that can be tens of thousands strong in the larger fandoms.) The trick is, someone has to find those pockets of precious material and pass the information along. It doesn’t always happen. If you’re going to self-e-publish, then TAKE YOUR TIME. If it takes you weeks, months, or even a year to write your book, then why would you undermine all of that time and effort by rushing through the final steps of the process? If you’re going self-publish, then don’t handicap your novel by not making it the best you possibly can.

In other words, don't put the publishing cart before the story-telling horse.

Writing in a Different Way

I've written over thirty novels, and my process with all of them was pretty much the same. I had an idea, I wrote a bullet-point outline, and I started writing the book, revising my outline along the way (I call them "living outlines," since I usually finish writing them a few days before I complete my manuscripts). But the process of writing KING CITY, my new standalone crime novel, was entirely different.

KING CITY began as a TV series pitch that I took all over Hollywood four or five years ago. It generated some interest but ultimately didn't lead to anything.  So I put it in a drawer and moved on.

But the idea nagged at me anyway and I began to think KING CITY might make a better book than a screenplay. So, between MONK novels three years ago, I wrote 200 pages and a broad-strokes outline for the rest of the book.  

I sent the proposal to my agent and began writing my next MONK book. The first place she sent KING CITY to was Penguin/Putnam, my MONK publisher, because she felt certain they'd snap it up. Between DIAGNOSIS MURDER and MONK, I'd written twenty-some novels for them. We knew that they liked me and my work, which had been successful for them, so we didn't think they'd see KING CITY as much of a gamble.

But they passed, surprising us both. My agent felt the rejection was less about me or the book than the way the business had changed. Mid-list authors were being dropped, editors were being fired, and the days of selling book proposals was over. If I wanted to sell KING CITY, I'd have to write the whole book and then shop it around.

I wasn't wild about that idea. If editors who knew me and my work well didn't find the first 200 pages compelling enough to merit an offer, I doubted that reading the whole novel would change their minds. And if these editors, folks I'd worked with for years, weren't willing to gamble on me, why would someone else?

Moreover,  after years of having contracts before I started writing novels, I was spoiled. The idea of writing a book entirely on spec made me uneasy, especially given my experience with THE WALK and WATCH ME DIE. Both of those books were written "on spec" and, after years bouncing all over New York, were finally published by Five Star, who paid a pittance for them. They got wide acclaim but not wide distribution. From a financial standpoint, they seemed to be a bust. I wasn't willing to go through that again.

So I tabled KING CITY and went back to writing one MONK novel after another. 

But then something amazing happened — the ebook market took off, and I started earning tens of thousands of dollars on my out-of-print backlist, like THE WALK. It changed my thinking entirely about the publishing business. About the same time, my TV agent started nagging me to write a spec pilot.

Which got me thinking about KING CITY again.

So, last November, when I was once again between MONK books, I re-read the 200 pages and realized I had the makings of a great spec pilot. I stripped the story down to the bare elements, reordered events, dropped some characters, and  rethought everything. Over the holidays, I adapted my unfinished novel into a screenplay.  Actually,  it ended up being two of them:  the one-hour pilot and the second episode.  I sent both scripts off to my TV agent and began work on my next MONK.

The scripts got me some exciting meetings at studios and networks…but didn't pan out into any options on KING CITY or a series staff job (at least not yet).  But I realized I had more than just two strong scripts — if I put them together, I had a remarkably detailed outline for the book.

So I decided to write it during my next MONK hiatus.

Along the way, I made lots of changes. I liked most of the choices I'd made for the screenplay, which tightened the plot and gave the story more of a narrative drive, but I missed some of the more "novelistic" elements that I'd dropped. So instead of novelizing my screenplay adaptation of a novel, I found myself writing KING CITY all over again…for the third time.

It's been a very unusual experience for me. I feel that KING CITY has improved with each draft, whether in novel or screenplay form. Adapting the original, 200 pages into a script forced me to take a hard look at everything, to sharpen the characters and tighten the plot, stripping away all of the fat in favor of narrative drive.  That relentless and mercilous focus on character and lean story-telling may be great for a script but not so much in a book, where taking the time to establish a sense of place, and to explore the internal thoughts of a character don't slow things down, they enrich the experience. Adapting KING CITY back into a novel again allowed me to see where I might have cut too deep, over-simplified the characters, or moved events along too rapidly.

I finished the first draft two days before I had to begin writing my next MONK novel (which I am in the middle of right now) and sent it off to some close friends for their comments. They gave me great notes, and by that, I don't mean enthusiastic praise. They told me what worked…and what didn't. I've been revising the book a little bit each day and will send it off this weekend to be copyedited. 

I like to think this is the best version yet of KING CITY. But you'll have to be the judge of that…and, hopefully, that will be very soon. If I have my way,  KING CITY will be published before the end of 2011.  

The Numbers Behind a CreateSpace Bestseller

The_Walk_createspace Createspace publishes hundreds of thousands of books in print-on-demand paperback format…but the chances of any of those authors experiencing real success are very slim. And here's how I know. The paperback edition of my book THE WALK is a CreateSpace bestseller…in July, it was #4 on their fiction bestseller list, ahead of Amanda Hocking and Joe Konrath. 

And you know how many copies I had to sell to become their #4 bestselling novel?

204 copies.

Yep, that's it, just 204 copies.  

Don't get me wrong, I'm pleased with the sales, because that's found money, another $764 in my pocket on a book that went out-of-print years ago. But my "success" proves just how pitiful the sales are on all those hundreds of thousands of other CreateSpace books. This should be a wake-up call to everyone who thinks self-publishing is a goldmine.

THE WALK is an abberation for me. I typically sell 150-200 copies a month of THE WALK in paperback…while my other titles are lucky to move 8-12 copies each.

THE WALK is also my bestselling Kindle ebook, typically selling over 1000 copies a month (though the sales dipped a bit in June and July), far above my other titles. My next best-selling Kindle titles do less than half as well.   THREE WAYS TO DIE  typically sells 475-500 copies a month and WATCH ME DIE moves about 350-400 a month. 

 

Man Undercover

Watch Me Die Final Jeroen Ten Berge is a terrific cover artist. He' s done the covers for my books WATCH ME DIE and THE JURY SERIES…as well as the books coming out of Top Suspense, to name a few. Author Joseph D'Agnese interviewed Jeroen on his blog. Here's an excerpt:

How do you describe the work you do? Are you a designer, an illustrator, or what? (It might help if you tell us what your training/background is.)

I consider myself a designer first. However, illustration is a skill I almost always use to assist me in creating the design I have in mind. In some cases an illustration becomes the key element of a design. The Scientist & The Sociopath is an example, but the Serial-series covers I created for Blake Crouch and Joe Konrath are also illustrations, as is Suzanne Tyrpak’s Vestal Virgin cover. I also use stock photography, sometimes my own. Several of the covers I designed for Marcus Sakey feature my photos, as do several of Blake’s covers. 

I guess I was fortunate to have studied graphic and typographic design at the Royal Academy of Arts in The Hague in the early- to mid-1980s. There was a strong focus on teaching the principles of design and typography, taught by people such as Gerrit Noordzij, one of the greatest type designers of his generation. There was, however, equal attention paid to illustration and photography. The philosophy was very much, "Why ask someone else to make an illustration or photograph for your design if you can do it yourself?"  In retrospect I can see that graduating the year before Apple MacIntosh was introduced to the Netherlands helped as well. Knowing how lead type works, and why there are certain rules of design helps me on a daily basis. That said—I have worked on an Apple for more than 20 years now, and would consider a career change if I had to go back designing old school.

 

Here Comes the Slush

The ease of self-publishing has been great for mid-list authors and authors with big, out-of-print backlists. But it also means that anybody with a mouse and an Internet account can be "published."
Naturally, aspiring authors love this…now there are no gatekeepers keeping their masterpieces from the hands of the reading public. But, as it turns out, readers aren't so thrilled that the slush pile has spilled over onto their Kindles, as Eric Felton writes in a piece today for the Wall Street Journal.

It isn't just the elusive prospect of riches that excites the untold thousands of hopefuls crowding into the new self-publishing space. They are buoyed by escaping the grim frustrations of trying to get published the old-fashioned way. No more form-letter rejections from know-nothing agents and can't-be-bothered editors.

It's only natural for those locked out to despise the gatekeepers, but what about those of us in the reading public? Shouldn't we be grateful that it's someone else's job to weed out the inane, the insipid, the incompetent? Not that they always do such a great job of it, given some of the books that do get published by actual publishers. But at least they provide some buffer between us and the many aspiring authors who are like the wannabe pop stars in the opening weeks of each "American Idol" season: How many instant novelists are as deluded as the singers who make with the strangled-cat noises believing they have Arethaen pipes?

[…]The stodgy old gatekeepers are to be replaced with "social media." But self-publishers are finding that getting the attention of the crowd once their e-books are out there isn't easy. Which leads to efforts to game the judgment of the new and amorphous network of influence.

Look in the forums Amazon hosts for its Kindle "direct publishers" and you won't find many posts asking how to do the basics of traditional book production—copy editing, anyone? But there are plenty of threads with titles like "Promote your book" and "review swapping?"—orgies of desperate back-scratching that make old-school literary logrolling seem downright genteel.

He is so right. In their eagerness to be the next Amanda Hocking, hordes of self-published authors are forgetting the most important elements for success: genuine talent, a fresh voice, a great story and strong writing skills.