My Plethora of Peevish Potshots at Pariah Publisher Permuted Press
Here in its glorious entirety is my three-part diatribe about the scuzzy bidness practices of one Permuted Press. There are many posts about them on my blog from before they stepped on my heart, so you can get a whole picture of the situation.
However, if you just want to cut to the chase, fasten your seat belt and make sure your vodka is safely ensconced in the cup holder, because this is gonna be a wild ride.
POSTED ON OCTOBER 20, 2014
“Those whom the gods would destroy, first they make proud.”
— Ecclesiasticles the Tempurpedic, c. 500 BCE
“If something seems too good to be true, it probably is.”
— Extremely pessimistic Minoan folk saying
“Those who would put off writing a painful blog entry, first they stuff in a bunch of unreliably attributed epigraphs at the beginning.”
— King Haypulmafinga, Feb. 30, 1852
Well, this sucks.
For the majority of 2014, I have been waxing philosophical (if that phrase means “doing the happy dance while bragging”) about my 10-book contract with the formerly respected publisher, Permuted Press, who had taken me on after I submitted Deadtown Abbey kind of on a whim.
The owner of Permuted himself called me during an NFL playoff game and I went in the other room to take the call. I repeat: this was during the game. That is how serious this was to me. And oh, the delights that this gentleman filled my PTSD-shaken mind with:
- Permuted was the original publisher of one of your favorite books which was made into a movie, John Dies At The End!
- They wanted movie rights, audiobook rights, e-book and print rights—they wanted everything! YAY!!!
- My books in stores! Such as at Barnes & Noble! Or, like, Target!
- They want to publish my series(es)! They demanded all my ideas so that they could contract with me for those, too—that is how much they loved Deadtown Abbey!
- My books. In actual stores without having to work out some third-party arrangement like Al Capone trying to launder his money through publishing. My books. In stores.
- They pay an advance. Of money.
- If I go into a bookstore after my book is published, there would be a good chance that my books would be in them.
- “I want you inside me, Sean’s books.” — Bookstores, allegedly
- Essentially they would be the State Lottery giant check that would be move me out of the self-publishing ghetto and into a dee-luxe apartment in the sky.
Which would come pre-furnished with sassy neighbors.
This utterly intoxicating conversation was followed up by communications with the director and contracts person at Permuted Press, and ultimately we worked out a $350 advance for each book on each of 10 goddamn books, three series(es) and a standalone zombie book. (For those of you who don’t know, Permuted made its bones [HA!] on zombie books and was now reaching out to embrace the incredibly hot apocalypse genre in general, which I thought was aces since I love that stuff.) A 10-book contract. I had never even heard of anyone getting that size of a contract! OMG, I MUST BE SO INCREDIBLY AND WONDERFULLY GREAT! AND SEXY!!!
There are probably several elements of that list that might give pause to a non-middle-aged-desperate author. Two of them appeared to me early on (but after the ink was dry), with the angel Gabriel ditching his trumpet to play a sad trombone.
As opposed to a rusty trombone, which could never be sad.
- The advance was on publication, not on acceptance. This kind of betrays the concept of an “advance.”
- However, I just figured I would use the advance to buy a bunch of author-discounted print copies to sell at Cons and send to reviewers and such. No biggie—probably a better deal for me, since I’d just blow an earlier advance on shit like food and shelter and stuff.
- I didn’t realize at the time that they never had to actually release any book of mine. They had no advance invested in me, everything was electronic—even the contracts were emailed to me, with me paying to send back to them by mail the signed papers. They literally had no financial incentive to do anything.
- After the entire debacle, this last realization hit me. And oh, it hurt. Anyway, moving on.
- These 10 books were to be delivered by August 2016. That meant me turning in a finished manuscript every four months. Far from impossible—hell, Stephen King hisself says that no one should spend more than three months on a first draft—but these weren’t supposed to be first drafts (although a peek through the PP catalog shows that many of their novels are just that). These were supposed to be polished and ready to go after an alleged copy editor ran her eyes over it.
- I should mention that I felt like the production schedule was more of a challenge than a deal-breaker. I did Deadtown Abbey in several months leading up to a zombie Con in Atlanta, and I got Reviva Las Vegas! done on a tight schedule as well. This was while I was otherwise unemployed, however, and I once I got started working at a job that paid actual money, my productivity took a punch to the groin that proved … daunting … to my zip-zip-zip novel assembly line dreams.
Pictured: Stephen King’s brain.
Before I tell you of the dick moves of Permuted Press, you should know that they were termed “fuckery” by horror luminaries like Brian Keene and garnered the following from amazeballs author and promoter Gabrielle Faust:
I’m so incredibly beside myself with outrage at this inexcusable betrayal of the trust of so many talented writers, you can’t even begin to imagine.
Allow me to put this in perspective for you: Gabrielle Faust was Permuted Press’ fucking Director of Marketing. And she had no idea what the Powers in the publishing hotspot of Franklin, Tennessee had planned for their hundreds of authors. (More on that bullshit below.) They canned her, saying they needed a “butt in a seat” at their hopping headquarters, something that now boggles the mind because what PP had in mind for its authors was this, and this is a direct quote from their middle-of-the-night email to all its authors:
We will be ceasing the production of print-on-demand books.
That was presented with the same offhandedness with which you would tell someone the relative humidity. That person being one who didn’t even have any interest in the hygrometer reading in the first place. In other words, Permuted was trying to make it sound like “Hardly worth mentioning, really, but it’s just a spot of bother” when to the people it was sent to it was completely DEFCON 5 WOULD YOU LIKE TO PLAY A MOTHERFUCKING GAME, JOSHUA.
Remember the quote about gods punishing pride at the beginning of this blog entry? It is in reality unattributed, but I had enough hubris (thanks, 9th grade English!) to think, “Well, this doesn’t 100 percent affect me, because the owner told me in no uncertain terms that my books would be available in stores.” Which POD books are most certainly not unless one has a relationship, probably involving either sex or the possession of legally incriminating murder photos or both of the store management. Permuted had a new arm called “Permuted Platinum,” which was books in warehouses available for stocking by booksellers without hoops and such.
My brain said, “Don’t freak out, man. This is a bad thing for many authors, but not for you. You had a promise. The owner didn’t call anybody else before signing them”—this I verified by asking every other PP author I knew if it had happened to them—”and so I must be safe. Whew. I must be a Platinum author. I’ll just send a little missive to the managing editor to make sure we’re cool.”
“Whew! Thank goodness I’m not in any danger.”
We were most definitely NOT COOL. It turns out that a verbal contract, even one executed during an NFL playoff game, truly isn’t worth the paper it’s printed on. Permuted gave many excuses regarding why this was a necessary step, and also said that if you look very carefully at your contract, you’ll see that PP had the option to publish your books in print, not an obligation to do so.
Holy shucking fit. They were screwing me—I was going to be “published” only in e-book format. They apologized but they had just signed too many authors too quickly—and were publishing five books per week now—and so they were going to all e-books for everyone but a very small elite of their authors who were already in the Platinum program. If the phrase “all e-books” doesn’t send a shiver down your spine, then you have never been an indie author.
“So this is where books go to die!”
Many wonderful books—heck, most books published these days by the Big Five in New York as well as most independent presses—are available in e-book format. Stevie King, John Grisham, the late Maya Angelou, the President of the United States—all have seen their books in e-format and sold a ton of books that way. Kindle and iPad are the wave of the present, let alone the future, and e-books are awesome. (I myself love to buy and read e-books, for Chrissake, so this isn’t some weird Luddite rant.)
But you know the above authors’ work because of print books. Paper, glue, cardboard, slick dust jacket. You may sell your work in many different formats, but print is what makes a writer—and a publisher, for that matter—look and feel legitimate in the literary and intellectual marketplace. That said, the traditional publishing model has long been lamented for its high costs and low, low margins of profit. It’s a well-known fact that most fiction books never earn back the advances paid to their authors.
“Oh God, here it comes.”
Permuted Press didn’t cancel its Platinum line (although some in the know say that it has failed miserably, with only about 10 percent selling to consumers and 90 percent going back to the publisher). It didn’t say “no more print books, period.” No, what they said was much more troubling and, frankly, a kick in the face to its non-Platinum authors. They announced that they would be stopping their print on demand books. You know, those that are produced only if someone orders one? You know, those that authors of any stripe can take to conventions, book fairs, farmer’s markets, bazaars, and many other places to sell? You know, those that authors can give as gifts or send out for review? You know, those for the majority of readers who don’t own an e-reading device and aren’t even interested in one? Yeah, those. Permuted said that it was investing
41.65% of our production team’s time … making print on demand versions of our books, but those products account for only 7.41% of our income. This disproportionate figure revealed the need to make prompt changes to our previous policy.
Some have questioned these figures. Permuted Press covers are very nice, especially compared to many self-published covers or those from other POD publishers. But they’re still essentially stock pictures and art with text laid over them. But think about it for a second: Instead of trying to bring those production numbers more into line with what they want or promoting the POD side of the business more, they essentially said, “You know what? Why don’t we just throw away almost 10 percent of our income as a company?”
Pictured: Permuted Press board meeting.
[Update: Permuted Platinum author Jessica Meigs corrects me: “In actuality, they’re only ‘throwing away’ 2% of the company income. You forgot to account for the bestsellers that will remain in POD production (which account for around 5% of the company’s income).”]
In fact, this makes so little sense that some commenting on the entire clusterfuck have speculated that something else is behind that unprecedentedly weird business move. PP did bring in a silent partner recently, and maybe that partner is one of those slash-and-burn types who want immediate profit.
[Update: Jessica Meigs informs me that this partner has been with PP since the beginning of the new management, and that he is quite rich and thus doesn’t need a quick buck. So my theory is shot full of holes, which leaves me wondering about PP’s actions: Why, then? WHY?)
(By the way, since the time that books were first published to be sold, everyone involved knew that publishing is not a get-rich-quick—if ever—kind of business. You do it for the love of books, authors, and reading. Money is there to be made, but it must be cultivated. This is a truth universally acknowledged by anyone who knows anything about publishing, including self-publishing.) This speculation about a greedy partner bending the company to his will is plausible, if not very likely. A person seeking profit is not going to cut off 7.41 percent of his new company’s income. S/he will make people work smarter or harder, pay them less or tie their pay to profits, but to cut off income for no apparent reason? Senseless.
Anyway, whatever the reason for Permuted’s odd move from POD, what’s done is done. They knew they were in deep doo-doo, because they sent out a message saying that they would allow any authors who wanted it to be released from their contracts. This is unheard of, but I got on that pony before you could say “What pony?” I was the first to dissolve my contract with PP, and a large contingent of their author pool has followed suit.
A Permuted Press author waits his turn.
It was only after I had cut my ties to these not-technically-lying-but-totally-lying sons of bitches that I started reading the blogs and Facebook postings of other authors and publishing wags about how much of a bullet I and my fellow ex-Permuted authors had just dodged. Here are the highlights, all of which applied to me as well as all the others:
- In the contract, Permuted stated that it was buying (for $350, mind you) all rights to the author’s work. E-publishing rights, natch, but also audio rights, movie/TV rights, toy and other ancillary rights, and any other rights one could think of. They would pay the authors as promised: a 7 percent royalty.
- These rights would never revert back to the author, his or her heirs, nobody. For that 7 percent royalty, PP was buying ALL RIGHTS IN PERPETUITY.
- This meant that any sequels, spinoffs or like whatnot would have to be either accepted and published by Permuted, the rights to do the sequel would have to be purchased from Permuted Press by the author or that new publisher, or never be published legally at all.
- According to Permuted, “We are pausing the release of most new titles until early 2015. This will grant us the time necessary to increase margin in our production schedule … When publishing resumes in early 2015, our release schedule will be less aggressive.” This was a huge letdown for their authors because some of us weren’t going to see some of our books published until 2018. Deadtown Abbey was due for release in February 2015, Reviva Las Vegas in October 2015, the three volumes of my Cthulhu trilogy in 2016, and so on. That was fine with me—I know the wheels turn slowly on the professional publishing machine—but now they were going to be “less aggressive”? What, did that mean 2019? 2025? Never?
- But here’s the real bitch about this “less aggressive” publishing schedule, which they also said was needed because they “now have a clearer idea of the production volume of our staff.” Wait, what? Didn’t you just fucking say that 41.68 percent of your production time was being cleared immediately? How long does it take to format a goddamn e-book, even including the cover and registration to sell on Amazon and such places?
It has been speculated that PP was actually trying to get rid of as many authors as it could by making these nonsensical, self-contradictory pronouncements. I don’t have any insight or information as to whether this is true, but it pisses me off so much even to think about that I’m just gonna let that one go. Stopping head explosions starts with yourself, people.
Fight it … keep fightinnnnnng … you can do eeeeet …
Now, as you all know, I am not one to mope or carry a grudHAHAHAHAHAHAHAHA OMG I CAN’T BREATHE LOL. No, of course at the slightest setback I will mope like a tranquilized sloth who just fell out of his tree. And I literally still have not forgiven my (now deceased) mother for throwing away my EXCLUSIVE TO THE STAR WARS FAN CLUB 8×10 glossy stills from The Empire Strikes Back when she was cleaning my room when I was 11 years old. (YOU NEVER CLEANED SHIT, MOM! WHY THEN? WHY MY ROOM?!?) So no, fuck Permuted Press and I will feel that way until the day that I die.
Ah, dammit. He was so close.
However, I did decide to wait until I was no longer lying on the couch, staring off into space and mumbling “Why me?” to a woman who has been painfully crippled by rheumatoid arthritis since she was 7 fucking years old to write this blog entry. So you see that my compassion was at full power and in no way compromised by my experience of the past two weeks. Ahem. I thought it might be better to just wait for a bit before spewing venom all over your precious Internets.
POSTED ON OCTOBER 21, 2014
The reviews for Part 1 are in!
- “This is possibly the best thing I’ve ever read.” — Jenn Loring, author at Red Adept Publishing
- “Oh, like you won’t use your fortune to plot revenge! Riiiiiiiiiiiiiiiiiiight.” — Ann Hoade, wife at Chez Hoade
- “A great piece of fiction from a great fiction writer.” — Paul Mannering, author at, um … well, Permuted Press
My blog had a good day yesterday. It had commenting, sharing, emails from Nigerian princes desperate for help. There are a lot of people out there who offered sympathy and commiseration about my experiences, which was greatly appreciated. There were also corrections offered from best-selling Permuted Press authors, which I duly incorporated where relevant into Part 1 and which I’ll talk about in an upcoming post. (Paul’s comment above kinda speaks for itself.)
And this is what it’s saying.
First, however, I must tell you some theories/conclusions reached either by my correspondents or by my own addled brain:
Permuted Press needed the resources for Permuted Pictures, its new film production company.
Your first reaction to this may be to spit-take your coffee or energy drink mixed with vodka all over your computer, tablet, or tragically curved iPhone 6 Plus: “A film production company?!?” you yelp in outrage, “I thought Permuted was saying they didn’t have enough time/money to keep producing, y’know, books.”
Before Permuted Press said no to print books and let authors out of their contracts before lawsuits could be filed, I was psyched about Permuted Pictures. They said they would be making low-budget films from some of their authors’ works. Great! I thought, What could be more better than movies from my wonderful apocalypse-obsessed publisher? Of course, “Not fucking their authors” would be the answer to that question, but I had no idea that PP was scuttling the whole ship with enough lifeboats only for management and Permuted Platinum authors.
In this metaphor, the ship is its own iceberg. MIND … BLOWN.
No, at the time I was a happy little camper, because Permuted assured everyone that the film was being financed through Kickstarter. Awesomesauce! I thought, Crowdfunding is the future! But, Dear Reader, remember your question from the first paragraph of this section. You said, and I quote:
I thought Permuted was saying they didn’t have enough time/money to keep producing, y’know, books.
Good point, hypothetical reader. While Kickstarter is the funding source for One-Stop Apocalypse Shop, doesn’t putting together and managing a Kickstarter campaign—not to mention producing and distributing a fucking movie—take up a whole lot of wo/manpower? Like, maybe 41.68 percent of a publishing company’s human resource time, as in:
41.68% of our production team’s time [is spent] … making print on demand versions of our books, but those products account for only 7.41% of our income. This disproportionate figure revealed the need to make prompt changes to our previous policy.
Yes, that is a direct quote from Permuted’s “turn around, you’re going to feel a slight prick” email to its authors that I talked about yesterday.
“Dr. Compensation, your three o’clock is here.”
So putting together print versions of ebooks, which I and many other self-published authors have done multiple times (and we’re not even graphic artists!), is too time-consuming—but writing, producing, directing, releasing, distributing and publicizing a movie isn’t? What the actual fuck?
I don’t doubt that Permuted apologists and authors still signed with them will say things like:
- “The movies are made through a totally different process, much like Right Twix.”
- “The Kickstarter is paying for all staffing for this Permuted Picture. No one at the Press has anything to do with it. Not one dime or second of person-power has been taken from our book business in order to make this completely free-to-us motion picture.”
- “A great piece of fiction from a great fiction writer.”
The replies I would have to these authors and others, all of whom are entitled to their opinions and also to be as happy as they like with Permuted Press, would be something like this:
- I know movies are different from books. That’s why I don’t pay $10 to go sit in a bookstore for two hours staring at a wall. Also, Right Twix killed my parents.
- If it’s totally separate and not even the effort required to set up a Kickstarter project was expended by Permuted Press to create Permuted Pictures, if it has nothing to do with PP other than using its authors’ works as source material, then what’s the point? Is the book side going so well it doesn’t need the TLC provided for the new and shiny film arm? Why not do a Kickstarter to help get POD books designed, produced, and distributed?
- Stop it, Paul.
“What? I’ve got something in my eye! Yes, again!”
Anyway, moving on to the next theory, and oh, Lord, it is a doozy:
Permuted signed as many authors as possible, with full knowledge that it was too much too fast and that they would not be producing POD books for these dozens of recently signed writers. They did this so that they would have lots of almost-free material for Permuted Pictures to choose from.
I hope that this one is not true, because, in the words of Dawn of the Dead’s Ken Foree quoting his (apparently way spooky) grandfather, “When Hell is full, the dead will walk the Earth.” And I do not want to see anyone with Permuted Press wandering around one minute longer than absolutely necessary, and this theory being true would mean that they are Hell-bound for sure.
You may remember from my award-winning and close personal friend Part 1 that PP stipulated in its contracts—which were mainly to contract newbies like myself who wouldn’t notice it—that ALL rights were Permuted’s, including movie rights. This meant that PP could sell Deadtown Abbey to Paramount for $2 million … and I would get my usual 7 percent royalty. I’m no one to sneeze at $140,000, but I would be even less allergic to $1.7 million, which would be my take after a very fair 15 percent paid to my publisher.
However, this theory isn’t about Permuted selling rights to big studios. This is about Permuted being completely legally allowed to make movies out of the work of any of these brand-new authors through Permuted Pictures, its completely coincidentally timed new project. Since they don’t get paid for the rights by an outside studio, they don’t have any purchase price to pay the authors even that 7 percent. No, authors would get 7 percent on the net profit of money made on the movie by Permuted Pictures. Net profit, mind you.
Pictured: Net profits.
Permuted Press is deeply fucking evil.
This theory, I can tell you right off the bat, is not true.
Despite my “Hell-bound” comment above, I actually don’t think Permuted, its owners, it management, its workers, and certainly not its authors, are doing anything other than what they think is best. They are not evil, they are not demons, they’re not trying to ruin anyone’s life or even their livelihood.
They’re just a bunch of jerks.
Inconsiderate? Yes. Short-sighted? Certainly. Opportunistic? You bet your sweet ass.
But they’re not evil. There’s still a chance that they’ll see the heartache and disillusionment they’re causing and rethink their latest business strategies, and that chance existing means that they aren’t deadites moving people-puppets around to satisfy their blood lust.
They’re not evil. But that makes this whole situation all the more disheartening. We don’t even have the comfort of truly demonizing those who have done us wrong.
Okay, maybe a little.
Stay tuned for Part 3, my story of triumph and plan to rebuild the kicked-over blocks of my literary ambitions!
And now for the thrilling conclusion: How I got pummeled by the pistoning prick of Permuted Press, Part 3
POSTED ON OCTOBER 22, 2014
Part 2 of my series has received comments from critics around the globe!
- “I’m going to buy some of Sean’s books and read them.” — Kevin Strange, amazeballs author of Strange Vs. Lovecraft, among other vastly entertaining works
- “While Sean’s language may be provocative, his accounts have so far been the most in-depth and revealing over the Permuted issues.” — Jeff Burk, Bizarro fiction icon
- “There are other fish in the seat.” — Author W.J. Lundy
I assume this is what he was referring to.
There are a couple of more slights I would like to make against the soon-to-be-former publisher Permuted Press, and then I’ll share rainbows and sunshine and shit in telling you where I’m planning to go from here.
Final Gripe #1: Publicity
When I spoke to the owner of Permuted back in January, one of the things we discussed is why going with Permuted would be more advantageous to me as an author than self-publishing. I now know that this gentleman is the Permuted equivalent of the put-out-to-pasture Mister Bigweld in the movie Robots, but at the time, I didn’t realize his unfortunate irrelevance to the company. They apparently allowed him to say whatever he wanted to authors, possibly while wandering around the office doing the banana dance in his underwear, and it didn’t make any difference to the people running the business. They probably told visitors to the Press HQ that he was the janitor and that his unfortunate outbursts should be ignored.
“Jim? Jim Henson? They told us you were DEAD!”
As far as the day-to-day managers of Permuted were concerned, their Mister Bigweld could say I would be emperor of the moon. He could say I could marry his daughter and forge our business bond through blood. Hell, he could say that Permuted Press was committed to making a contract with them worthwhile due to the amount of publicity and promotion their authors’ books would receive.
Oh, wait, he did say that last one. And, as usual, it was not just wrong but bizarrely wrong, like answering the question of “What day is it?” with “That would be the ampersand.”
In the giddy days/weeks/months after signing the contract with PP, I didn’t even notice that I never saw an ad for Permuted Press books anywhere other than in their own weekly email newsletter announcing the latest spurt of books they were releasing that week. No follow-up, certainly no ad placement in print or in any other medium or even website that wasn’t PermutedPress.com. Now I see this. Now I get it. Right on time I can close the gate, just after the horse has gotten out. I realize that in Permuted’s shell game, there is no pea under any of the shells. Not only can the author not win in this game, but it’s literally impossible for the game to be won. Except by the (publishing) house, of course.
They do no publicity. They have stopped doing printed books. They do a cash grab whenever possible by fucking their authors with contracts chock-full of unethical business practices. They communicate bad news to their authors at 10 pm on the Friday night before a three-day holiday weekend. Permuted Press … I don’t even have the words anymore.
Oh, wait, yes I do.
Final gripe #2 (the final final gripe): Pay not to play?
This one doesn’t affect me personally, but it was so close that dodging the bullet singed my hair and left my ear ringing. I have been told by trustworthy sources that if one’s Permuted book had already entered the POD phase (but was not yet released, so no books had actually been produced), Permuted would allow them to cancel their contracts if and only if they paid PP between $2,000 and $4,000 to compensate them for … something. But what, exactly? Emailing a graphics file? Paying proofreaders and graphic artists and layout people? The whole thing is fishier than Abe Vigoda.
If you are old enough to get that joke, please check yourself into the nearest mortuary.
Basically, Permuted is holding these writers’ books for ransom: “You can keep your book with us, knowing we won’t support it, or you can pay us money not to publish it and we’ll allow you to go to another publisher.” (Remember, Permuted has made it very clear that they are under no obligation whatsoever to actually publish any of their authors’ works; they merely have contracted for the option to do so, should it please their fancy.) This is not the work of an ethical publisher or even of one that is likely to remain solvent.
Fare thee well, Permuted Press. You coulda had class. You coulda been a contender. You coulda been somebody, instead of a bum, which is what you are, let’s face it: a bum.
“I also charge too much for my e-books.”
Where do we go now, sweet child o’ mine?
I ain’t gettin’ any younger, my eye doctor this week telling me that I have been “incurring nearsightedness” because of all the close-up work I do on computers and reading books and doing other things that make life worth living. My right eye is nearsighted, but my left eye makes the right one look like the Bionic Man’s. But, even though I will still be sloughing into decrepitude at a rapidly accelerating pace much like that senator in the first X-Men movie, I am a member of the amazing Lovecraftian community now, full of writers and readers and artists. I belong. So I shall continue writing, because this is who I am now.
After the ink was dry on the dissolution of my contract, I started sending out my books again, a bit sadder but a lot wiser. I have sent Deadtown Abbey to Mike Davis’ brand-new Lovecraft eZine Press imprint [UPDATE: Rejected] , and also have been invited to be a guest blogger on his site (which reaches 175,000 people, by the way).
“Dear Mr. Secretariat, thank you for giving us the opportunity to read your recent submission …”
I have sent Reviva Las Vegas! out to a great small horror press that the Powers That Be at Permuted never ceased to attack and insult. So, if for no other reason that Permuted hates them, I’m giving them a shot at publishing my book.
I got into the submitting mood and am now sending out my thriller novel, Ain’t That America, to a new and hot noir publisher [UPDATE: Rejected] and my literary novel, Darwin’s Dreams, is headed to Prometheus Books [UPDATE: Nothing happened]. These all may pan out, or they may not. Either way, I’ll keep on truckin’. Permuted has not destroyed me. I shall keep on keeping on as long as I can. [UPDATE: Severed Press has contracted with me for my Cthulhu Attacks! trilogy and one standalone novel, Megalodons of the Galapagos. Also, I have self-pubbed Reviva Las Vegas!]
Through this whole debacle, I have also been asked to contribute stories to a number of Lovecraftian and otherwise spooky book anthologies. Things are looking up. This has been an exhausting experience for both body and soul, but from the fertilizer of Permuted I will rise like a mighty dandelion. And then I shall shoot my spore things and take over the whole lawn. This, my old friends and new, is my destiny.
First the lawn AND THEN THE SKIES.
I’m really glad so many people have found my blog through this whole debacle, and I hope to entertain and enlighten all my new friends. I’m really glad to know you all. Please feel free to visit me at SeanHoade.com or on my Facebook page or drop me a line at firstname.lastname@example.org!