It was a very bad choice.
I'd reject pieces that were written like that if they came across my slushpile.
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Light Sword Publishing / LSP Digital, LLC
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It was a very bad choice.
I'd reject pieces that were written like that if they came across my slushpile.
No. My review is: don't buy this book.
Good thing.
ETA: What kind of author asks, based on copy comments, if they can use a review from someone who hasn't read a book? I mean, really. I'll never read it, so that's definitely faux review inflation.
Not that I expect any better at this point.
Honestly, as many flaws as Light Sword may have, I think they're a better publisher for not having this project.
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Okay, I went back and looked since the commas didn't seem right to me either. They were NOT used in the text of the book, they were used in the book trailer, and we are considering taking all punctuation out of the trailer when we redo it, very soon. The first quote is used on the front cover of the book, with the comma, for dramatic emphasis. I approved that, even though I don't generally approve what I consider "pause" commas.
Mari
I seriously don't get why you thought the old cover was bad and this one is okay.
You obviously still don't get what's laughably funny about supernatural suspense thriller, either.
Waves of Radioactive Blue
Have you actually seen the original Light Sword Publishing cover for Beaufort Falls? When I was first sent the Light Sword Publishing cover I was, at first, thrilled that a cover could be developed so quickly but then I objected, because the cover had nothing to do with the story. The colors, pastel blues and reddish pink were more suited to a romance novel than a story with a serial killer in it. Still, the color was one of the more attractive features. At one point the woman in the wedding veil kneeling to the right of an object that looked like it might be an abandoned plow was kneeling in front of waves of blue that looked like an ocean of radioactive waste. I signed off on the original cover because it was made clear to me that it was a case of "either/or". Either I liked it and signed off on it OR the book would be unavoidably delayed. Then they went to total blue and if the first proof hadn't come to me with my first name misspelled on the cover's spine, it would have gone to market with the blue cover that you can still see on www.Amazon.com now, where out of print copies are still for sale. I will leave it to Alan to explain why the new cover is much more appropriate and why we called it a "Supernatural Suspense Thriiller".
Have you actually seen the original Light Sword Publishing cover for Beaufort Falls? When I was first sent the Light Sword Publishing cover I was, at first, thrilled that a cover could be developed so quickly but then I objected, because the cover had nothing to do with the story. The colors, pastel blues and reddish pink were more suited to a romance novel than a story with a serial killer in it. Still, the color was one of the more attractive features. At one point the woman in the wedding veil kneeling to the right of an object that looked like it might be an abandoned plow was kneeling in front of waves of blue that looked like an ocean of radioactive waste. I signed off on the original cover because it was made clear to me that it was a case of "either/or". Either I liked it and signed off on it OR the book would be unavoidably delayed. Then they went to total blue and if the first proof hadn't come to me with my first name misspelled on the cover's spine, it would have gone to market with the blue cover that you can still see on www.Amazon.com now, where out of print copies are still for sale. I will leave it to Alan to explain why the new cover is much more appropriate and why we called it a "Supernatural Suspense Thriiller".
I was, as I am sometimes inclined to do, being somewhat sarcastic here. I definitely think you should read the book before you review it ... or condemn it.
Mari
The words "A Supernatural Suspense Thriller" are there because I insisted on it. It's SUPPOSED to be laughably funny. The book is a satire with supernatural elements woven into it that almost defies genre. It was a real problem when we were registering the title, too. There ISN't a catagory for a book that's a suspense satire with supernatural elements as one of its main themes.
Oh, and I find it laughably funny that my status as a publisher is something to be scoffed at in Deirdre's eyes. I'm part of a a bona-fide registered business entity, we own a block of ISBN numbers, and we're in all the important databases as a publisher. The only things I don't do that other small publishers do is solicit manuscripts or accept submissions. Quite frankly, I think small publishers that solicit authors to give the books that they've written themselves more credibility are criminals, especially when they don't have the resources to promote the books they're publishing effectively. We are not seasoned professionals, we are learning as we go. That's WHY we are not accepting other authors or soliciting manuscripts. If we fall down, the only people that will be hurt are us.
Have a nice day, y'all.
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Our home address is in Westlake Village, but our It's ME! Ink Press address, (posted on the website) is in Thousand Oaks. The two cities are close enough together to be pretty much considered one municipality. Part of Westlake Village is in Ventura County, and we live in that part. Most of it is in LA County. However, since you found our DBA listing, none of it is important.
I have never denied that It's ME! Ink Press publishes only our own material, and I think we have both stated that many times through this thread. That does mean that we are publishing ourselves, or "self-publishing." We are not trying to disguise that fact by taking submissions from other authors.
As to Light Sword Publishing, they do not require fees from their authors to publish their manuscripts, hence, they are not a "Vanity Press" either. I have heard of a number of small presses that DO seem to care about their authors and make an attempt to do some marketing and to present the books professionally. Midnight Ink, which publishes Sue Ann Jaffarian, is one of them. Capital Crime Press, which publishes Robert Fate and Bruce Cook is another one, and there are countless others who ARE doing a great job. While I am a proud Sister in Crime, my book is not a pure mystery, so I don't think either of them would be interested in it. I considered submitting to other small presses, and at some future point in time may do so, particularly if we do badly with It's ME! Ink Press. For now, I'm very happy with the experiment.
"Is Light Sword Publishing a legitimate fledgling small press (starting out on a bad foot)?" Possibly. Where Linda Daly is concerned, it is a "self-publish," no matter how many other authors' submissions the company accepts. But, then again, I'm not one who thinks that is necessarily a bad thing. I do know that I was not happy with their presentation of my story, unhappy with the marketing "plan" that was in effect at the time I was a part of it. and I'm much happier with It's ME! Ink Press, in spite of the work I have had to put into it. It isn't about money, it's about being able to produce what I think is the best product possible with my story. With Light Sword Publishing even now, and I do think the company has improved during the last several months, I don't think that would be possible.
As for distribution, when my contract with Light Sword Publishing was terminated May 2nd, my book was still listed in the Barnes & Noble database as "nonreturnable". Not only was my book listed this way, but the two books that came out BEFORE me, (including Linda Daly's OWN book) were also still listed as "nonreturnable". This was a big source of contention with me. To be able to market the book in bookstores, the books needed to be returnable. I know that the next author that they published was able to get the company to list her book as returnable, so that, in itself, is a huge improvement. With the distribution we've set up, the book is listed as "returnable" and can be ordered from the first day it is listed as available. Life is good!
Mari
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I've split the discussion of It's ME! Ink Press into its own thread.
Brian is right--we're going off topic here. If everyone could cool down a bit, I'd appreciate it.
- Victoria
Brian is right--we're going off topic here. If everyone could cool down a bit, I'd appreciate it.
- Victoria
The Flame Is Gone
As of this date I have not received two things. I have not received a response from Althea as to what half-truths I have spoken about Light Sword Publishing, which is not surprising since I haven't stated any, and I also have not received a clear and concise, unbiased and true Royalty Statement for the sales of Beaufort Falls that defines what monies have been paid and why.
That's all I have to say at this time, and it's all I'll have to say until something changes.
As of this date I have not received two things. I have not received a response from Althea as to what half-truths I have spoken about Light Sword Publishing, which is not surprising since I haven't stated any, and I also have not received a clear and concise, unbiased and true Royalty Statement for the sales of Beaufort Falls that defines what monies have been paid and why.
That's all I have to say at this time, and it's all I'll have to say until something changes.
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A friend of mine tells me Lightsword's communication is about as effective as their knowledge of publishing. He was asked to send a partial, which he did. After a review by lightsword, he was then asked to send a full. After months of waiting, and several emails asking for an update, still nothing.
After looking at their website on his behalf, I suggested they'd done him a favor. Lightsword is a classic POD and if you have learned anything here at AW, then avoid like the plague.
Of particular interest was the following claim by the company's CEO Linda Dale, " NOTE: Although LSP will offer support to our stable of authors, by providing them with an extensive marketing kit and valuable tools, we firmly believe that it is the author that must sell their work, not the publisher. We publish books and should not be confused as an authors publicist."
In the real world of publishing this is the job of distributors and marketing teams, not authors. Don't be sucked in.
For newbies, who might actually be considering subbing to Lightsword, I suggest you read JennaGlatzer's wonderful post on how real publishers work before reading LS's committment to authors (http://www.lightswordpublishing.com/OurCommitment.html). It's an eye opener.
Link to Jenna's comments. http://absolutewrite.com/forums/showthread.php?t=20586
Jenna says;
"There are so many strange versions floating around about what publishers do and don't do. I think it's time to give a sort of overview of the process.
1. Acquisitions
Acquisitions editors are in charge of finding new manuscripts/proposals for the publisher. There are a few ways your work may end up in front of an acquisitions editor:
-The slush pile. This is the term for unsolicited manuscripts. If you mail a publisher a manuscript or proposal that they haven't requested, some of them will just mail it back to you unread. Others will pile it up in their offices until a reader gets around to checking it out. This can take anywhere from days to many months.
-Request from a query. If you send an editor an e-mail or letter about your book, the editor may request sample chapters (a "partial"), the whole manuscript, or (in the case of nonfiction books) a book proposal. Now your work isn't "unsolicited" anymore-- it's solicited. Solicited work tends to get read faster than unsolicited work, but it can still be several months before you get a decision.
-Through an agent. Your agent can get your work read fast if he/she has any clout. Publishers trust agents to bring in projects that are appropriate and of high quality. Particularly if you write novels, it's to your benefit to have an agent. Real agents don't charge you anything upfront-- they take a commission from your advance and royalties (15%, usually).
-Recommendation or personal meeting. An author may recommend you to his/her editor, or you might meet the editor at a conference or workshop. This puts you into the "solicited" category.
You don't need an agent to submit to most publishers.
I have never heard of an editor just mailing someone a contract-- the editor will call you or e-mail you to tell you that he or she is interested.
At most publishing houses (except the very smallest), the editor will have to pitch the book at an editorial meeting. The editorial board (or the publisher alone) will say yes or no. The marketing people do their projections to see how much profit they think the publisher could make, and what the budget should look like. They research competing books and figure out how well they sold. They may suggest a new title. Then the editor makes an offer. You or your agent go back and forth negotiating until everyone's happy. You sign the contract and get the first part of your advance. (Advances are typically paid in 2-4 parts.)
2. Developmental Editing
Now you have an editor. If you sold the book based on a proposal or partial, the editor may advise you about what direction he/she wants the book to take, the word count, etc.
You are NOT expected to hire an editor before you submit your work. You are not expected to pay anyone anything. The editor (hired by the publisher) will work with you, making substantive suggestions. The editor may point out where the plot is getting too hairy or complicated, where things are dragging or getting confusing, a character that needs to be cut or better developed, etc. You work back and forth with the editor until you're both happy with the substance of the book.
3. Copyediting
Then it goes to the copy editor, who works on grammar, spelling, continuity, fact-checking, etc. You will have a chance to review the copy editor's work. The copy editor may have several questions for you marked on the manuscript. If you disagree with any of the copyedits, you can mark "stet" next to the copy editor's marking. ("Stet" means "let it stand.")
4. Proofs
Then it goes to layout, then proofreading. At this point, your manuscript is laid out just how it will be when it's printed. The proofreader checks for last-minute typos and formatting errors (A-heads that should be B-heads, widows and orphans, wrong italics, tables in the wrong spot, etc.). You get the proofs (also called galleys/gallies) and this is your last chance to review before the book is printed. If your book cover hasn't been finalized yet, it should be now.
5. Publicity
Now's when your publicist should swing into high-gear. You've probably already filled out a questionnaire by this point detailing any publicity avenues open to you, your speaking experience, your travel plans, etc. The publicist will write a press release, go over a list of where to send advance review copies (the major trade magazines such as Publishers Weekly, Kirkus, Library Journal, etc. get them first), ask you if you want to do local book signings, figure out publications and media venues likely to feature you and make contact, etc.
When people complain that publishers "don't promote" their books, what they usually mean is that they rarely send authors on tours anymore, and they rarely take out ads in papers, magazines, or TV. Simple reason: They typically don't pay off. Imagine paying for an author to fly around the country and stay in hotels, only to find that no more than a dozen people show up at these signings. Imagine paying big bucks for an ad and finding that it sells two copies. Much more important are reviews, interviews, speaking engagements, bookstore placement, etc.
Your book's cover art and description will go into the publisher's seasonal catalog, which then gets sent out to bookstores and libraries. The distributor's sales reps pitch the current season's titles (and any backlist titles that the publisher wants to draw attention to) to the bookstore buyers. The sales reps tell the buyers about any planned publicity-- buyers are more likely to order the book if they know it has a big publicity budget or the author has guaranteed media mentions coming up.
The buyer places orders. The publisher decides whether or not to pay for front-of-the-store placement. Those books you see stacked on tables in the front of the store aren't there by chance-- they're there because the publisher paid for those spots!
The publisher also decides whether to invest in direct mailings (postcards, usually), Amazon promotions, a launch party, etc.
6. Exploiting Other Rights
If the publisher kept these rights, they will attempt to sell the book rights to overseas publishers, book clubs, film companies, etc. You will each get a share of the money. If you kept these rights, you or your agent can work on selling them.
7. And So On
Your publisher may enter your book in contests, put an ad for you in Radio Television Interview Report or similar guest-finder services, bring your book to book fairs, seek out "special sales" (bulk sales to corporations or organizations), offer your book as a giveaway in contests, and other such ongoing promotions. Generally, your publicist will have a limited window of time (3-6 months) when your book is actually on the "top of the pile"-- then the publicist needs to concentrate on other books. But even years later, you can still ask the publicist to send someone a review copy, send you flyers to bring to a speaking event, etc.
All the above is based on my experiences. I have written for the following companies, listed in approximate order from smallest to largest: Moo Press, JayJo Books, Mason Crest, Nomad Press, Hunter House, Lyons Press, Adams Media, Andrews McMeel, McGraw-Hill, Penguin Putnam, and Simon & Schuster."
After looking at their website on his behalf, I suggested they'd done him a favor. Lightsword is a classic POD and if you have learned anything here at AW, then avoid like the plague.
Of particular interest was the following claim by the company's CEO Linda Dale, " NOTE: Although LSP will offer support to our stable of authors, by providing them with an extensive marketing kit and valuable tools, we firmly believe that it is the author that must sell their work, not the publisher. We publish books and should not be confused as an authors publicist."
In the real world of publishing this is the job of distributors and marketing teams, not authors. Don't be sucked in.
For newbies, who might actually be considering subbing to Lightsword, I suggest you read JennaGlatzer's wonderful post on how real publishers work before reading LS's committment to authors (http://www.lightswordpublishing.com/OurCommitment.html). It's an eye opener.
Link to Jenna's comments. http://absolutewrite.com/forums/showthread.php?t=20586
Jenna says;
"There are so many strange versions floating around about what publishers do and don't do. I think it's time to give a sort of overview of the process.
1. Acquisitions
Acquisitions editors are in charge of finding new manuscripts/proposals for the publisher. There are a few ways your work may end up in front of an acquisitions editor:
-The slush pile. This is the term for unsolicited manuscripts. If you mail a publisher a manuscript or proposal that they haven't requested, some of them will just mail it back to you unread. Others will pile it up in their offices until a reader gets around to checking it out. This can take anywhere from days to many months.
-Request from a query. If you send an editor an e-mail or letter about your book, the editor may request sample chapters (a "partial"), the whole manuscript, or (in the case of nonfiction books) a book proposal. Now your work isn't "unsolicited" anymore-- it's solicited. Solicited work tends to get read faster than unsolicited work, but it can still be several months before you get a decision.
-Through an agent. Your agent can get your work read fast if he/she has any clout. Publishers trust agents to bring in projects that are appropriate and of high quality. Particularly if you write novels, it's to your benefit to have an agent. Real agents don't charge you anything upfront-- they take a commission from your advance and royalties (15%, usually).
-Recommendation or personal meeting. An author may recommend you to his/her editor, or you might meet the editor at a conference or workshop. This puts you into the "solicited" category.
You don't need an agent to submit to most publishers.
I have never heard of an editor just mailing someone a contract-- the editor will call you or e-mail you to tell you that he or she is interested.
At most publishing houses (except the very smallest), the editor will have to pitch the book at an editorial meeting. The editorial board (or the publisher alone) will say yes or no. The marketing people do their projections to see how much profit they think the publisher could make, and what the budget should look like. They research competing books and figure out how well they sold. They may suggest a new title. Then the editor makes an offer. You or your agent go back and forth negotiating until everyone's happy. You sign the contract and get the first part of your advance. (Advances are typically paid in 2-4 parts.)
2. Developmental Editing
Now you have an editor. If you sold the book based on a proposal or partial, the editor may advise you about what direction he/she wants the book to take, the word count, etc.
You are NOT expected to hire an editor before you submit your work. You are not expected to pay anyone anything. The editor (hired by the publisher) will work with you, making substantive suggestions. The editor may point out where the plot is getting too hairy or complicated, where things are dragging or getting confusing, a character that needs to be cut or better developed, etc. You work back and forth with the editor until you're both happy with the substance of the book.
3. Copyediting
Then it goes to the copy editor, who works on grammar, spelling, continuity, fact-checking, etc. You will have a chance to review the copy editor's work. The copy editor may have several questions for you marked on the manuscript. If you disagree with any of the copyedits, you can mark "stet" next to the copy editor's marking. ("Stet" means "let it stand.")
4. Proofs
Then it goes to layout, then proofreading. At this point, your manuscript is laid out just how it will be when it's printed. The proofreader checks for last-minute typos and formatting errors (A-heads that should be B-heads, widows and orphans, wrong italics, tables in the wrong spot, etc.). You get the proofs (also called galleys/gallies) and this is your last chance to review before the book is printed. If your book cover hasn't been finalized yet, it should be now.
5. Publicity
Now's when your publicist should swing into high-gear. You've probably already filled out a questionnaire by this point detailing any publicity avenues open to you, your speaking experience, your travel plans, etc. The publicist will write a press release, go over a list of where to send advance review copies (the major trade magazines such as Publishers Weekly, Kirkus, Library Journal, etc. get them first), ask you if you want to do local book signings, figure out publications and media venues likely to feature you and make contact, etc.
When people complain that publishers "don't promote" their books, what they usually mean is that they rarely send authors on tours anymore, and they rarely take out ads in papers, magazines, or TV. Simple reason: They typically don't pay off. Imagine paying for an author to fly around the country and stay in hotels, only to find that no more than a dozen people show up at these signings. Imagine paying big bucks for an ad and finding that it sells two copies. Much more important are reviews, interviews, speaking engagements, bookstore placement, etc.
Your book's cover art and description will go into the publisher's seasonal catalog, which then gets sent out to bookstores and libraries. The distributor's sales reps pitch the current season's titles (and any backlist titles that the publisher wants to draw attention to) to the bookstore buyers. The sales reps tell the buyers about any planned publicity-- buyers are more likely to order the book if they know it has a big publicity budget or the author has guaranteed media mentions coming up.
The buyer places orders. The publisher decides whether or not to pay for front-of-the-store placement. Those books you see stacked on tables in the front of the store aren't there by chance-- they're there because the publisher paid for those spots!
The publisher also decides whether to invest in direct mailings (postcards, usually), Amazon promotions, a launch party, etc.
6. Exploiting Other Rights
If the publisher kept these rights, they will attempt to sell the book rights to overseas publishers, book clubs, film companies, etc. You will each get a share of the money. If you kept these rights, you or your agent can work on selling them.
7. And So On
Your publisher may enter your book in contests, put an ad for you in Radio Television Interview Report or similar guest-finder services, bring your book to book fairs, seek out "special sales" (bulk sales to corporations or organizations), offer your book as a giveaway in contests, and other such ongoing promotions. Generally, your publicist will have a limited window of time (3-6 months) when your book is actually on the "top of the pile"-- then the publicist needs to concentrate on other books. But even years later, you can still ask the publicist to send someone a review copy, send you flyers to bring to a speaking event, etc.
All the above is based on my experiences. I have written for the following companies, listed in approximate order from smallest to largest: Moo Press, JayJo Books, Mason Crest, Nomad Press, Hunter House, Lyons Press, Adams Media, Andrews McMeel, McGraw-Hill, Penguin Putnam, and Simon & Schuster."
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I am new to this site, and let me tell you how happy I am to see so many people question Light Sword Publishing. All I can say is be VERY CAREFUL!!!!! I used to work for LSP, so please feel free to ask me any questions. If you want to hear my story, please let me know. I will be glad to share the story of how I was scammed!!!
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If you were scammed, and have pertinent documents, I'm sure Victoria & Dave Kuzminski would love to hear from you.
I would like to hear your story. I would like to know how you were scammed. I would like to know your real name and what happened to you. Please do not post anything that cannot be verified.
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Several cyber-buddies have recently submitted work to Light Sword & been accepted for publication. Not long after, I received a "friends & family pre-order special!" solicitation to buy one of the books.
This has never happened to me before, not once with any of the many writers I personally know who have sold books. So I went to the LSP web site, thinking to find out what their ordering scheme was.
It was a mess. Up-front they trumped that they are a "time-honored, traditional publisher." Time-honored, when they've been in business all of a year? I think not. Traditional? Most small presses have a routine where you can click on the cover of the book you're interested in, and see the blurb, which hopefully convinces you to buy it. On LSP's site, all I got was either a nonfunctional link, or a trailer. No data. No "buy me" synopsis or hint about what the book's story might be.
When I sent an e-mail to Linda Daly about the confusing nature of the web site (mind you, I'm a potential customer here, NOT a submitting writer), I got nothing in reply. Nada. The other authors hastened to inform me that "she's been swamped" and would get back to me in due course.
Well, that was last October. Any fleeting desire I had to sub anything to LSP is long, long gone.
I suspect this publisher soon will be, as well.
This has never happened to me before, not once with any of the many writers I personally know who have sold books. So I went to the LSP web site, thinking to find out what their ordering scheme was.
It was a mess. Up-front they trumped that they are a "time-honored, traditional publisher." Time-honored, when they've been in business all of a year? I think not. Traditional? Most small presses have a routine where you can click on the cover of the book you're interested in, and see the blurb, which hopefully convinces you to buy it. On LSP's site, all I got was either a nonfunctional link, or a trailer. No data. No "buy me" synopsis or hint about what the book's story might be.
When I sent an e-mail to Linda Daly about the confusing nature of the web site (mind you, I'm a potential customer here, NOT a submitting writer), I got nothing in reply. Nada. The other authors hastened to inform me that "she's been swamped" and would get back to me in due course.
Well, that was last October. Any fleeting desire I had to sub anything to LSP is long, long gone.
I suspect this publisher soon will be, as well.
Hi, Deb, and welcome! 
Thanks for sharing. How a publishing company treats customers is even more important than how it treats writers. Ya can crown me, throw roses at my feet, seat me on a throne - but if you don't sell my book, you're useless.
Thanks for sharing. How a publishing company treats customers is even more important than how it treats writers. Ya can crown me, throw roses at my feet, seat me on a throne - but if you don't sell my book, you're useless.Changes at Light Sword Publishing
I clicked over to the Light Sword Publishing website today and I see that they have changed the name of their company. I have heard many rumors, everything from "they are facing a lawsuit filed by one of their current authors", "they have run out of money and are going bankrupt", "they are trying to clear their inventory before going bankrupt", "they have had all of their authors sign a contract with the new company", to "they have merely changed their name because they are going to a more open method of POD printing." If anyone has first hand knowledge of the truth, I'd love to know.
One thing that did stand out is that whoever wrote the new home page must not have a firm grasp of what the term "digital printing" means. ALL of LSPs books have been printed digitally, whether they were printed in small print runs and shipped to the company address, or whether it is done through a printer that specializes in "on demand" printing and distribution.
I would love for someone in the know to brief us on what is really happening with them.
Mari
I clicked over to the Light Sword Publishing website today and I see that they have changed the name of their company. I have heard many rumors, everything from "they are facing a lawsuit filed by one of their current authors", "they have run out of money and are going bankrupt", "they are trying to clear their inventory before going bankrupt", "they have had all of their authors sign a contract with the new company", to "they have merely changed their name because they are going to a more open method of POD printing." If anyone has first hand knowledge of the truth, I'd love to know.
One thing that did stand out is that whoever wrote the new home page must not have a firm grasp of what the term "digital printing" means. ALL of LSPs books have been printed digitally, whether they were printed in small print runs and shipped to the company address, or whether it is done through a printer that specializes in "on demand" printing and distribution.
I would love for someone in the know to brief us on what is really happening with them.
Mari
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The "new" name is LSP Digital, LLC.
From the statement on the front page, sounds like the founders' partnership dissolved.
From the statement on the front page, sounds like the founders' partnership dissolved.
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Light Sword was sued this year by one of its authors, and is the subject of two default judgments, the latest handed down just last week. Details in my blog post at Writer Beware.
Be sure to take a look at the comments, especially comment #4, in which a former Light Sword author provides many gory details.
- Victoria
Be sure to take a look at the comments, especially comment #4, in which a former Light Sword author provides many gory details.
- Victoria
Vindicated At LAST
I'm glad it only took about a year and a half for this company to be exposed for what it really is, and I tip my hat to the author who prosecuted successfully in her own defense.
Not being entirely heartless, I sincerely hope that LSP's remaining authors manage to open their eyes and re-evaluate their situations being involved with this company, although I'm not so sure it'll happen.
Have a nice day, y'all.
I'm glad it only took about a year and a half for this company to be exposed for what it really is, and I tip my hat to the author who prosecuted successfully in her own defense.
Not being entirely heartless, I sincerely hope that LSP's remaining authors manage to open their eyes and re-evaluate their situations being involved with this company, although I'm not so sure it'll happen.
Have a nice day, y'all.
- Joined
- Apr 28, 2008
- Messages
- 2,382
- Reaction score
- 311
- Location
- Casa Chaos
- Website
- www.debkinnard.com
I hate to see LSP's (some of us have taken to calling it Limp Sword, for obvious reasons) authors still defend some very questionable practices.
I remember when several of my cyber-pals told me they'd sold to this house. I asked them about distribution. "Oh, we'll HAVE distribution!"
"How do you know?" I asked. "My small press books have been available through the distributors, but that doesn't mean they get ordered routinely--that's life in small press country."
"Ours WILL!"
"How do you know?"
The answer always was because Linda Daly said so. I like these authors (the ones that didn't beat me up verbally for "being negative" because I dared to ask questions) and I'm sorry they've been put through such a meat grinder.
Especially those that don't yet understand what's happened.
I remember when several of my cyber-pals told me they'd sold to this house. I asked them about distribution. "Oh, we'll HAVE distribution!"
"How do you know?" I asked. "My small press books have been available through the distributors, but that doesn't mean they get ordered routinely--that's life in small press country."
"Ours WILL!"
"How do you know?"
The answer always was because Linda Daly said so. I like these authors (the ones that didn't beat me up verbally for "being negative" because I dared to ask questions) and I'm sorry they've been put through such a meat grinder.
Especially those that don't yet understand what's happened.
Light Sword Publishing
As an ex-Echelon writer, I was interested in LightSword's request for writers and decided - on behalf of my small writers group - to test the waters. (Okay, I was the only one with a completed novel at the time.)
The response to query, request for full mss and acceptance all came quickly - about a month after the query, I had a contract. That it seemed modeled on the PublishAmerica contract, even to the $1.00 advance, did not surprise me once I learned that Linda Daly had published a book through PA.
By this time I was on their mailing list and I received a press release for another author. Aside from some mispelled words, I was a bit put out by that fact that it told almost nothing about the book but quite a lot about the author's travails as a single parent. (The novel was a historical romance, as I recall.)
This, and the obvious avoidance of a spell-checker were the first warning flags but I thought I had little to lose by pursuing the task.
A few months after contract signing, I received cover art, a bookmark and a few other goodies, along with a request for a pic of myself; a mailing list of potential buyers; bookstores in my area; local radio and TV stations.
While the cover art was impressive in execution, I couldn't see that it had anything that might tell the reader what to expect. Admittedly the subject (a psychological study) did not lend itself to illustration but I did think the artist may not have read the mss.
Soon I was assigned an editor and found myself dealing with what I am certain were his pet peeves rather than his editorial skills. In one instance, he called my protagonist stupid for not figuring the denouement by chapter three as would any reader.
I helpfully pointed out that the protagonist had NOT read the Prologue and so, until Chapter Six, he did NOT know what the book was really about.
Then he wanted me to expand the role of a very minor character on the grounds that since the heroine had suffered childhood abuse then certainly her son must have. Since the story was based on events in my own life, I knew this was not the case but he was adamant.
Then, about the time I sent the mss with many of his suggestions incorporated, he disappeared. (Turns out he was in a coma for a few weeks but no one knew until he returned.)
In the meantime, Linda assigned another editor who insisted I send her a hard copy of the mss. I don't recall any missives from her. She quit after a week - maybe never got around to reading the mss.
The original editor returned and when I complained to Linda about his insistence on my catering to his pet peeves, he was taken off the case and Betsy(?) who I think was a partner in LightSword, took over the editing.
About this time another cover arrived and it had even less to do with the story than the first. I soon learned why.
Betsy considered the book a thriller. (It was not, although it had elements of a mystery, a psychological thriller and yet was primarily a love story.)
Next, she objected to certain scenes, telling me humor had no place in my story (apparently never learned the concept of comic relief).
Now, through all this, every E-mail I received had at least one or two words with indifferent spelling and questionable sentence structure. Linda, as an example, sent one rejoicing in having "scored a coo" - obviously meant coup, though she spelled it "coo" twice in the same mail.
Betsy was no more intelligible in her emails and when I next called her on one of her outlandish suggestions she threatened that if I sent one more protest she would invoke the contract paragraph that called for my termination.
Naturally, I protested once more and got out of the contract. And by the way, Linda, should you read this post, I never did get that dollar.
My take on the whole thing is that Linda is a wannabe writer. I have no idea how well she tells a story but I'm assuming that after her involvement with PublishAmerica she decided "Heck, I can do that" and started Light Sword primarily as a vehicle for her own books.
To anyone tempted to publish with them, I'd urge you to study the web site, carefully read (and parse) any communications from them and be alert for anything that seems like a red flag - for if it seems like one, it probably is one.
As an ex-Echelon writer, I was interested in LightSword's request for writers and decided - on behalf of my small writers group - to test the waters. (Okay, I was the only one with a completed novel at the time.)
The response to query, request for full mss and acceptance all came quickly - about a month after the query, I had a contract. That it seemed modeled on the PublishAmerica contract, even to the $1.00 advance, did not surprise me once I learned that Linda Daly had published a book through PA.
By this time I was on their mailing list and I received a press release for another author. Aside from some mispelled words, I was a bit put out by that fact that it told almost nothing about the book but quite a lot about the author's travails as a single parent. (The novel was a historical romance, as I recall.)
This, and the obvious avoidance of a spell-checker were the first warning flags but I thought I had little to lose by pursuing the task.
A few months after contract signing, I received cover art, a bookmark and a few other goodies, along with a request for a pic of myself; a mailing list of potential buyers; bookstores in my area; local radio and TV stations.
While the cover art was impressive in execution, I couldn't see that it had anything that might tell the reader what to expect. Admittedly the subject (a psychological study) did not lend itself to illustration but I did think the artist may not have read the mss.
Soon I was assigned an editor and found myself dealing with what I am certain were his pet peeves rather than his editorial skills. In one instance, he called my protagonist stupid for not figuring the denouement by chapter three as would any reader.
I helpfully pointed out that the protagonist had NOT read the Prologue and so, until Chapter Six, he did NOT know what the book was really about.
Then he wanted me to expand the role of a very minor character on the grounds that since the heroine had suffered childhood abuse then certainly her son must have. Since the story was based on events in my own life, I knew this was not the case but he was adamant.
Then, about the time I sent the mss with many of his suggestions incorporated, he disappeared. (Turns out he was in a coma for a few weeks but no one knew until he returned.)
In the meantime, Linda assigned another editor who insisted I send her a hard copy of the mss. I don't recall any missives from her. She quit after a week - maybe never got around to reading the mss.
The original editor returned and when I complained to Linda about his insistence on my catering to his pet peeves, he was taken off the case and Betsy(?) who I think was a partner in LightSword, took over the editing.
About this time another cover arrived and it had even less to do with the story than the first. I soon learned why.
Betsy considered the book a thriller. (It was not, although it had elements of a mystery, a psychological thriller and yet was primarily a love story.)
Next, she objected to certain scenes, telling me humor had no place in my story (apparently never learned the concept of comic relief).
Now, through all this, every E-mail I received had at least one or two words with indifferent spelling and questionable sentence structure. Linda, as an example, sent one rejoicing in having "scored a coo" - obviously meant coup, though she spelled it "coo" twice in the same mail.
Betsy was no more intelligible in her emails and when I next called her on one of her outlandish suggestions she threatened that if I sent one more protest she would invoke the contract paragraph that called for my termination.
Naturally, I protested once more and got out of the contract. And by the way, Linda, should you read this post, I never did get that dollar.
My take on the whole thing is that Linda is a wannabe writer. I have no idea how well she tells a story but I'm assuming that after her involvement with PublishAmerica she decided "Heck, I can do that" and started Light Sword primarily as a vehicle for her own books.
To anyone tempted to publish with them, I'd urge you to study the web site, carefully read (and parse) any communications from them and be alert for anything that seems like a red flag - for if it seems like one, it probably is one.
- Joined
- Apr 28, 2008
- Messages
- 2,382
- Reaction score
- 311
- Location
- Casa Chaos
- Website
- www.debkinnard.com
Lance, I'm sorry for the turmoil you went through and glad that you jumped ship when you did. I hear all is not happy at Limp Sword.
May your book find a happier home at a more reputable publisher.
May your book find a happier home at a more reputable publisher.