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Good afternoon, my dears. A couple things, then a small Friday post, then off into the wild blue yonder.
* If you look at my events calendar, you’ll see I’m at the Auburn, WA, public library tomorrow (Saturday), and on Sunday I’m at the Cedar Hills Crossing Powell’s for the SF/F Authorfest. I’ll gladly sign books at both events, though there will be no books for sale at the Auburn library. I’m beginning to get pre-event nerves (nobody will show up, my heart will stop from sheer terror, someone will throw rotten fruit, etc., etc.) so I will just content myself with saying, if you’re in the area, both events promise to be a lot of fun.
* Want to know what makes me feel really, really unclean, and not in a good way? This article about James Frey preying on creative writing graduates.
This is the essence of the terms being offered by Frey’s company Full Fathom Five: In exchange for delivering a finished book within a set number of months, the writer would receive $250 (some contracts allowed for another $250 upon completion), along with a percentage of all revenue generated by the project, including television, film, and merchandise rights—30 percent if the idea was originally Frey’s, 40 percent if it was originally the writer’s. The writer would be financially responsible for any legal action brought against the book but would not own its copyright. Full Fathom Five could use the writer’s name or a pseudonym without his or her permission, even if the writer was no longer involved with the series, and the company could substitute the writer’s full name for a pseudonym at any point in the future. The writer was forbidden from signing contracts that would “conflict” with the project; what that might be wasn’t specified. The writer would not have approval over his or her publicity, pictures, or biographical materials. There was a $50,000 penalty if the writer publicly admitted to working with Full Fathom Five without permission. (Inside Full Fathom Five, p. 3)
In case you’re wondering, these are bad, bad terms. They’re the sort of terms Guy Pearce’s Warhol offered Sienna Miller’s Edie Sedgwick, only without the initial friendship. Or the sort of terms Lord Ruthven might have offered one of his victims. I’ll just content myself with noting that Frey’s earlier hijinks make me feel filthy about this in a way that James Patterson’s or VC Andrews’s ghostwriters don’t. Also, dude, if you’re a rebel, you don’t need to go around saying what a rebel you are. Henry Miller would kick Frey’s ass for presumption.
“But wait!” you might say. “Nobody’s forcing these people to sign with Frey’s company! He’s not holding a gun to their heads or anything!”
True. But Bernie Madoff didn’t hold a gun to anyone’s head either; scam artists don’t have to and we still prosecute them–or at least, evince some distaste for their methods. As a professional, I cannot condone Frey’s behavior and I hope one or two aspiring writers might decide in light of that article not to lend themselves to this nastiness. ‘Nuff said.
* Also, while I’m in take no prisoners mode, there’s the same kerfluffle there is every year over NaNoWriMo. (No, I’m not linking to the kerfluffles. They make me tired.) NaNo is great for one thing: teaching aspiring writers to shut up, sit down, and make writing a priority. That’s great, and it’s just the sort of lesson a lot of people who want to write often need. But writing only one month out of the year is not a good way to maximize your chances of producing quality, publishable work. That’s like saying a two-hour class can teach you to safely be a trapeze acrobat. I’m not knocking NaNo–I’ve participated several times, and plan to participate next year. It’s a good thing, but it’s not the sole means of becoming a writer or of learning to consistently produce publishable work.
Anyway. I promised another process post, didn’t I?( Read the rest of this entry » )