The no-good, the bad and the ugly case of Shawline Publishing

The no-good, the bad and the ugly case of Shawline Publishing

The no-good, the bad and the ugly case of Shawline Publishing

Friday 11 October 2024

FINALLY SOME GOOD NEWS…

We’ve just received word that liquidators Brooke Bird are facilitating transfer of book digital assets for a fee of $440. We advise all authors to take up this offer – it is far cheaper than starting your publishing program from scratch.

The following is from Brooke Bird. Click on the image below to improve readability:

Brooke Birds offer to authors.

If authors are wanting Green Hill to help re-establishing their book we can certainly help.

We can:

  • Issue a new ISBN number for a fresh second edition of the book
  • remove all Shawline references and branding
  • establish the book on a Print-On-Demand platform of the author’s choice on the author’s very own account. Note this means that your book will be in a royalty free environment – you will receive 100% of royalties (not sharing with the likes of Shawline)

If you’d like to discuss using the services of Green Hill to re-establish your book then please book a consultation through the button below:

Thursday 10th October 2024

LATEST NEWS

Shawline is now out of business and Brooke Bird has been appointed as the liquidator. Brooke Bird has issued a letter to creditors/authors. If you are a Shawline author and haven’t received that letter please contact Brooke Bird: Brooke Bird website. The liquidator’s process now needs to run its full course.

Green Hill has received dozens of calls for help from authors. Some people have received reasonable service from Shawline, others haven’t received anything for very large sums of money paid. All authors remain ‘stranded’, many unable to get urgently needed print copies of their books. Some authors are philosophical about the situation, but many are devastated and somewhat distraught.

We are very concerned that Shawline’s behaviour has tarnished reputable suppliers in Australia’s self-publishing industry. In their final moments Shawline was still at it. In a leaked communication, they urge their staff not to speak with authors and to install email out-of-office messages saying they were “unwell”.

Our initial thought was that we could help authors re-establish their books for print and distribution. Unfortunately in most cases we cannot help as it seems design files remain owned by Shawline. The liquidator is most likely to have more information on the key issue of ownership in due course.

Despite our well meaning (but failed) efforts to provide practical help, at least we have been able to give affected authors a little advice, some empathy and remain available to help where we can in the future if circumstances change.

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UPDATED Wednesday 2nd October 2024

Shawline Publishing (now called New Found Books)

– the no-good, the bad and the ugly.

 

The situation

It is with interest that we all learnt of the account of Brad Shaw otherwise know as Brad McBride and Edwin Jason McBride in an article in the Sydney Morning Herald (SMH). The headline of the article reads: Murky past of publisher Brad Shaw – and the authors suing him for missing royalties.

Andrew Horney writes in the Sydney Morning Herald:

A Herald and Age investigation has revealed Brad Shaw’s real name is Edwin Jason McBride, who according to company records is the owner and director of Shawline Publishing. EJ McBride is also listed among Shawline’s “bestselling authors”, including one book billed as “tales from the mind of a self-confessed nutter”.

AND

Dan Moon said he paid Shawline $6,000 for his book to be published and marketed.

In the article Moon claims that despite paying Shawline for marketing, he hired his own publicist and received widespread exposure yet only received a small royalty payment. Brad Shaw has since issued a communication claiming that Shawline Publishing has acted with proprietary in Moon’s case. An article posted on Books and Publishing  Shawline denies allegations of unpaid royalties.

The SMH article claims Shaw or McBride, has been bankrupted three times. A decade ago, he collapsed in a courtroom after pleading guilty to a criminal charge of distributing pornographic pictures on his website. Located in Ballarat Victoria, a proponent of the ‘hybrid’ model of publishing, currently Shawline is in dispute with a number of authors over royalty payments.

Of even greater significance is the number of authors who have fully paid for services yet to be delivered. Some authors have been in Shawline’s production queue for over 18 months. Others have been told by Shaw that future production schedules for their projects cannot be estimated.

They have also relaunched their business as New Found Books with a new website, basically a copy of the old Shawline website but with a new name.

Several authors have contacted Green Hill confirming the company is asking past and current authors (who in some cases have paid huge fees but not received any work) for financial contributions citing ‘cashflow issues’. The letter reads:

We have published over 200 books for your talents to be found in the world (sic)

The targeted attack of (sic) our business has caused a disruption to our cashflow reserves, which in turn has led us to look at different revenue streams to get us through this difficult period so that we can maintain our operations.

At this time we are looking to raise $200,000 AUD to keep the business expenses and our awesome 15 staff employed through the below listed pledge options.

A part of the ‘reward’ for contributing $5,500 is a 1% shareholding of the business, a business which looks as though it might possibly be insolvent i.e. have a negative value. The Shawline letter says ‘we  are looking to raise $200,000 to keep our business expenses (sic)’. So the 1% ownership for $5,500 might not be a great deal – its a company with “a disruption of cashflow reserves”.

So many questions

Does all this mean that if Shawline can’t raise $200,000 they will not be able to ‘maintain our operations’? Without operations being maintained, will the queue of fully paid-up authors ever have their projects delivered? One author told Green Hill he felt the letter was like ‘blackmail’.

The letter is ambiguous. There is no detail about the valuation of the company. If $5,500 is a 1% share this means the company is valued at just $0.55M. Is this ‘intrinsic value‘ calculated by factoring in cash surpluses over years – if 10 years, does this mean that the company has a cash surplus of $55K per annum?

The big remaining question is: is the current negative publicity concerning just one author the reason for “a disruption of cashflow reserves”?  Where has the money pre-paid by authors gone?  Does this mean that Shawline is depending on recruiting new authors to keep afloat like a Ponzi scheme? Has the recent publicity meant that little new business is coming their way and does it mean there were no “cashflow reserves”?  A salient point for potential investors is that Brad Shaw has been bankrupted 3 times prior.

The letter also describes Brad Shaw as the ‘former CEO’ and the New Found Books website has announced the starting of new business ventures outside of Australia. Where will Bradley Shaw get the funds to launch a new business? You can find out all about exit scams here: what is an exit scam? 

The pledge deal also includes a 100% royalty payment on Nett (sic) profits. Note Net Profit is calculated on sales less costs which in the case of many, if not most authors will be negative.

Just this week I spoke to two authors who had each paid $6,000 just before the SMH article was published, to commence a book publishing project. They received the letter asking for a pledge as well. In their telephone conversations with Bradley Shaw their requests for a refund were not positively received and they were informed that the production of their books might be indefinitely delayed.

Our comment

The Shawline case is damaging to professional practitioners in what is a legitimate and expanding self-publishing industry. The reason for this blog post is to hopefully prevent authors from being scammed.

At Green Hill we see hybrid publishing as double-dipping – getting the author to pay a fee for production and then taking a portion of each sale. This might be great for the publisher, but its usually terrible for the author.

Green Hill Director David Walters said ‘the sales technique sometimes used by hybrid companies goes like this – “by getting a share of royalty payments we are highly incentivised to market the book” ‘

‘But often the hybrid company does very little, and if for some reason the book sells, makes a windfall’

“In this case the author might have put in a big personal effort to make themselves and the book publicly known”

‘This windfall might be in addition to a highly inflated price for book production. Its a big win-lose in favour of the hybrid publisher’ he said.

Over the years Green Hill has been contacted intermittently by unhappy customers of hybrid and self-publishing companies (Australian, North American and UK companies) and we have on occasions been able to assist. We may be able to help by re-establishing an author’s book as a true self-published (not hybrid) title.

HELP HOTLINE David0411 311 205

 

 

 

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Is digital publishing the death of print publishing?

Is digital publishing the death of print publishing?

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“Reports of my death are greatly exaggerated” Mark Twain

Way back in 1897, Mark Twain to his surprise, is said to have seen his own obituary. He famously remarked, ‘the reports of my death are greatly exaggerated.’

The death of the print book at the hands of the ebook has long been rumoured. But the fact is printed books are still very much on the rise – there are more print books printed daily than ever before. And just to be iconoclastic, at 5 billion copies the Bible is still the world’s most printed book (not J.K. Rowling’s Harry Potter).

Often we speak to aspiring authors who want to produce a ebook. We love ebooks and produce quality ebooks for a high percentage of our authors. Most of these authors effectively combine print with ebooks.

But everyone in publishing continues to ask ‘have we reached “peak ebooks” – like the concept of “peak oil” production’. Is the ebook revolution at its zenith? Has it plateaued? Or will it start to plateau?

Ebook sales numbers still look strong for years to come, with the market continuing to evolve. We’re seeing more subscription models and audiobooks popping up, which could mean readers’ tastes are shifting—not that ebooks are going anywhere. Publishers and authors are getting creative with marketing and adding interactive features to keep things fresh and fun and sales ticking over.

But will ebook sales eventually dethrone or kill the mighty print book?

Even the ebook in academic publishing has its limitations, despite academic publishing long being the leader in the uptake of the digital word. Jaki Hawker in her article Selling Words: An Economic History of Bookselling, R.E. Lyons et al (eds), The Academic Book of the Future,   says demand for academic publishing is burgeoning under academia’s prevailing ‘publish or perish’ mantra. But demand for publishing space has outstripped supply as economic fundamentals means that not all demand for publishing articles can be satisfied. Hawker’s thesis is that digital journal sales to libraries are now driven by actual demand measured in clicks. And as such libraries tend to buy digital journals with proven demand.

Additionally Hawker makes the point that students want digital content cheaper or free. And importantly, when buying packaged books – ebook and print together –  only 35% of students accessed both the print and digital versions.

‘Courses… moved to Open Access text following student feedback… 25% of the same students willingly purchased physical copies of a textbook they could read and use, free to them online 1′.

The possible future plateauing of ebooks is accompanied by the continued rise of  print with production numbers hitting record highs in recent years. This resillience can be attributed to several factors, including a growing appreciation for the tactile experience of physical books amidst the digital age. Many readers relish the smell of paper, the feel of pages turning, and the aesthetic of a well-stocked bookshelf.

Additionally, niche markets and diverse genres are booming, drawing in a wide array of readers eager to explore unique perspectives and rich narratives. The combination of vibrant indie publishing and the revival of classic literature has made printed books more appealing than ever, ensuring that they remain a beloved medium for storytelling and knowledge-sharing.

Indie publishing/self-publishing, driven by the revolution of Print-On-Demand (POD), is exploding. We have POD providers like companies from the US Ingram and Amazon, and now Australia’s own Author Freely. We call this newfound capability the ‘democratisation of publishing’. It means anyone can now publish a print book.

Footnotes: 1. J Hawker, Internal company sales report, Blackwell’s.

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In just a quick 8,000 words, this little book will equip you with the knowledge you need to successfully publish your book.

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Common copyright mistakes self-published authors make

Common copyright mistakes self-published authors make

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Publishing your own book can be incredibly rewarding, but navigating the copyright landscape can be tricky. Mistakes in copyright can cost authors both time and money, so know it’s best to know what you need to consider before jumping in.

1. Misunderstanding copyright basics

For many self-published authors, “copyright” is a term frequently mentioned. But what exactly does it mean? Copyright protects the rights of the creators of original work, including literary works such as books. In Australia, as soon as you write something down—whether with a pen or on a keyboard—copyright protects your work, safeguarding your ideas and work from unauthorised use.

Some key notes to remember:

  • Why does copyright matter? Copyright protection ensures that you hold the exclusive rights to reproduce, distribute, perform, and display your work. This means no one else can legally profit from your hard work without your permission. Losing control over your content is the last thing any author wants.
  • How long does copyright last in Australia? Generally, copyright lasts for the author’s life plus 70 years. This allows your heirs to benefit from your work long after you’ve passed away.
  • In Australia, copyright protection begins as soon as you create and express your work in a tangible form—no registration needed. However, registering your copyright provides extra legal benefits, which we’ll cover later.

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2. Trying to register for copyright in Australia

Many self-published authors in Australia mistakenly believe they need to register their work for copyright protection. However, unlike the United States, Australia doesn’t require formal registration. Copyright protection in Australia occurs automatically, protecting your work without any extra steps or unnecessary stress and costs. This protection covers all original works of authorship, ensuring the security of your intellectual property.

2.1 When registration is useful

While not necessary, registering your work can offer some benefits if you’re planning to sell your book internationally. Each country has unique rules and regulations, so if you’re considering registering broader copyright protection, be sure to do your research.

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3. Ignoring plagiarism

Plagiarism is more than just a bad word; it’s a serious offence. Copying or using someone else’s work without proper attribution or permission can damage your reputation and lead to legal issues.

3.1 Defining plagiarism

Plagiarism involves using another person’s copyrighted work or ideas without giving proper credit. This act not only violates academic integrity but also infringes on copyright laws, leading to serious consequences. Understanding and avoiding plagiarism is crucial for maintaining ethical standards and protecting intellectual property.

3.2 How to avoid plagiarism

To prevent plagiarism, always cite your sources. Whether you draw inspiration from a book, article, or blog post, be sure to give credit where it’s due. Even when paraphrasing, proper attribution is essential. Avoid plagiarism by referencing your sources correctly and maintaining academic integrity.

3.3 Tools to help

Numerous tools can help check for plagiarism. Software like Grammarly and Turnitin scan your manuscript, highlight potential issues, and ensure your work is original. Using plagiarism detection tools can help give you peace of mind before publishing.

3.4 Seeking permission

Before using copyrighted material, always get permission from the original creator. Obtaining a licence helps you avoid legal issues. Many creators will grant permission, often for a fee or credit.

3.5 Fair use and its limits

Many authors support the idea of “fair use,” a doctrine that permits limited use of copyrighted material without needing permission. However, understanding fair use can be tricky as country and context affect it. If you’re unsure about fair use laws, seeking legal advice is wise.

3.6 Creative Commons Licenses

Consider using creative commons-licensed works, available for public use under specific conditions. These licences vary; some permit commercial use and modifications, while others do not. Creative Commons licensing provides a great way to access free resources for your projects, respect copyright laws, and boost your content creation efforts.

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4. Overlooking public domain and creative commons

The public domain and Creative Commons provide treasure troves of free content that many authors overlook. There is a wealth of freely usable resources available for your projects through these platforms.

4.1 Understanding public domain

Public domain works are not bound by copyright protection, allowing anyone to use them without permission. This category includes materials published before a certain date or those that creators have intentionally released into the public domain.

4.2 Exploring creative commons

Creative Commons licences allow creators to share their work with some rights reserved. This means you must follow the licence terms, such as giving proper attribution and not using the content for specific purposes. Learn how Creative Commons licences simplify and legalise content sharing while protecting creators’ rights.

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5. Not keeping proper documentation

Proper documentation is essential for safeguarding your intellectual property and proving ownership in case of disputes. Thorough records protect your IP and ensure your rights are secure.

5.1 Importance of documentation

Maintaining detailed records of your work, such as initial drafts, notes, and correspondence, helps prove your authorship. This becomes crucial if someone else tries to claim your work.

5.2 Types of documentation

Save copies of your manuscript at various stages, keep all emails and letters related to your work, and maintain records of any permissions or licences you obtain. Using software like MS Word to write your manuscript can help as it stores information regarding the date a document was created, helping further prove ownership. Taking these steps helps protect your writing and ensures you have all necessary documentation.

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6. Failing to address copyright infringement

Ignoring copyright infringement can lead to losing control over your work and incurring significant financial losses. Protect your intellectual property and avoid copyright violations to keep your creative assets safe and profitable.

When facing copyright infringement, seek legal advice. An intellectual property lawyer can guide you on the best actions to take and help protect your rights. Consulting a copyright lawyer helps you understand your options and strengthens your case.

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Interested in publishing your book but unsure where to start or what is even involved? Tell us about your project and we will post you a copy of our:

 

The Little Book of
Big Publishing Tips.

 

In just a quick 8,000 words, this little book will equip you with the knowledge you need to successfully publish your book.

The Little Book of Big Publishing tips goes into the essentials of self-publishing a book, outlining the business and financial side of publishing, legal issues, design, editing, sales and marketing. There's even a section on how to identify a vanity-publishing scam.