There’s a worrying trend developing in publishing, whereby publishers (often individuals who just call themselves publishers, with about as much market knowledge as a used condom) snap up stories without paying the writer, compiles them into ezines or anthologies, and puts them on the market. They call themselves ‘For The Love (FTL),’ or ‘exposure’ markets. It’s nothing new, but that doesn’t make it any easier to swallow. There’s been a debate going on over the viability of these markets since forever, the main argument in the ‘for’ column being that they provide platforms for emerging writers to break through. That may be true, but only because more established writers don’t work for free.
Generally speaking, there are two distinct forms of FTL market. The first is where the publisher invites submissions, edits and compiles the stories, sorts out a cover, then distributes a finished product in the form of a website, ezine, or ebook anthology, free to the public. This is a true ‘FTL’ market. Everyone works for free; the writers, the editor, the artists, using the publication as a platform to showcase their work. This is perfectly acceptable.
Then there is the dark side.
These publishers invite submissions, edits and compiles the stories, sorts out a cover, then distributes a finished product in the form of a website, ezine, or ebook anthology, and CHARGES the public money for it. They don’t pay the writers, or the artists, and they invariably charge for ad space, thereby creating two revenue streams (sales and ads) whilst incorporating virtually non-existent overheads and operating costs.
The publisher, who is also usually the editor, maintains he or she invests a lot of time in the project and should be compensated. That is true. But what about compensating the contributors who also invest a lot of time in their work? Not only time, but also money in the form of materials, hardware, software, electricity, etc. It actually costs money to write. The ‘FTL’ guff doesn’t cover it. Would you ask a workman to your house, ask him to build you a wall, which you then charged people to look at, and when the workman asks for payment (or at least a cut of the profits) you say, “Well, didn’t you enjoy building it?”
I don’t think so. Not unless you want a punch in the face. The same principal should be applied here. Otherwise, you are profiteering.
Of course, there is a wicked little sting in the tail here. These non-paying markets rarely attract writers of the calibre required to shift large amounts of product, because most of these writers have been around a while, quietly building their reputations, and know their worth. They aren’t about to work for free and stand by while someone else makes money off their hard work. Therefore, the only people who contribute to these publications are writers ‘on the way up.’
This isn’t a judgement of their quality. They might be, and probably are, very capable writers. The problem is they are yet to build an audience, so very few prospective readers know who they are. Obviously, submitting to FTL markets is part of the process of building that audience, but it does nothing for sales in the short term. Publications need a few big hitters in order to sell copies. But if you don’t pay, you won’t get those big hitters and you won’t sell many copies.
Of course, you can flip that equation on its head and say that if a publication offered contributors even token payment, the quality of submissions would increase and so would sales. From there, the more money you offer, the better standard of writers would contribute and consequently, the more copies you sell. The more copies you sell, the more you can pay contributors, and so on.
If only more people recognized this, we would all be better off.
C.M. Saunders is a freelance journalist and editor. His fiction and non-fiction has appeared in over 60 magazines, ezines and anthologies worldwide, including Loaded, Record Collector, Fantastic Horror, Trigger Warning, Gore, Liquid imagination, and the Literary Hatchet. His books have been both traditionally and independently published, the most recent being Apartment 14F: An Oriental Ghost Story (Uncut) and Human Waste, both of which are available now on Deviant Dolls Publications. He is represented by Media Bitch literary agency.
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