On our payment system for Flatmancrooked Anthology
To those with questions,
I am hoping that this detailed explanation of our unorthodox system can prove to answer some questions, provide retort to some criticism and, more importantly, get the literary community excited.
As stated on our website, Flatmancrooked does two things that are relatively unorthodox in regards to the sale of the anthology and the payment of the authors therein. On the sale of the anthology, beginning with our ’09 spring release we are going to test a sliding-price system for our book. In other words, customers will pay what they can afford and/or what they believe the book is worth (with the minimum price being the actual cost of the book, i.e., printing, shipping, etc). This was brought about by two factors. One: If being in this realm for a few years now and building this organization has taught me anything it is that sales and marketing are fuzzy, ambiguous, and often dishonest non-sciences. In using what we have deemed the “NPR Model” we are trying to be forthright and honest with people by asking simply and plainly for as much support as each individual can give. In the midst of the 2nd depression, we find it unwise and unfair to not do anything we can to get literature into the hands of those who want it.
On our payments to authors, we have yet another innovative system, though not original. We offer no advances for work included in the book. Instead, we split profits 50/50 with authors. An author’s given portion of the profits is based on page count in the book. First, our motivation. Most literary magazines have a tiny readership and pay very little. Those who pay large amounts and have a big readership are wildly competitive and, from experience and conversations, getting work accepted is less about the quality of the work by rather that of the connections. That said, if you publish a book (a novel for instance), industry standards and statistics say a first time author is likely to receive little-to-no advance, a 10% deal, and the book house will likely lose money on the book. It is pretty rough. As a result we have a glut of first time books that get no press, not enough editorial attention, and authors with no second book deal. That said, we are offering a boutique publishers contract for a single story that resembles very much a contract for an entire book. Except the percentage is wildly higher. This is a model a few other literary journals are beginning to adopt and that was started by Bob Miller, founder of Hyperion, and now head of HarperStudio Imprint.
We are doing this for a few reasons: A – If we paid every author what we thought would be a fare rate for their story and then the anthology flopped, the company would fold and the objective of publication would be meaningless. B – We want our authors to be invested in the sales and expansion of the readership of this book. I know many authors and many industry folk, and rarely do they know or care much about each other. This has built a silly amount of animosity that is indicative of the slow decline of this industry and really rather pointless. C – We are not a magazine. We do not make revenue from advertising because we have none. Can I repeat that? Unlike The New Yorker, Harpers, Tin House, the Believer, AGNI, Plougshares, The Paris Review (all magazines I love), we have no advertising. This is not some altruistic rant either. Funding literature with advertising is both counter-intuitive and ineffective. This is demonstrated by a decreasing number of readers of any form of literature and a decrease in ad sales. We aim to get people invested in content. In other words, for the anthology to survive, people must buy it.
So, what do we do in attempt to get readers reinvested? A few things most houses don’t. We throw release parties and tour for every anthology. For our first anthology we threw public parties in Sacramento, San Francisco, and visited Reed College, PSU, UCSB, Boston University, CSUS, and UC Davis. For the next book we hope to double that number and take the book to AWP, Litquake, and the Brooklyn Book Faire.
So, we are all in this together. We want to reignite a publishing industry that has long been bogged down in old ways of thinking. To survive we must adapt. If money in advance is a necessity to your publication, I advise you go elsewhere (all of the magazine I listed above pay well-to-extremely-well). If you are intrigued and have questions, you are more than welcome to email me at [email protected]. You should note though that I intend to post every response, both positive and negative, on our website. Thanks for your time. I hope we have your support.
Regards,
Elijah
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responses
Nick from Los Angeles, CA (by email) - 3/4/09
I think it’s a great idea. Money is always important to a young artist but the survival of the short story is more important. It seems to make sense that these should be related; the sales and the payment. I really love the NPR model idea. Keep doing what you are doing.
From the blog of Tim Lieder (http://marlowe1.livejournal.com/) 3/2/09
How do you say “Fuck You” in Publication standards?: Note that NPR reference? There’s also a link to Ira Glass on the Web
site. Makes you almost think that it’s a respectable magazine. Like you
are going to grab that precious Garrison Keillor market. Those tired
drivers that just need to chill out and listen to liberals talking in
comfortable monotone. And then the submissions payment comes up.THEY DON’T PAY THE WRITERS!!! The MOTHERFUCKERS think that writers can work for FREE!!! Oh
sure, you can get into a book that’s never going to make a profit
unless of course it does make a profit and then you get something. But
really, let’s be honest. FLATMANCROOKED is a magazine run by cheapass
motherfuckers!!!
Thank you.
Please feel free to hit this
particular entry over and over again so it hits the top of google. That
way everyone that’s been stupid enough to submit their story to
flatmancrooked motherfucker can see it. And see that they are being
exploited. Remember kids, if you aren’t paid, you aren’t a
writer. Just like fucking. Sure you can fuck as many people as you
want, but if you aren’t getting paid - you’re a slut, not a whore.
NOte that they say that their anthology is VERY RESPECTABLE.
BULLSHIT!!!!!!
Sorry. But any anthology that doesn’t pay is not respectable. It’s a cheap bastard full of sluts.
From Myfanwy (by email) 2/12/09
Hello flatmanCROOKED staff,
If there does happen to be any payment coming back my way after costs
are covered, I want to donate it right back to you.
I’m excited to be included and will do my very best to promote the anthology.
Best,
Myfanwy
