The literary scams my grandfather faced nearly a century ago

Time for a reminder that scams against writers and other artists and creatives have been around for a long time. As always, money should flow to the writer, not from the writer to an agent or publisher. But scammers have always tried to pervert that relationship.

My grandfather Ray Childress was a professional musician in the American South. He played the piano and organ in a number of orchestras and swing bands and was a member of the American Federation of Musicians. Not a famous musician by any means. Closest he came to fame was being at a party with Hank Williams a few hours before Williams died.

But in the 1930s and early ‘40s, my grandfather was an aspiring song writer. He regularly submitted his songs to sheet music publishers and agencies. Some were legit. Others were scammers.

My grandfather kept many of these letters and I’ve scanned them to share. Here’s a rejection he received in 1938 from a legit music agency, Song Mart. Note this publisher doesn’t ask for money and gives actual feedback to help my grandfather.

However, my grandfather was also the victim of scammers. Note this 1930s letter from Larry Conley in New York. The letter praises my grandfather’s songwriting but is actually a generic letter likely sent to tons of writers. Messages like this still go out today.

Many questionable agents and publishers have generic letters they send to new writers, praising their work even though they likely haven’t read a word of it. These letters and emails are to sucker you in. The content of these scam messages hasn’t changed in a hundred years.

Here’s a more personalized scam letter my grandfather received from a Burrell Van Buren in 1935. If you look closely, the letter is mass-produced with my grandfather’s name typed in at the top — note slightly different font size and style of grandfather's name.

Unfortunately, my grandfather must have fallen for this scam because in his file is a letter asking for the price to order 1000 copies of his song. This is similar to the scam publishers of today who make authors pay to publish their own books.

My grandfather must have realized Burrell Van Buren was a scammer because it appears he didn’t mail in any money. Instead, I found a note where he wrote to the Chamber of Commerce in Chicago asking about the guy. Remember, no Google back then.

But my grandfather was taken in by one scammer, Mildred Seeley of US Music in New York. In 1941 he sent a money order for $34 to US Music for copies of his song “Blue Clouds.” This was a ton of money back then.

Ironically, one of those letters was dated Dec. 7 1941, the day of the Pearl Harbor attack. Even though my grandfather was too old to be drafted, he joined the Army Air Corps. He also threatened to involve the Postal Authorities if US Music didn’t return his money & song.

These scammers took his money, didn’t send him the contract, and when he threatened to involve the authorities they suddenly mailed a letter saying there’d been a delay in publishing his songs. Typical of scammers even today.

Moral of the story is to beware of scams when you’re a writer, artist or creative. You should not pay agents or publishers to consider or publish your work.

Research agents and publishers through places like Writer Beware. Also ask other writers, including their clients, about them. Because scammers have a long history in the literary world and they’re always going to be around.


COVID-19 resources, info, and assistance for the science fiction, fantasy, & horror communities

Updated 3/6/2021

Note: This resource was published in the early months of the COVID-19 pandemic. As such some of the information below may be dated.

This is a listing of resources and information which can help people in the science fiction, fantasy, and horror communities deal with the COVID-19 outbreak. Many of these resources focus on genre writers and artists, but my ultimate goal is to include information which can help anyone in the greater SF/F/H fandom.

If you know of resources or info you’d like added to this listing, email it to me at jasonsanfordsf@gmail.com.

General Resources

Conventions

Free Online Classes

Freelancing Opportunities

Note: I’m not listing sites like Toptal or Gigster here, although obviously those and many other freelancing sites have their pros and cons. Instead, I’m trying to focus on freelance opportunities specific to the SF/F/H genres.

Grants and Emergency Assistance

Note: Under the Pandemic Unemployment Assistance in the US stimulus bill, freelancers and 1099 creatives are now eligible for unemployment pay plus an extra payment through 7/31. Essentially, freelancers are eligible to receive half the average unemployment benefit in their state and an extra $600 per week. Contact your local unemployment office to apply.

Also, I’m hearing that many of the granting organizations listed below are struggling to meet the needs of so many applicants. So its possible for the grants below to no longer have available funds. If you discover this let me know and I’ll update this list.

Libraries

  • Libraries around the world are offering special lending assistance, expanded e-book lending, and other services. Check your local library to learn more.

Publisher and Bookseller Info

Note: Amazon is currently delaying the shipping of items they consider non-essential, including books. Here are alternative ways to order books and support authors.

Virtual Readings

  • Short Story Club is a virtual book club for short stories. Every two weeks they feature a different live discussion with an author on Zoom. All proceeds donated to COVI-19 relief efforsts.

A Summary of Our Neighborhood's Salvation After the Storm

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My new short story "A Summary of Our Neighborhood's Salvation After the Storm" is currently out in the March/April 2020 editions of Asimov's Science Fiction, available now in bookstores and also in various digital editions. With the digital editions you can either subscribe or buy the current issue.

The story is also available on the Asimov's podcast, narrated by me. Which depending on your love of my strong accent, is either good or bad.

And no, this isn't self-hating, me ripping on my accent. It's how I talk and I'm good with it.

I hope people enjoy the story. I really enjoyed writing this one.

Eligible for Hugo Award for Best Fan Writer

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A quick note that I'm eligible for nomination for the Hugo Award for Best Fan Writer. I write a regular column called Genre Grapevine on my Patreon, along with publishing other original essays and commentary on both Patreon and my website.

In 2019 my original reporting on genre issues covered topics as diverse as my special report on genre magazines, in-depth coverage about major problems at ChiZine Publications, an exclusive interview with Fritz Foy of Tom Doherty Associates which was the first press coverage about Macmillan’s plans to limit e-book buying by libraries, and a look at the science fiction market in China.

The following are samples of my fan-related writings from 2019. All of these examples were released free to the public, making them eligible for Best Fan Writer consideration.

Thanks for considering me for a nomination. And if you like the samples of my Genre Grapevine column linked to below, consider backing my Patreon.

#SFF2020: The State of Genre Magazines

My report #SFF2020: The State of Genre Magazines provided a detailed look at science fiction and fantasy magazine publishing in this day and age, including interviews with the publishers, editors and staff at nine genre magazines. This report is available online and in the following formats:

Essays and Special Reports

Samples of Genre Grapevine Columns


Interview with Lynne M. Thomas and Michael Damian Thomas of Uncanny Magazine

Below is my #SFF2020 interview with Lynne M. Thomas and Michael Damian Thomas of Uncanny Magazine. For the complete #SFF2020: The State of Genre Magazines report, including other interviews, or to download the report in Kindle, Epub and PDF formats, go here.

Interview with Lynne M. Thomas and Michael Damian Thomas, Publishers and Editor-in-Chiefs of Uncanny Magazine

Jason Sanford: I suspect most people in the SF/F genre don’t understand the difficulties of publishing a magazine. What’s one aspect of running a genre magazine you wish more readers and writers knew about?

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Lynne M. Thomas and Michael Damian Thomas: We think it’s important that people know the financial margins for magazines to stay in the black are razor thin, and that most of the magazines are unable to generate income for their publishers. (And many aren’t able to pay the editors.) Almost all of the income generated by magazines are going to the writers and artists.

We definitely believe that the writers and artists should come first, but the current publishing financial models are still evolving. We do believe that one day magazines will become more profitable, but the process of getting there is a lot of trial and error with different financial models.

Jason: Uncanny is one of the most successful of today’s genre magazines, having won multiple Hugo Awards for Best Semiprozine along with Hugos for Best Editor, Short Form, for yourself and Michael Damian Thomas plus awards for many of the stories you’ve published. Despite this, you’ve said that as Uncanny has grown in revenue, your expenses have grown at about the same pace. How do the pressures of running your magazine today differ from when you founded Uncanny?

Lynne and Michael: We knew a lot going in, but things keep changing in the industry, and our knowledge has grown with the changes. In order to keep up with other magazines and SFWA recommendations, our pay rates increased. We’ve tried to offer more content to our readership community, especially as the comparable magazines increased their content. We learned the need for accounting software, a web person, accountant, lawyer, and all of the specialists needed to keep the magazine at the level our readers expect.

The biggest change is really now we know better what to expect, so fewer of the pressures of running a magazine come as surprises.

But fundamentally, this is fairly close to what we envisioned when we started the magazine, at least with the nuts and bolts stuff. We knew that this was going to be a marathon.

Jason: Do you think it’s possible Uncanny will eventually transition to a fully professional magazine, with all the staff including the publishers/editors-in-chief being paid? How big a hurdle would this be to achieve, and is it desirable?

Lynne and Michael: All of the Uncanny staff is currently paid except for the publishers/editors-in-chief (Lynne and Michael). We definitely desire this, especially for Michael who puts 60 hours a week into running the magazine. It’s a fairly sizeable hurdle, but we knew that going into this. We expect that we will continue to increase our income and make this happen.

When we first developed our business plan before we launched the first Kickstarter, we prioritized making the quality magazine we wanted to make and developing a readership community over quick profits. We had a lot of knowledge from our previous work at Apex and from our peers. Our main goals at the beginning were to be sustainable (which happened right away), to make the magazine we wanted to make as far as size, content, and presentation (also happened right away), and to build a community of readers (still growing). The ultimate goal has always been to increase our community every year, and eventually that will lead to us earning money for ourselves.

Jason: Neil Clarke of Clarkesworld has said some of the problems experienced by genre magazines come about because “we’ve devalued short fiction” through reader expectations that they shouldn’t have to pay for short stories. Do you agree with this? Any thoughts on how to change this situation?

Lynne and Michael: We understand why Neil would say this, but we think the SFF short fiction magazines are just caught in the same market forces as newspapers and other types of magazines. As the Internet flourished, readers have received a great deal of their shorter reading content for free. This is the case for Time, Newsweek, Vanity Fair, etc., to the New York Times and everyone’s local paper. Online advertising revenue just hasn’t provided enough income, even with periodicals created specifically for the Internet.

With the online SFF magazines, many of the ones that attempted paywalls in the past failed and closed. All of the current SFF magazines are just part of a general Internet trend. We don’t think there was a different way to go.

Jason: It seems to me that many of the genre magazines which have succeeded in recent years have built up a strong community of readers and writers. How important is to for a magazine to build its own community and support this community?

Lynne and Michael: Uncanny doesn’t exist without its community. We don’t feel that this is anything new to magazines. If you look back in SFF history, a thriving community of readers in the letters’ column was there all the way back to Gernsback’s Amazing Stories. All of the ongoing digests (Analog, Asimov’s, and F&SF) are still known for having dedicated communities of readers. For a magazine to succeed, you need readers who are invested in the vision and content of your magazine.

Jason: Why did you originally want to publish a genre magazine?

Lynne and Michael: We absolutely loved our time at Apex. We love short stories. We love essays and poems. We love working creators. We love seeing the responses from readers to these gorgeous works. We thought there was a niche to be served with gorgeous pieces that made readers feel. Uncanny seemed like a good idea at the time, and we’re still having a blast running it.