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Lantz Powell, Literary Agency for Southern Authors

JohannaJ7

Re: Bleaumoon is smoking the blue crack

It is true that my book was taken out of the slush pile, yes -- but the TOR deal could not have happened without Lantz, because the book that TOR wanted was still under contract to another press. Lantz single-handedly disentangled me from that very bad deal with that very bad publisher, and then went on to negotiate a contract for the three books -- the second two of which were taken not only sight unseen, but as yet unwritten. I wouldn't have pulled that off by myself, and I sure as hell wouldn't have wanted to navigate the 12 page contract alone.
This is why there are lawyers in the world. Your inability to disentangle yourself from a bad contact with a bad publisher, or read a conctract on your own, does not make Lantz Powell a good agent, it makes him a fairly successful negotiator and advisor.

But so far he has not sold any books, other than the one you submitted to Tor, a publisher that reads unagented submissions. I'm sure he's a splendid friend, but look at it from a professional point of view: He's been in business for more that a year, and he has no "real" sales. If a bunch of writers want to wait a couple of years while he tries to sell their mss, hoping that he'll get his "break" soon, that's their choice, but they should be aware of what they're getting into before they sign. There are, after all, some writers who don't want to take a chance on a new, inexperienced agent.

I'm finished with this forum now, but anyone interested in an exchange of civil, professional, factual information is welcome to contact me. Other people can can stay here and fuss about deals they don't have, and agents who won't represent them.
You're kidding, right? The first thing you did when you came here was attack someone. It's one thing to be positive about your agent, it's quite another to verbally abuse people who disagree with you. You might want to be a bit more gracious in the future--you're not Anne Rice, so being nice is probably going to win you a lot more readers.

I have not asked to see them. He called me and read them to me. If I wanted them, he would have sent them.
I'd ask him to send copies of the rejections. It always nice to have solid proof that your agent is doing something.
 

Bleaumoon

Re: Bleaumoon is smoking the blue crack and everything else

Anyone who has Lantz Powell for an agent deserves him.
:hat
I hope that all parties are happy together because that is all that they will ever get out of their relationship business or otherwise is "a feeling" of happiness and nothing more.
:smokin

It is a good day in Atlanta, GA, where Lantz Powell is advertising his new home office to be.
:rollin
 

vstrauss

Re: Allie...

>> I queried many authors about the issue of an agent requesting out of pocket expenses to find that the standard had indeed changed. I then verified that the AAR reflects this change on its Web site before signing with Mr. Powell.<<

Most established agents still don't expect authors to pay out of pocket. I think that things will move in that direction in coming years--but it is still not the norm. Out-of-pocket charges should always prompt an author to be cautious, because the overwhelming majority of agents who ask their clients to pay out-of-pocket are unskilled or fraudulent.

The AAR hasn't changed its canon of ethics--it has always allowed member agents to charge expenses back to writers. The accepted, customary practice is to let the expenses accrue, and deduct them from the author's advance.

- Victoria
 

BGraham

Re: Lantz Powell?

I've been a published author for 16 years now. I've been fortunate in that I've been represented by some good agents... and I can honestly say that Lantz Powell is the best agent I've ever had.

Sure, he hasn't been in the business long, but he has obviously been a very quick study, because I have never known another agent with Lantz's knack for getting editors to agree to look at manuscripts immediately.

His ethics are beyond reproach. He has never made me a promise that he did not deliver on, and he has never charged me a dime other than the expenses incurred in sending out manuscripts.

I trust him without reservation, and recommend him wholeheartedly.

It seems significant to me that the people who are condemning are unpublished, and the people who are defending him are published. It's easy to throw a temper tantrum and blame someone else for your frustrations, but I would suggest that if Lantz Powell can't get you published, you should ask yourself if you are actually publishable at all.

Barry Graham
grahamslam.com
 

JohannaJ7

Re: Lantz Powell?

BGraham, I'm not quite sure what you mean by saying that those who are "condemning" Lantz Powell are unpublished. Are you talking about bleaumoon? Because I'm fairly sure Beaumoon is just one person, and we don't know if he/she is published.

He's had no professional training as an agent, he's made no solid sales, his writers have to pay for shipping and such before he sells their work, he's asked his writers to edit each other's work, and a small army of supporters--with fresh new ezboard accounts--has shown up to defend him (which means they either google Lantz' name a lot, or he--or one of his authors--saw this and rallied the troops). All of those things usually add up to "Bad Agent", so if people here are not singing Lantz' praises, there's a reason. If he wants to be respected and recommended, he'll have to work for it like everyone else. This board is for keeping writers updated and informed, not for coddling agents.

He may very well turn out to be a splendid agent, but right now he's new and a bit "shady". And I have to say, his writers are not doing him any favours by coming here and being rude.

ETA: I checked out your website. I like the colours, but you might want to replace that giant picture of you in the background, because I had to highlight the text to avoid getting a headache while reading it. Replacing it with a nice, neautral colour would be best, I think.
 

maestrowork

Re: Lantz Powell?

OK, I don't know who is right or wrong and who is presenting trustworthy information here. But I trust Victoria. I wouldn't want to go with an agent who sends my ms to other clients for reviews and critique. That's neither a standard or preferred practice.
 

Bleaumoon

Re: Lantz Powell?

In truth, I have been published for years and hold a six figure income at this time. Like I wrote in my post, I got slickered by Lantz Powell because I had little experience dealing with literary agents. I wrote from a pure heart to help others who can make up their own minds about Powell and any agent.

I contacted 300 agents in Jeff Herman's book (including Jeff who did write me numerous times) and about 45 agents replied to my first query letter. I found Lantz Powell on the I-net. I am open to admit that he fooled me and that I hold a Post Doctoral education so it just goes to show you that oftentimes we only see what we want to see. I'm not perfect but I have nothing hide like Lantz Powell does. The poor man cannot even afford a stamp. Now that should send up a BIG red flag. But again, in relationships people only see what they want to see (and hear) and a good Con didn't get his nickname, "The man with the hat<" :hat for nothing.

In closing, I posted as a person to help aspiring authors / others not get taken or to waste precious time with someone who has no command of the English language or can even afford cable / DSL. He is the one who asked his supporters to post and no doubt he surfed the board himself after one of his wanna-bes-told him to take a look. He does not want to be found out. I am glad that boards like this exist because if I had been more savvy myself, I would have checked him out and done a search.
Lantz Powell makes empty promises--none of which he can keep--none.
As far as drugs, I don't associate with the type of crowd to even guess at what blue crack is.
;)
All good wishes I send to the authors here and may all of your hopes and dreams come true in 2005!
:rollin
 

Julie Worth

Re: neither a standard or preferred practice

Frankly, I could care less if my agent did a few nonstandard things. As for what Lantz is doing, I think it’s GOOD that he is creative and taking advantage of his different background. If he were selling books like mad, other agents would want to copy him, because in the end it all comes down to performance. Unfortunately, forty clients and no sales—that can’t be explained away.
 

Lantz Powell

Literary Agency for Southern Authors

I am Lantz Powell, the owner of Literary Agency for Southern Authors. I thought that it might be good if I respond to some of the truths, half truths, and downright lies that have been posted about me and my agency on this site it the last few days.

HISTORY: I live and work in Chattanooga, Tennessee. I focus ONLY on authors that live in the Southern United States. I am somewhat new in the Literary Agency business. However, I am not new to business or negotiating contracts or to helping small entrepreneurs develop their businesses. I was a member of the Louisville Venture Capital Club in Louisville, Kentucky and later a founding father and first Board member of a similar Venture Club in Lubbock, Texas. I have experience negotiating commercial real estate leases with some of the largest companies and with some of the smallest mom and pops in the nation. One of my “finds”was a business that was opening its first store. I got the owner his first loan. His business went public and he now owns 150 stores across the nation.

I was raised in Texas. And if you have ever lived there you know that a man’s word is his bond and a handshake is his contract. I have tried to build my agency with that same basic ethic.
Trust must be at the core of any author-agent relationship. If you don’t trust your agent, change. I have never tried to keep any client that wants to move on. That is why I work with a letter agreement that the author sends to me giving me permission to pitch his/her project. This allows any client to end our business relationship without a problem. I do not want any dissatisfied clients.

EDUCATION: A few on this site say I do not have any formal training in the industry. I don’t think that is true. I have been to numerous writers conferences. I have met with several members of the AAR, including its president. I have had face-to-face pitching sessions with more NY editors than I care to mention. People ask me to make presentations at writers conferences. Recently after a presentation in Texas, a very experienced but unpublished author stood up and said she had gone to conferences for 20 years and my presentation was the best she had ever seen.
There is no school to go to, to learn how to be a Literary Agent. Only the AAR has any established code of ethics. I read everything I can get my hands on regarding the industry and Literary Agency business procedures. I follow the AAR’s Canon of ethics to the letter. I tell every new client that I am new. I also tell them my background. I shall continue to be scrupulous in following the canons of the AAR.

SALES. Yes, it is true that to date the only signed contract that I have is a three book deal. There are others on the horizon, which I am working up to 18 hours a day to get signed. If you have an agent, you might ask him or her if how difficult it is to get new voices published. This recession in the book industry has been written about many times. Very few new authors are being published. Most of the books published today are written by established authors or are properties that are in the public domain.

There are many reasons why a well written, well edited, great story cannot be sold. It might be that it is not the right time for the project. Books, like all items the public buys, flow with the fashion of the day. Some great books are just not marketable. Today the fad is for puff books that can be printed overseas and sold at a premium. But the tide will turn and we will be ready. .


MISTAKES: a few. I began my agency focusing on new unpublished authors, many of whom had projects not ready for publication. When projects were not publishable, I told them so. Many of my writers lived in small southern towns and had never been part of a writing workshop or writers group. Reading each other’s work gave them valuable feedback to improve their writing.
Many writers appreciated this service, so many in fact, that for a few months I made it a requirement for prospective clients to participate in the program before I would look at their project. I ended this program eight months ago. I am no longer working with clients whose work is not at a publishable level. I don’t have the time.


LANGUAGE. I want to talk a little about the language I use. I speak Southern U. S. English to my clients and U. S. Corporate English businesseze to editors. Editors in NYC have told me they don’t understand the Southern writer. They do not understand why Southern authors tell such great stories or why they sell so many books. I know it is our heritage to use an unique form of the English language. There is a certain casual genteel way in the South. Well crafted vocal stories are still told in the beauty parlor, or at work, or at the Sunday dinner table with the extended family. Storytelling in the South is still a craft. We look at people when we speak. We make sure we talk slow enough and let the listener see our facial expressions and hand movements. In short we show our story. We write like we talk, from the heart. Listen to a Southern story. You can hear the rhythms of a voice that goes back to King James.

One reason clients are very loyal to me is because many have met me. I attend writers conferences, not to find new clients, but to meet my authors in person. They know I speak their language. They know I might not sell their project tomorrow, or next week, or perhaps ever. But they know I have never lied to them. They know I never will.

SUCCESS: Have I been successful? What is your measuring stick? If it is money, not yet. But I did make a multi book deal as my first sale. Other publishers have asked me how I did it. It wasn’t a fluke. I had experience and I had a very good author. So good, that many say Cherie Priest will be the next Anne Rice. It is not her agent saying that, it’s people who are lining up to give quotes on FOUR AND TWENTY BLACKBIRDS.

I learned a tremendous amount about an industry that has no school, few books, and a publishing industry that is struggling to get out of the 18th century in the way it works.

I have met some fantastic writers and some sharp, friendly editors. I have communicated with the heads of some of the largest publishing houses in the country. I have been contacted by several movie producers wanting projects. I hear success around the corner.

FINAL NOTE I don’t think some of the visitors to this site understand
– That publishers are not interested in the quality of your work as much as they are about whether the timing is right for it to sell and make a profit.
– That except for the big agencies in NYC, most of the Literary Agents are part timers. Some are English professors, cab drivers, and even security guards that happen to work in the buildings of the publishers. Many are ex-editors. Most of them have MFA’s in English. Few have ever sold anything door to door. Fewer still have a business background or understand the verbiage of a contract.
– That most agents have a small club of editors that they are friendly with and talk to or go to lunch with once a week. On average, it is about 10 editors they talk to. That “old boy” or “old girl”’ network is dissolving due to pressures from the top to make a profit. I was told by some of those same top executive editors that my advantage is that I come out of a profit driven - business background. When executive editors talk, I listen.

QUESTIONS? If you have questions, you can email me at [email protected]


Lantz Powell
Literary Agency for Southern Authors
 

JohannaJ7

re:

Stupid ezboard ate my post.

Just so you know, I'm not trying to attack you. You may very well turn out to be a great agent, I'm just making a few comments.

Some advice for you:

- Start taking "shipping costs" out of the advance(s), not your authors' pockets.
- Encourage your writers to write, but not for editing/critique groups, but with actual publication in mind. Find magazines, papers and anthologies for them to submit to (they should not submit to those through you, unless otherwise stated by the owner/s). A few publishing-credits never hurt anyone, and ot's free publicity.
- Research. Since you didn't have a teacher (an agent or such) to introduce you to editors and publishers, you need to do a lot of research to make sure you send the right book to the right place. While a publisher may state it's interested in "Fantasy", one of their editors may like contemporary fantasy, while the other likes traditional. Those are things you need to keep in mind whenever you are representing a project.
- Don't encourage your authors to defend you in discussions like this, at least not as rabidly as some have. While it is their right to do whatever they want, it looks bad.
- If you fail to sell a project no matter what, don't send the author to PublishAmerica. That's just mean.

A few on this site say I do not have any formal training in the industry. I don’t think that is true. I have been to numerous writers conferences. I have met with several members of the AAR, including its president. I have had face-to-face pitching sessions with more NY editors than I care to mention. People ask me to make presentations at writers conferences. Recently after a presentation in Texas, a very experienced but unpublished author stood up and said she had gone to conferences for 20 years and my presentation was the best she had ever seen.
Praise from a writer who has managed to stay unpublished for 20 years is hardly something to brag about.

And no, you have not had any formal training. Training includes actually learning the business before jumping into it. I doubt you decided one day that you wanted to negotiate contracts for a living and decided to bypass school and go straight to work that same day. Same thing goes for working as an agent.

There is no school to go to, to learn how to be a Literary Agent. Only the AAR has any established code of ethics. I read everything I can get my hands on regarding the industry and Literary Agency business procedures. I follow the AAR’s Canon of ethics to the letter. I tell every new client that I am new. I also tell them my background. I shall continue to be scrupulous in following the canons of the AAR.
Agents are usually trained by other agents. Sometimes they've worked as editors or such and have enough connections and experience to work as agents.

Yes, it is true that to date the only signed contract that I have is a three book deal. There are others on the horizon, which I am working up to 18 hours a day to get signed. If you have an agent, you might ask him or her if how difficult it is to get new voices published. This recession in the book industry has been written about many times. Very few new authors are being published. Most of the books published today are written by established authors or are properties that are in the public domain.

There are many reasons why a well written, well edited, great story cannot be sold. It might be that it is not the right time for the project. Books, like all items the public buys, flow with the fashion of the day. Some great books are just not marketable. Today the fad is for puff books that can be printed overseas and sold at a premium. But the tide will turn and we will be ready. .
1. To my knowledge, there were more books sold during 2004 than 2003, and more new writers were signed and/or published as well. Every editor out there wants to find the new JK Rowling or Stephen King. The reason it's hard for new writer to break into publishing is because most of them simpy aren't good enough, and while it's nice and comforting to blame the publishing industry, it's not something that should be taken as fact. As an agent, you should be able to distinguish between fact and myth, and the whole "Everyone's out to get the new author!" thing is a myth. Of course established writers are going to have their books accepted--that's why they're established writers, they know how to write good, interesting, useful books. A lot of times they're better than new writers, and that's the way it is.

2. I hope you understand that it is very common for scammers/amateurs to use phrases like "The problem with the publishing industry is [insert negative remark]", so you might want to steer away from using such language. I understand that you want to be sympathetic to the woes of your authors, but at some point you have to start focusing on being their agent, not their friend.

3. A good book will be published sooner or later. If the ms you have written is not in demand at the time, put it on a shelf and pursue publication when the time is right. If the book is great but unmarketable (a bit unlikely though, as most "great but unmarketable" mss are actually "boring and of no interest ot anyone by the person who wrote it"), it's your job as an agent to find an editor that likes great, unmarketable books.

4. Most of the people here are published writers, editors, and/or otherwised involved in the publishing world. You do not need to give us the newbie 101, especially not a faulty one.

Many writers appreciated this service, so many in fact, that for a few months I made it a requirement for prospective clients to participate in the program before I would look at their project. I ended this program eight months ago. I am no longer working with clients whose work is not at a publishable level. I don’t have the time.
Do you understand why some writers, who are used to being treated professionally, thought it was rather rude of you to demand they go through some sort of amateur editing group to get to you?

One reason clients are very loyal to me is because many have met me.
Whereas other agents never meet with their clients? ;) Loyalty is nice and all, but sooner or later they're going to start getting antsy if you don't manage to sell their work.

Have I been successful? What is your measuring stick? If it is money, not yet.
Comments like this one, coupled with "They know I might not sell their project tomorrow, or next week, or perhaps ever." will make people wonder where you get your money. You might have made some money of the TOR deal, but you've been in business as an agent for over a year, and you've made no other sales, and you don't seem to be desperate for them either. That's going to make people wonder where you get your money, and if you're taking advantage of your writers. As an agent, your measuring stick for success should be sales. No sales, no success.

Other publishers have asked me how I did it. It wasn’t a fluke. I had experience and I had a very good author.
As far as I know, that book was already popular (wasn't that why her previous publisher didn't want to let it go? Aside form also being a scumbag, that is), and in TOR's slushpile. Helping an author negotiate a contract with a well-respected, honest publisher is not exactly hard.

I learned a tremendous amount about an industry that has no school, few books, and a publishing industry that is struggling to get out of the 18th century in the way it works.
Another remark about the publishing industry. You have to learn to take emotion out of your argument, and go on solid facts. The whole "I'll protect you from the big bad publishing industry, don't worry, it'll all be different soon"-thing might work on innocent newbie authors, but it's actually kind of annoying to the rest of us.

FINAL NOTE I don’t think some of the visitors to this site understand...
As I said before, many of the visitors to this site ar epublished wirters, editors, and/or otherwise involved in the publishing industry.

– That publishers are not interested in the quality of your work as much as they are about whether the timing is right for it to sell and make a profit.
Which is why you, as an agent, need to know who's looking for what.

– That except for the big agencies in NYC, most of the Literary Agents are part timers. Some are English professors, cab drivers, and even security guards that happen to work in the buildings of the publishers. Many are ex-editors. Most of them have MFA’s in English. Few have ever sold anything door to door. Fewer still have a business background or understand the verbiage of a contract.
Hate to break this to you, but most "non-traditional" agents are either unsuccessful or scammers, sometimes both. Sometimes one of them gets lucky. As for the people who worked at publishing-houses and whatnot, they make up a very small percentage, and will usually only sell one or so mss during their entire life. But at least they're on a first-name basis with editors at big houses, which is something you should be striving towards as well.

A good agent knows how to negotiate a contract, understands the market, knows the right editors, and makes good sales. A good agent/agency will make its first sale after 6 months or so of being in business, and will continue to sell regularly thereafter. Agents make money from selling book, so it is in their interest to know how to negotiate a high advance and so on, so those who don't know what they're doing usually get a new job after a while.

– That most agents have a small club of editors that they are friendly with and talk to or go to lunch with once a week. On average, it is about 10 editors they talk to. That “old boy” or “old girl”’ network is dissolving due to pressures from the top to make a profit. I was told by some of those same top executive editors that my advantage is that I come out of a profit driven - business background. When executive editors talk, I listen.
Heh, did you ever wonder what those top executive editors thought was you disadvantage? Or if the reason they're open to you is because "traditional" agents know all of their little tricks and drive a very hard bargain when representing their clients?

Knowing 10 editors at the major houses is all you need to make a sale to them (there's not exactly a lot of large houses, after all, and you only show the book once to each house, unless they change editors or something, then you might get another chance). Being a good agent with a good reputation and a lot of solid sales to your name will also allow you to bypass the slush at other publishers as well. The fact that you don't know anyone is not an advantage, especially not to the writers who are going to have to wait for you to gain enough experience and connections to represent them effectively.
 

Julie Worth

Re: Literary Agency for Southern Authors

Nice response, Mr. Powell. I’m sure everyone here wants you to be successful.

I noticed what you said about fads and puff books, and, not having a bit of pride, I’m ready to go off and write one. Except I’m not quite sure what it is. Something with Hilary Clinton in the title, maybe?
 

Bleaumoon

Re: Literary Agency for Southern Authors

Johanna, you sure know what you are writing about.
Great job.

From now on anyone in the world will be able to read this Post about Lantz Powell. That is all it will take for a savvy (not needy or desperate) writer to know to run as fast as he / she can from "the southern man with the hat." :hat .

Good job, everyone!
 

Julie Worth

Re: Literary Agency for Southern Authors

Don’t include me on that, Bleau. The rather emotional things you’ve said here strike me as unprofessional and excessive. Perhaps I’m an imbecile, but it seems to me that Mr. Powell is legit, although coming in from left field and still on a steep learning curve. Emboldened by an initial success, he perhaps took on too many clients whose work wasn’t market ready, tried out a few things that didn’t work, and now he’s paying the price. But maybe success really IS just around the corner. Anyway, I wish him well.
 

Allie

Re: re:publishing business

Are you in the publishing business or are you a writer? Agent?
Everything I've read or heard in the past few years has been that the publishing business is cutting mid list authors, pushing top authors to churn out work before it's ready and cutting down the number of titles they publish. Even Harlequin is in trouble.

I'm not arguing with you. I'd just like to hear more about your sources that the publishing industry isn't harder to break into etc.
 

vstrauss

Re: re:publishing business

For Julie:

>>it seems to me that Mr. Powell is legit, although coming in from left field and still on a steep learning curve.<<

The point that some of us have been trying to make is that agents who "come from left field" (as in not having previously worked in publishing or for a reputable agency) are at such a significant disadvantage, skills- and contacts-wise, that they rarely manage to make a go of it. Agenting is not like selling Avon products, nor is it something that can be easily learned on the job. You need actual relevant training and experience to become an effective agent. Good intentions and enthusiasm are important, but they aren't enough.

For Allie:

>>Everything I've read or heard in the past few years has been that the publishing business is cutting mid list authors, pushing top authors to churn out work before it's ready and cutting down the number of titles they publish.<<

The number of books being published hasn't significantly decreased in the past few years, and is something like double what it was 30 years ago. Far too many books are being published, actually; the industry would be better off it it really did cut down the number of titles, instead of just threatening to do so.

You're quite right that midlist writers (if you define the term as "writers who've published several books but have failed to break out") are finding it ever harder to stay in the game. In fact, a promising newcomer is often more attractive to a publisher than a writer whose first three books sold modestly, or whose sales have decreased over several books. The publishing industry isn't any harder to break into than it ever was--what's hard is to sustain a career.

If you're wondering about my credentials, I'm one of those precariously-situated midlisters.

- Victoria
 

JG Adams

Lantz Powell

Bleaumoon I am very surprised by your post. Lantz is my agent and a personal friend. The Lantz you write about is not the Lantz I know.

Lantz does not have forty clients. Forty people may have sent him a letter of intent, but there are few of us that have contracts with Lantz. For Lantz to enter into a contract you must present him with material he feels is marketable. You are correct, he does not read every submission in it’s entirety. I encourage him to read even less. If the first page does not cause you to turn to the second, the material is not marketable. It requires no skill or credentials to be a writer. It requires marketable material to be an author. Therein lies the great divide.

I am shocked Lantz would take $1,000 from you and promise to submit your manuscript to 200 publishers. That would barely cover the postage. If indeed this has happened, please send me a certified copy of your returned check and I will personally send you a cashiers check for $2,000 to return your money and compensate you for your inconvenience. My address is:

JG Adams
9205 Hunters Bend Circle
Ooltewah, TN 37363

It is my experience when someone attacks someone else it is always out of fear. I taught my children when someone speaks about someone else, you learn very little about the person spoken of, but much about the speaker. As I read your post I wonder what do you fear from Lantz, and why? Did Lantz reject your work and now you fear your ability as a writer. If so, I must tell you Lantz rejected my first novel seven times. Each time he gave me the reason for his rejection and I worked to improve my writing in the next submission. The rejections by Lantz made me a much better writer. Now I am working on the second book in a five book deal crafted by Lantz.

Very few people understand the purpose of an agent. An agent promotes and negotiates contracts. An agent is not a literary coach or editor. I am a writer and now an author. It is my job to hone my skills and produce marketable material. It is the job of my agent to get it into the hands of people that want the material and then negotiate the best contract. IT IS NOT HARD TO FIND PEOPLE THAT WANT YOUR MATERIAL WHEN IT IS MARKETABLE.

Keep working at it and I hope to pick up one of your books at the airport in the future.

JG Adams
 

vstrauss

Re: Lantz Powell

>> Now I am working on the second book in a five book deal crafted by Lantz.<<

Can you tell us who your publisher is, please?

- Victoria
 

Julie Worth

Re: Five Book Deal

A FIVE book deal! Congratulations to both of you!
 

Bleaumoon

Re: Lantz Powell / JG Adams is Lantz Powell!

I recognize your writing style and verb usage Lantz Powell.
:hat
How funny are you?!
:lol
Yes, you are indeed honing your skills as a "much better writer..."
"Very few people understand the purpose of an agent. An agent promotes and negotiates contracts. An agent is not a literary coach or editor. I am a writer and now an author. It is my job to hone my skills and produce marketable material. It is the job of my agent to get it into the hands of people that want the material and then negotiate the best contract. IT IS NOT HARD TO FIND PEOPLE THAT WANT YOUR MATERIAL WHEN IT IS MARKETABLE.

Keep working at it and I hope to pick up one of your books at the airport in the future.
JG Adams"
:hat
This is pure Lantz Powell. Good job. Still, you are in a league all your own and now the world can make up its mind about what they have read here.

"Keep working at it..." and keep flying because it's good to imagine that a publisher has invested in you to go on your first of a 20 city book tour with those five books...

Very, very funny to read and most informative for anyone doing a search on you and your agency indeed. I have no desire to duke it out with you with words or posts. You are doing a wonderful job of telling the world all about yourself without my or anyone else's help for that matter. I'd say the word "fear" is a good word choice because when people don't tell the truth that is the feeling / emotion that that hits them first.
On a serious note, regardless if JG Adams is Lantz Powell or not, all these posts are showing is that Lantz Powell is an insecure person / agent. It does not make him or his authors look good at all in the world of publishing let alone on the world wide web.
 

Julie Worth

Re: Lantz Powell / JG Adams is Lantz Powell!

Some real paranoia here. There IS a James Adams at the address he gave in his previous post. That's very easy to check. If I were you, Bleau, I’d send him photocopies of my $1000 in billings, and take advantage of his double your money back offer.
 

DaveKuzminski

Re: Lantz Powell / JG Adams is Lantz Powell!

Personally, I want to see copies of the invoices and or receipts for the $1000.00. A copy can be scanned and emailed to me at [email protected] . If you don't have a scanner, consider looking for a friend who does or a business supply office. Barring that, contact me and I'll arrange to give you a fax number to reach me.
 

vstrauss

Re: Lantz Powell / JG Adams is Lantz Powell!

I found one book by J G Adams on Amazon, published in September 2004 by 1st Books Library (a fee-based POD).

- Victoria
 

Julie Worth

Re: Lantz Powell / JG Adams is Lantz Powell!

"Robot Girl: Warriors of Fate"--is that it? With a Amazon sales rank over two million, you certainly wouldn't want a five book deal with that publisher. It's just hanging out there, no reviews, no blurbs, no image, no support. And you have to pay them, they don't pay you.

They would LOVE to sucker someone into a five book deal!

BTW, 1st books is now AuthorHouse.

<a href="http://www.authorhouse.com/BookStore/ItemDetail~PagePK~ca31dc34-28a5-46b8-9312-db9cf8178e3f~bookid~15362.aspx" target="_new">Robot Girl</a> page at AuthorHouse

Typical services*:

Pub package starts at $700
Copyright charge of $150
Original cover for $1200
To accept returns, $700
1000 business cards for $250

Yeah, sign me up for five books. No, hell, make it ten!

*may not be up to date