Tabetha talks authors into contributing stories, poems, whatever, to anthologies. She slaps those together along with content from several of her own alts. We all know how shabby the editing and formatting are, so she can crank these anthologies out by the dozen. I’d say “a dime a dozen” but I doubt that she spends that much.
There are a couple of reasons why she cranks ’em out so abundantly. First, there’s more of a chance that some poor reader will happen across one and buy it. In all fairness, the covers aren’t bad. It’s not until a reader delves into the content that the truth of how abysmally poor the effort is. And by then, the money’s already been spent.
Mostly, though, I think she does it so that there are that many more titles on her website, making her company look more successful than it really is, than it will ever be. A prime example of quantity over quality.
Not all of the stories suck so profoundly. Every now and then, one of the real, breathing authors Tabetha cons into signing with her contributes something that isn’t bad. With proper editing and attention from a publisher that knows what they’re doing, some of them would do exponentially better than they ever will with her.
Royalties get divided equally among the authors, according to Tabetha. So, if she’s half of the authors using multiple pseudonyms, well, she gets half of the proceeds, doesn’t she?
More than half, if the publisher keeps a percentage of royalties as well.
Then, when the numbers and excuses don’t add up, authors leave her. It’s not an easy task, because all those smiles and promises of being “family” fly out the window and the real Tab shows up. The one that waves that contract in their faces, telling them that they’re legally obligated for at least a year, because that contract is legal and binding. It’s not, of course. But if she can get people to believe it, it’s done its real job. Convincing authors that they’re stuck.
If the author persists in wanting to leave, she hits ’em with that separation $125 fee. There’s been some debate about whether or not a publishing company should have a separation fee. Let me clarify.
Yes. A publishing company should have a termination fee, but only IF the only fault is the author’s. If the publisher isn’t getting the job done, isn’t paying, or isn’t living up to their end of the deal, then that fee flies out the window. And, since Tabetha Jones is the publisher we’re talking about, I think we all know where the fault really lies. Too many authors have come forward with horror stories about botched work, abuse and stolen royalties for any reasonable person to believe that whenever somebody comes to their senses and leaves her, that she’s squeaky clean. Exactly the opposite.
Eventually, just about every author she’s ever conned has gotten away from her. Some stand up to her and call her bluff, leaving her no choice but to “release” them. I use the term loosely, because she never owned the authors or their rights to begin with.
Other authors pay that extortionary separation fee just to be rid of her.
Whichever the case, they get free of her. And when they go, they take their work with them, if they’re smart. Including the work they contributed to anthologies. That’s where the shuffle comes in.
More than once, Tab’s been caught leaving people’s work in the anthology and only removing the name of the author that wrote it. At least until she’s caught, blames it on somebody else, then finally removes it.
At that point, she’s left with gaping holes in anthologies. Even though she “wrote” most of it, there are too many holes. So she either shifts stories from other anthologies or fills it with more horrid fluff from another one of her own alts. That constitutes a major change of the content of the book. So does changing the cover.
According to Bowker:
A new edition means that there has been substantial change: content has been altered in a way that might make a customer complain that this was not the product that was expected. Or, text has been changed to add a new feature, such as a preface or appendix or additional content. Or, content has been revised. Or, the book has been redesigned.
Same thing applies if the book is issued with a new cover.
If the change in cover substantially changes the product, then a new ISBN should be used.
So if you see a book that’s recently been re-issued with new content, missing content, or a different cover, look closely to see if it’s got a new ISBN to go along with the new content.
Nah. Nothing shifty going on here at ALL.
Authors, past. present and future, if you’ve ever contributed anything to an anthology, or plan to, keep very close eye on your work and where it ends up. Just a heads up.