Blog • Understanding Publishing
Last updated on Apr 18, 2024
Book Publishers to Avoid: How to Dodge Shady Author Scams
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Martin Cavannagh
Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.
View profile →Becoming a published author is a dream shared by almost every writer. Unfortunately, there are plenty of unreliable companies out there looking to make a quick buck by exploiting those dreams.
To help you protect your work, your bank account, and your dignity, we're going to highlight some of the shady companies you should avoid — and give you tips on how to spot a publishing scam at ten paces.
Types of publishing companies to avoid
The trouble with many dodgy publishing companies is that what they offer isn't usually illegal. They do, however, all manage to find a way to dangle something irresistible in front of authors, making them ignore the voice of caution in the back of their minds.
1. Vanity presses pretending to be traditional publishers
Who wouldn’t love it if a publisher offered to reprint one of your self-published titles or publish your next book, right? You might even be happy to pay some fees to get the ball rolling on the production process.
But that would be a big mistake. No legitimate traditional publisher would ask you to foot the bill. In fact, when acquiring your book, they will pay you an advance. If a publisher asks you to pay for publication, it's likely a vanity press.
Q: What are the key red flags authors should look out for when approached by a vanity press?
Suggested answer
Spotting the red flags when dealing with a vanity press can save you a lot of headaches (and money!). Here are some key things to watch for:
- Upfront Fees: If they’re asking you to shell out big bucks to publish your work, it’s a major red flag. Legitimate publishers make money from selling books, not charging authors.
- Unrealistic Promises: Claims like “guaranteed bestseller” or “we’ll get you into every bookstore!” are major eye-roll territory. No one can promise that, and reputable publishers won’t even try.
- Accepting Anything: A real publisher is picky—they have to be since they invest in what they publish. If a press will take your book with zero hesitation (and no editing), chances are it’s more about your money than your talent.
- Vague Contracts or none at all: If the contract feels murky, confusing, or doesn’t make it clear what you’re getting and what rights you retain, that’s a huge red flag. Always know what you’re signing!
- Hidden Costs: Watch for surprise fees for “marketing,” “editing,” or “special services.” It’s a tactic used to squeeze more out of you once you’re already on the hook.
- Pushy Sales Tactics: If they’re coming at you hard with “limited-time offers” or pressuring you to sign fast, it’s a no-go. Legit publishers won’t need to convince you that hard.
- Shady Reputation: Do a quick online search. If you see lots of unhappy authors and stories of people feeling scammed, run the other way.
- Limited Distribution Claims: Be wary if their “distribution network” is mostly online listings without meaningful reach or promotion. Real publishers have genuine connections in the industry and established distribution channels.
- No Editing or Quality Control: If there’s no real editorial process or constructive input, it indicates they don’t care about the quality of your work—just about getting paid.
Bottom line is if it feels off or you’re seeing a bunch of these warning signs, trust your gut and dig deeper. Your work deserves better!
Eilidh is available to hire on Reedsy ⏺
I think we need to first distinguish between vanity presses and hybrid/independent publishers. There are legitimate publishers with a business model that includes an upfront payment from authors. This payment funds the production of the book, and then includes a royalty split in favor of the author, such as 70/30 or even 80/20.
Those are hybrid presses, which help keep much of the decision-making surrounding the book in the author's hands and provide a means for authors to benefit the most if the book sells well. They don't accept every book they are pitched, have quality standards that rival traditional publishers, and make money when more books are sold.
The hybrid model is different from a vanity press, which earns the bulk of its money from the pre-production and printing costs. Vanity presses rarely turn any author down who can pay for its services. Printing and design quality varies but you can still get a good-looking book from a vanity press, it will just be very expensive.
To know if you're dealing with a vanity press or a hybrid/independent press look for:
- Writers guidelines. Do they have any guidelines or will they publish anything?
- A sense of urgency. Vanity presses want to get you to commit and pay them money. This may lead to frequent emails, texts, and phone calls to inquire about the hold-up.
- Distribution details. Once your book is printed, how will the publisher get it into bookstores and, ultimately, readers? They should have a distribution partner, such as Simon & Schuster.
In addition to vanity presses, there are many, many scam operations that have cropped up offering to ghostwrite and publish your book for a couple thousand dollars. Be aware that you will likely get nothing, or next to nothing. Avoid these at all costs.
Scammers may have a legit-sounding company name but will lack any information about the founders and the team members who will be doing the work. They will feature gorgeous cover photos of books they never had anything do with producing, but which look impressive. They will feature "testimonials" and A+ Better Business Bureau (BBB) and TrustPilot ratings that are fake - type in the BBB and TrustPilot URLs yourself to check for the real reviews. And they, too, will hound you to sign on the dotted line and send them money.
If the deal being offered sounds too good to be true, it very likely is. Protect yourself.
But the reality is that few first-time authors will qualify for a traditional publishing deal that doesn't involve paying for production. This is because the Big 5 publishers are risk averse and want book deals from people who have huge platforms and social media follower counts. That is, they want to be almost assured that your book will be a bestseller, and few authors can guarantee that. Which is why hybrid publishing is a terrific alternative.
Marcia is available to hire on Reedsy ⏺
Unrealistic expectations. All vanity publishers can do is produce the physical book and get it onto sites like Amazon. They cannot guarantee any income from sales.
Andrew is available to hire on Reedsy ⏺
The easiest way to distinguish a scam publisher from a reputable hybrid publisher or self-publisher is PRICE. If a publishing firm quotes a fee of just a few thousand dollars for a service package that includes everything from copy editing, cover design, and layout to marketing and publicity—or even ghostwriting and developmental editing—you’re probably dealing with scammers. I know this from experience and from the fact that any single one of those services, when delivered by skilled and experienced professionals, usually costs more than a few thousand dollars. By contrast, the fees charged by the reputable hybrid publishers I know—companies with a track record of obtaining meaningful results for their authors—start in the $15,000 range. Several of my past clients made the mistake of opting for cut-rate vanity presses, and all of them came to regret it. When you hire a publisher that charges cut rates, you get cut-rate services in return.
Peter is available to hire on Reedsy ⏺
The fact that they're a vanity press is the only red flag you need. 😉 Seriously, though, I'd aim for either traditional publishing or full-on self-publishing. These companies who want you to go in on the costs are generally more trouble than they're worth. Caveat emptor.
Brett is available to hire on Reedsy ⏺
It's simple. If a "publisher" approaches you about "publishing" your work, and doesn't offer to write you a check, run away. Okay, that's a bit dramatic. But understand that a true publisher buys intellectual property from creators, Some authors choose to pay to have their book developed (cover, interior, ebook) for convenience. But be aware that you can find all those skills here on Reedsy for much less, and with more personal service.
Mike is available to hire on Reedsy ⏺
Generally, a red flag is when anyone approaches you and asks for funds upfront. This can be an agent or publisher. In general, legitimate agents and publishers have enough people approaching them without them having to pound the pavement to look for authors.
Attending writing conferences is one of the best ways to interact with legitimate agents and publishers. This is where they try to connect with authors directly and will not ask for money from the author.
Melody is available to hire on Reedsy ⏺
Some massively prolific vanity presses you may wish to avoid include:
- Page Publishing
- Xlibris
- Author Solutions
Some scammers even masquerade as Big Five imprints. In the early months of the COVID-19 pandemic, they started targeting desperate authors with a “publishing package” that cost exactly the same as that received by US citizens in their federal stimulus checks.
These days, it isn’t enough to simply learn the names of unreliable publishers. New vanity presses seem to set up shop each month — and with no “bad press” associated with their names, they’re able to convince many authors to pay for their services. To understand why publishing with a vanity press is a terrible idea, head on over to this post, which discusses the dangers of “paying to publish.”
If you want to work with reliable publishers, browse our catalog of independent presses, all of which have been thoroughly vetted. Sometimes, vanity presses call themselves hybrid publishers, so head to our post on hybrid publishing to better understand that model.
Are you suspicious of a certain company? Take this short quiz, which will help you sniff out a predatory business.
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Take this quick quiz to see if you're dealing with a legit publishing company.
Pro-tip: Wondering whether to self-publish or traditionally publish? Take this free 10-day course to understand your choices.
2. 'Literary agents' promising book deals
Another kind of scam you might be dealing with is an agent scam. If a literary agent unsolicitedly contacts you to offer you a book deal with a publisher or asks you to pay a reading fee, your spidey sense should be tingling pretty hard.
Q: What qualities and practices make a literary agent effective for their authors?
Suggested answer
Honesty.
I suppose that's a quality that's necessary for any job, right?
I used to be a literary agent (part-time, in addition to ghostwriting and editing). So here's why honesty is crucial.
A good literary agent must be forthright, and constructive, in delivering bad news and harsh realities.
As an author, you want an ally who will assess strengths and weaknesses head on, so they can be addressed in a book proposal, and through all the crucial steps to help you grow your brand and audience.
Mike is available to hire on Reedsy ⏺
Firstly, literary agents won’t ever contact you directly — unless you’re already a wildly successful author (and even then, most reputable agents would avoid poaching you from your current representation). If you belong to the 99% of authors who’ve yet to achieve major success, the only way to get an agent to represent you and your book is to send them a query letter.
Even if they help you polish your manuscript before submitting it to publishers, an agent should not charge you. They work on commission, and the only time you should pay them is when they’ve successfully helped sell your story to a publisher.
When it comes to agents, it’s best to stick to vetted lists like that of the Association of Author Representatives or our directory of almost 700 literary agents.
Q: How do editors and agents evaluate whether a manuscript has commercial and craft potential?
Suggested answer
Potential is usually obvious in the first few sentences. The quality of the writing, pace and tone particularly, are evident from sentence one. But structure is important too, and if that's not in place, no amount of fine writing is going to fix it. So fine writing + tight structure (whatever these things look like in any given novel) is the clue that the manuscript has potential.
Potential is all about a writer being in control of their material. A writer I feel confident in from page one. The sense that although the manuscript isn't perfect and needs work, the writer fundamentally knows what they are doing. I look for a tone that fits the genre. This is really important, and often it's not working in manuscripts. Good pace is important too, again whatever that looks like in any given novel. This is often determined by the genre. For example, thrillers are pretty much defined by their fast pace, yet I've read many manuscripts described by their writers as thrillers that simply aren't, often due to slow pace.
Potential in a manuscript is always an exciting thing to find as an editor, and it is usually evident where a writer understands their genre, its pace, and its tone. That is a very strong start!
Louise is available to hire on Reedsy ⏺
The first thing I consider in a manuscript is how well the first line caught my attention and made me truly care. Even if is subconscious, readers are passing judgement on a piece immediately. This is why the first line is absolutely vital to setting up a successful manuscript. Unfortunately, most people have a very short attention span, and over 500,000 new fiction books are published each year, leaving no shortage of choices for readers. If a writer is adept at capturing an audience in just one line, it tells me they likely understand storytelling and know how to craft a narrative with a compelling voice.
Beyond this, I see potential in consistency. By this, I mean I always look for consistency in the voice throughout a manuscript and for characters to remain consistent in their choices or motivations. If characters are constantly doing strange and out-of-character things, it tells me the work is not well planned or fully developed. I look for plot consistency as well: is the central problem remaining the central problem, or have things drastically shifted somewhere along the way? If it has shifted, it is a sign that the original plotline/idea may not have been strong enough to carry the story.
I hope this helps! There are quite a few other small things I look for, but these are the two biggest ones I can typically spot right away.
Ciera is available to hire on Reedsy ⏺
3. Grossly overpriced self-publishing services
Though self-publishing, by definition, means that you’re doing it yourself, there are companies out there who can give you a hand. In fact, it’s advisable to get editing and designing services from reliable professionals to make sure your book is of top quality.
However, if you don’t have your guard up, it is easy to fall for predators who simply want to overcharge for their services — many of which are tasks you could accomplish on your own. Here are some such ‘services’ to avoid.
Marked-up prices for low-quality editing and designing
Editors and designers are essential to a book’s success — and some companies and individuals will exploit this fact to take money out of your pocket. The worst thing is that they may even quote reasonable costs for self-publishing services, leaving you unsuspecting at first and then end up delivering low-quality work.
When it comes to cover designers and illustrators, it can be easier to tell who’s actually a pro — since their artwork is clearly visible. However, with editors and book coaches whose work is invisible to the reader (if they’ve done their job right), you have to do some research before signing a contract with them. Or… you can search for professionals on Reedsy.
At Reedsy, we vet each professional by verifying their professional experience, ensuring that every freelancer on our platform either has a wealth of traditional publishing experience or is a seasoned and well-reviewed collaborator on indie books. To learn more about how Reedsy chooses its professionals, read our selection criteria here.
Getting your book an ISBN
The acronym may make it sound more complicated than it is, but getting an International Standard Book Number (ISBN) is not like joining the Illuminati: you don’t need a special introduction or to be someone’s important grandchild. For $125, any author can buy an ISBN through Bowker in the USA or Nielsen in the UK: agencies that issue ISBNs and cannot profit from their sale.
Q: What are the main reasons major publishers don't accept direct submissions from authors, and how can authors successfully navigate the submission process?
Suggested answer
It's about time and workload. The in-house editors simply don't have time to read the many, many submissions they would get as well as taking care of the editorial, admin, and other work that they're responsible for. So agents that they connect with get to know the acquiring editors' preferences and tastes, and send them books they're most likely to love. The agents act as a filter. And it's still A LOT of reading to find those outstanding books that the editor knows they can shape with the author, champion in-house, and sell to the world!
Margot is available to hire on Reedsy ⏺
In short, volume. Literary agents receive hundreds, if not thousands, of queries a month. Editors, who are paid by publishing corporations, have jobs not only editing the books scheduled to publish every year, but they also have to liaise with production departments (the folks who work to turn a manuscript into a physical book), marketing and publicity teams, finance, art departments, etc.
And even with literary agents acting as a sort of "filter", editors still receive hundreds of potential books sent to them every year.
Literary agents also work for authors. Earlier, I mentioned that editors are paid by the companies they work for, that is publishers. Inherent in that dynamic, editors are paid to help find and bring books to the market that will make money for the company they work for. That means if there's a disagreement on what should happen with a specific book where the publishing company is on one side and the author is on the other, then the editor is biased (or at the very least can be pressured and influenced) to agree with the company paying them, not the author they're working with.
Literary agents fill that gap as publishing professionals who are author advocates. As an extension of having an entire role dedicated to author care, it makes sense to include working with authors at the earlier stages of writing a book, too.
Matt is available to hire on Reedsy ⏺
However, plenty of companies will make a big deal of securing you an ISBN and charge you hundreds of dollars on top of the actual cost when you could just spend 10 minutes on Bowker and do it yourself.
To be honest, most online retailers for indie authors will supply their own identification codes these days. If you’re not planning to distribute to brick-and-mortar stores, you’ll probably be fine without an ISBN. But if you simply must have one, check out our guide on how to get one without paying more than you need to.
Copyright registration
Did you know that if you don’t register the copyright of your book, literally anybody could claim it as their work and profit from it?
Now, that’s entirely false, but you’d be surprised how many people believe it. Authors own the copyright to their works before and after they publish them. In the US, registering that copyright simply provides a few statutory rights when it comes to claiming damages — and it should only cost you $45 to apply for it online (as of February 2022). For more details on how to register your copyright, you can check out this comprehensive guide.
4. Marketing packages that sound essential
Selling a book is something that most authors struggle with. (For a primer on the topic, check out this guide.) So it’s no surprise that there are people who will offer to solve your marketing problems for a low, low fee. Let’s dig into some of the miraculous “marketing solutions” that authors are often sold:
Press Releases. Whenever a company has a big new “story” to promote, it will issue a press release and publish it on sites where the media can pick it up. Scam companies will sell you on the idea that the New York Times, Good Morning America, and Newsweek can pick up on your story, but the chances of that actually happening are very slim.
Book Fairs. Every year, the publishing world flock to a handful of book fairs where the rights to publish new titles are snapped up. The big ones are in London and Frankfurt (and Bologna for children’s books), and almost anyone can book a table at these events. Predatory companies will offer to display your book at one of these fairs for a fee. More often than not, yours will be one of the countless books on a table in some unseen corner of the convention floor.
Q: What are the most common mistakes authors make when self-publishing?
Suggested answer
From my conversations with self-publishing authors, here are some points came up most frequently:
- Cover design - trying to do it yourself if you don't have an understanding of design principles (or skimping by paying someone peanuts). Whether we like it or not, everyone is judging everything and everyone. First impressions count and good (exceptional) design, attracts attention. I myself have been known to purchase books just because of a gorgeous cover (and hoping the story will be as good!).
- Formatting - poor formatting will absolutely degrade all your efforts. Subconsciously, readers shouldn't be drawn to the layout. An exceptional one doesn't stand out (by way of - "There's something "off" with this layout"), and allows the reader to focus on the book content. Excellent formatting reflects an excellent product.
- Marketing - clearly defining who your target audience is, means you have clarity when it comes to creating your marketing content. It helps you market specifically to those most likely to purchase your book/s and develop a loyal following. Writing your book was one part of it. The marketing is as important to get it out into the world and it requires effort and a good understanding of what your specific book needs, so that it can garner the right attention.
- Audience - ignoring your audience and not engaging with them (or hearing their feedback), can be detrimental. They're your main source of importance when it comes to your reach. Truly understanding who they are (as above in marketing - your target audience), is crucial. They will want to engage with you and will reciprocate with loyalty.
- Procrastination and Perfectionism - this is probably one of the greatest issues we face (across humanity to be honest), and it's also a natural part of being human, that we must overcome. Learning how to optimize your time, carving out when you're most productive and sticking to it daily, and tracking when and how often you show up, creates your lifelong "good" habit. We want to weed out the bad habits that stop us from creating the work. Waiting for "the right time" is a fallacy and something that will blindly rob you of precious days, months and sometimes years. Show up for your future self now and develop the habits (over goals), that will compound over time and create the results needed. It's the actual action-taking that gives you clarity. You just need to start and keep going. Know one gets it right in the beginning. Just don't quit on yourself.
- Editing - after your hard work of bringing your book to life, this is an extremely important part of the writing process. We are so close to the work that we can easily miss what is right in front of us. A professional editor can whip you into shape and saving you time, effort and will elevate the quality exponentially.
The way to success is to never give up. Remember why you are doing it and enjoy the process!
Leoni is available to hire on Reedsy ⏺
One of the most common mistakes I see with self-published authors is setting unrealistic timelines for their publishing journey. Many writers plan their schedule far too tightly and only reach out to professionals—whether editors, designers, or marketers—at the very last minute.
This creates unnecessary stress on both sides: the author feels rushed and overwhelmed, while the professionals either have to decline the project or take it on under less-than-ideal conditions. In the worst case, authors struggle to even find available professionals because their preferred timeline doesn’t allow for the necessary lead time. Many professionals book out months in advance, so it’s wise to plan at least four months ahead—and in many cases, even that may not be enough time.
It’s also important to remember: as self-publishers, you are free to set your own pace. Unlike in traditional publishing, there is usually no external deadline or audience impatiently waiting for the book—especially when it’s a debut. That pressure often comes only from a self-imposed timeline. Instead of rushing, it’s far wiser to take the time to do everything properly, work with professionals without stress, and then launch the book when it’s truly ready.
Publishing a professional-quality book requires space for collaboration, revisions, and creative breathing room. When timelines are compressed, the process becomes about “getting it done” rather than “getting it right,” which can ultimately compromise the quality of the finished book. A thoughtful, realistic schedule not only reduces stress but also ensures that every stage of the process—from editing to design—has the attention it deserves.
Sabrina is available to hire on Reedsy ⏺
One of the biggest traps authors fall into when self-publishing is thinking that the hard part ends once the book is written.
In reality, self-publishing is as much about production as it is about creativity, and overlooking that side can leave even the best manuscript looking unprofessional.
I’ve seen too many writers skip professional editing, try to design their own cover, or leave marketing as an afterthought, and the results are usually disappointing. But just as important, and often less discussed, are the mistakes around the actual printing and publishing process. Authors frequently go with the first printer they find rather than getting at least three quotes, which is a sure way to overpay.
Others don’t ask whether VAT will be added on top of the quoted price, only to discover the true cost later.
Perhaps the most heartbreaking mistake is not asking to see samples of the paper and materials being used; the author waits excitedly for their book to arrive, only to be handed a flimsy volume on cheap stock that feels nothing like the work they poured their heart into.
The truth is, self-publishing is about producing a product as much as sharing a story. Taking the time to ask questions, compare options, and insist on seeing exactly what you’ll be paying for can mean the difference between a book that looks like an amateur project and one you’re genuinely proud to hold in your hands and which reflects the hard work you have put in as well as the hopes, naturally enough, of your client to hold a book in their hands which is a quality item.
Edward is available to hire on Reedsy ⏺
I've read a fair number of self-published books, and one thing I have noticed is that an unprofessional interior book design does impact my reading experience.
Interior book design is about all that invisible work that makes a book visually pleasant to read. If the lines break poorly, if the font is too big or too small, if the line spacing is too tight or too loose, if the font selection is one that's difficult on the eyes, especially after reading for a long time--all of this will subtly make your reader tired while reading, and, perhaps subconsciously, less likely to enjoy reading your book. They might not even know why! And by the end, they may be left with this feeling that they didn't want to pick up the book to read it as much as they have other books, which is not a feeling you want your readers to have, especially for something so easily fixable.
A well typeset book is unnoticeable. That's the point! Your reader doesn't notice the words on the page. Instead, they glide over them, immersed in the story. But a poorly typeset book stands out. Your reader's attention is pulled from the story again and again because the words are too squished together to read easily, or because there was one dangling line all by itself on the last page of a chapter and that looked odd, or because the font for the text messages was inconsistently applied.
Interior book design is an important part of the publishing process that I think a lot of self-publishing authors overlook.
Emily is available to hire on Reedsy ⏺
The most common mistakes authors make when self-publishing are: 1) Not focus-group testing yout title and subtitle, Check with Amazon for duplicate titles, and ask friends/colleagues 2) Not obtaining at least 2 endorsements, for front and back cover. 3) Not creating a publisher name for themselves Amazon. If you publish under your personal Amazon account, the "publisher" will be listed as "independently published," which can erode credibility. Instead, set up your KDP account in the name of a publisher you invent. There are many more, like poorly-designed covers and interiors, but these are of the most overlooked.
Michael is available to hire on Reedsy ⏺
Common mistakes:
Unrealistic or distorted view of public interest (Harsh, I know.)
Family and friends aren't fans--neither are paid reviews. It is important to be as objective as possible when assessing your book's popularity. I say this because many indie and early-stage authors believe they need what NY Times BEst Selling authors need, and that can lead to a lot of wasted time and money.
Acting as your own publishing company
It may seem like creating a separate name as your "publishing company" but the reality is, you don't yet have a company. This can be misleading to actual publishers that may be interested or contribute to the mistake mentioned above. These days, authentically doing everything on your own is more appealing to readers and publishers than the "fake it 'til you make it" strategy.
Starting a blog
If you aren't ready to commit to a regular schedule or writing blogs in batches, you don't need a blog on your website. Focus more on a simple and clear website and point of sale, then drive traffic to it. A blog isn't going to get you traffic unless you treat the blog itself as a business of its own.
Chad is available to hire on Reedsy ⏺
Something I have seen quite a lot lately in the self-publishing world: trying to do everything by yourself. Thinking that you just need Photoshop to make a cover, spell-checking software to edit, a dictionary and a bit of knowledge to translate. Never underestimate the value of a human professional who has spent years studying and then honing their skills. There is more to translation than substituting one word with another, just as there is more to a cover than a bunch of drawings and a title. Find the right professional for you and your project, and work closely with them; you won't regret the expense, I promise. Also, yes, some types of stories and tropes are very popular right now, and those seem like a safe bet, as far as marketing and selling go - but likely there are a lot of similar books out already. In traditional publishing, variety is sorely lacking, because a tried and tested product seems safer; let's avoid repeating that mistake. Write the story that's in your heart and then strategically find your niche audience. You'll find them starved for exactly your flavour of creativity.
Mariafelicia is available to hire on Reedsy ⏺
Screenplay Adaptations/Coverage. Certain publishing companies will offer to write up a “coverage” package to make it easier to sell your book to Hollywood production companies. Others will even get an anonymous screenwriter to adapt it into a Netflix pilot. There’s never been any evidence of successful pitches, but these services will surely cost you a pretty penny.
Boosted Book Visibility and Sales. With the rise of AI tools, authors are increasingly receiving personalized emails from supposed "readers" and "marketing experts" offering to catapult their books to bestseller status. These messages typically follow a familiar pattern: the sender claims to have read and loved your book, praises its "immense potential," and then offers to share a "proven strategy" to boost your sales.
What they don't provide are credible references, legitimate websites, or evidence of previous successes — though with AI becoming more sophisticated, it's becoming trivial for scammers to create convincing fake testimonials and professional-looking websites. What they're really after is your money, often disappearing after payment or delivering generic, AI-generated "marketing strategies" that provide no real value.
Here's an example of such an email that a Reedsy co-founder received about marketing his own book (which, ironically, is titled How to Market a Book — very meta):
(Thanks to author Andre Durivage for the heads-up on this one.)
If you need someone to help you market your book, make sure they offer services that directly impact your ability to reach your target reader (digital advertising and mailing list growth). Avoid companies that offer grand (yet vague) promises of instant stardom.
5. Writing contests and awards no one has heard of
Writing contests are a great way to reach an audience, solidify your writing credentials, and even make a little money in the form of prizes. There are, however, competitions that are little more than money-spinning enterprises. And you can usually sniff them out by the fact that their prizes are not really prizes.

Some contests publish winning entries in a magazine or anthology, which is great. But sometimes, “winning” authors are obliged to pay an “editing fee” for that privilege, which is not great.
Some competitions also award trophies. The catch is that the author is expected to pay for the cost of the physical prize. This isn’t necessarily bad—unless you mind paying $80 for a slab of acrylic. Dozens more have also “won” that month.
Q: Do agents and publishers consider publications in literary magazines or awards from writing contests when evaluating an author?
Suggested answer
Yes, they absolutely do! One of my friends recently got a publishing offer for her picture book from a relatively informal online contest. So, it happens! Contests with a large online community aspect also help writers connect with each other, and this is so important for a writer in the long term.
Short story publications in prestigious magazines are an important part of how writers in the literary genre build their careers. This also goes for publications in magazines or newspapers that carry prestige in any genre. The New York Times' Modern Love column has launched a couple memoirs. I would say, though, that these magazines are struggling to survive amid the noise of the internet.
For non-fiction and memoir writers, getting published in outlets that are relevant to your target audience can help build your "platform"--your authority on a topic, and how big of an audience you can tap into. You can often take chapters or excerpts of your book and send them out as essays to various publications. Even if an agent or publisher doesn't see these articles, listing those publishing credits in your proposal will help prove your authority on the topic.
Tracy is available to hire on Reedsy ⏺
In short, read the fine print. To find contests that have been vetted, you can look through this directory of the best writing competitions.
And that covers most of the publishing companies you want to steer clear of in your career as an author.
How to avoid publishing scams
Now that we’ve learned who the scammers are and how their business operates, it’s time to discuss all the things you can do to turn predators away when they come sniffing at your door.
You can take the quiz below to get a quick verdict on whether you’re dealing with a publishing scam, and then read on for more details on how you can do the detective work yourself.
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Are you dealing with a publishing scam?
Take this quick quiz to see if you're dealing with a legit publishing company.
1. Be wary of anyone who contacts you first
It can flatter you quite a bit if someone contacts you out of the blue and offers to realize your publishing dreams. But don’t let the joy of that offer distract you from the truth—that legitimate traditional publishing companies hardly ever contact you first.
If you want to publish traditionally, you have to query agents and submit to publishers. However, there are more authors looking to get published than there are agents and editors to take them on, meaning professionals are often too busy reviewing submissions to contact you. The only people they might reach out to are well-known chart-topping authors.
So if someone you haven’t contacted appears in your inbox, offering to make a bestseller out of your book, alarm bells should be ringing.
2. Tread lightly with any “publisher” that wants you to pay
If you read our guide on vanity presses, you’ll know that traditional publishing works as follows:
- The publisher buys the rights to print and distribute your book.
- They will polish, package, and publish your book with the aim of selling as many copies as possible.
- They will pay you an advance on your future royalties, and you should never pay them anything.
Similarly, literary agents don’t ask you to pay anything. They represent you and will only make money once they sell your book to a publisher. There are no reading fees, editing fees, or legal fees to be paid before the book is sold.
Because of that, any traditional-style publishing company that asks for payment from you is a vanity press at best — and a publishing scam at worst.
In self-publishing, on the other hand, you pay editors, designers, marketers, and printers. But they don’t publish your book; they provide specific services that help you do the publishing.
3. Google them
When it doubt, Google! There is hardly a handier tool than this to verify a company's legitimacy. You can pop the name of the company in question into the search engine and see what comes up.
If the company doesn’t have an official website, you should be suspicious. If there is a website but it looks like it hasn’t been updated since 2005, red flags should be flying.
Q: How should writers research literary agents ethically and effectively before querying?
Suggested answer
Doing a deep Google search on target agents is actually a smart process, assuming the search relates to their professional endeavors not their private life. On platforms where agents are listed by genre, it's usually a database dump that doesn't highlight the specific interests of a given agent. Websites are professional, but also not terribly deep. Publisher's Marketplace often demands a fee to obtain significantly useful information. Social media highlights perspectives, which gives you a feel of the agent's personality or position on current events within and outside of publishing.
A deep Google search can reveal very useful things: interviews with agents on blogs, articles agents may have provided to organizations, positive and negative remarks on given experiences with agents, occasional deals they've worked out that are unique or exemplary, tips and tricks they've offered to beginning authors, and so forth.
Choosing an agent, or agreeing to work with an agent who has offered, is a very personal choice. Ideally it is a long-term choice viewed as a mutual partnership for success. Any and all information you can find about how their views on publishing, their views on the author-agent relationship, helps to better evaluate whether they align with you. You may find that the "Number One Agent Ever" simple isn't a personality match with you, via remarks they've made in an interview, or he/she feels very different than you on certain publishing subjects. Sometimes even value statements might make a difference. Working with a stranger can be awkward and difficult in the beginning, and anything you can glean to better understand who you're about to work with is beneficial. You, and the agent, want to enjoy working together. Weeding out people who just don't "click" keeps everybody happy.
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Professional research is absolutely necessary to determine whether an agent is a strong fit. What authors do they already represent? What books have they landed successful deals with recently? If they have a professional social media account, they are likely posting the types of books they like to read or advice about how to reach out to them. This is all healthy, necessary background research to ensure you're not wasting your time or theirs. They likely receive hundreds if not thousands of manuscripts, so if they're talking about how to stand out from the crowd, you should be listening.
But boundaries certainly exist and people will establish them intentionally; if their social media account is private, for example, it's likely wise that you don't request to follow if you don't know them personally!
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While you're on the internet, check out Writer Beware, a blog with up-to-date news about publishing scams of all kinds. In the sidebar of the site is a blacklist of companies that have been identified as predatory — if the company you're dealing with appears in this list, it’s a clear no-go.
4. Look at their books on Amazon
Examining the books the company claims to have worked on is also a good strategy. Nowadays, most books are sold on Amazon, so it’s a reliable place to do your research. Alternatively, you can go to Goodreads.
Once you’ve found the books, you want to make sure that each has:
- A quality book cover that’s comparable to other titles in the genre; and
- At least 10 user reviews from actual readers.
Take some time to check the reviewers. If you see names of other authors who have worked with this publishing company, it’s a sign that the company is unreliable. They may have asked their authors to leave reviews on one another’s books to give each a legitimate appearance since there aren’t any real readers.
5. Ask the community
If you’re still unsure about the company, why not ask fellow writers who have published before? Go to relevant forums and boards and start a discussion. Ask some questions and see if any other author has been through a similar situation. Sometimes, you may even stumble across incriminating threads about writers’ experiences with scammers.
Just remember to find a well-established writer community with a good number of members so that you get as many perspectives on the matter as possible. Once you’ve found a good place, other writers will be happy to help where they can!
6. Ask questions and see if they turn up the pressure
Another tactic is to ask the representative of the company you're dealing with a couple of questions. You can pick smaller details, like information on publishing costs, the target market, or distribution channels.
Not only do you want to see their answers, but you can also gauge plenty from their reaction. Seasoned scammers won’t bat an eyelid, but they will try to fluster you — they will amp up the time pressure, urging you to take the deal before it's too late. They will try to panic you rather than answer your question.
7. If in doubt, walk away
After all this research, if you still feel even the slightest bit unsure about this business's reliability, it’s best to decline to work with them. Only work with people you are certain to have the right experiences, expertise, and care to strengthen your book.
Knowing how difficult it can be to find reliable partners in your publishing endeavors, the team at Reedsy has independently vetted over 3,000 publishing professionals before letting them list on our marketplace. You can sign up for free, browse these professionals’ profiles, and send them a request if you’re interested.

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We hope this guide has helped you protect yourself on your publishing journey. Stay safe, avoid scammers, and we know you’ll find the right professionals for your book soon enough!