Red Flag Alert: Loiacono Literary Agency, Swetky Literary Agency, Warner Literary Group


Header image: red flags flying on a beach (credit: Yakov Oskanov)

In the late 1990s, when Writer Beware first started up, the digital revolution was just peeking over the horizon. Traditional publishing was still the only path to publication, and literary agents were the principal gatekeepers.

As a result, there existed a huge and lucrative subculture of dodgy literary agents, who fed on writers’ hunger for publication and turned the (false) promise of access into money. Upfront fees, editing referral schemes, vanity publishing scams: the list was endless.

No more. With the enormous growth of small presses and the expanding number of self-publishing options, agents are no longer the be-all and end-all of a writing career, and fewer writers decide to seek them. Writers are also more savvy these days about proper business practice. This has been bad news for the predatory agent subculture, which has shrunk to a sickly shadow of its former self. Fee-charging agents, once the most common of all literary pitfalls, are now relatively rare.

That’s not to say they don’t still exist.


Loiacono logo

There’s an impressively large list of book placements on the website of Loiacono Literary Agency (motto: “Where ‘can’t’ is not in our vocabulary!”). In this case, though, size isn’t everything, because apart from a handful of sales to larger publishing houses, most of the books have been placed with small presses that don’t require authors to be agented. For most of the publishers Loiacono has worked with, the authors likely could have placed the books on their own and saved themselves a commission.

This isn’t why you hire an agent. Another thing you don’t hire an agent for: hooking you up with vanity publishers. A very large number of books on Loiacono’s list have been placed with Argus Publishing. Argus, which has also done business as A Better Be Write, A Book 4 You, and A-Argus Book Better Book Publishers, has offered “investment” contracts requiring up to four-figure fees (Writer Beware has received a number of documented complaints). Its owner is a former tax preparer who in 2005 was permanently enjoined from tax preparing by the US Department of Justice, which found that he had filed fraudulent returns.

Despite all of the above, I probably would not have bothered to post a warning about Loiacono, had it not been for a recent change in its author-agent agreement. From the email Loiacono sent to authors at the end of December:

In the current contract, the only charges are for any expenses that may incur (postage, foreign exchange, etc.), $250.00 per year, which has not been used for any author so far, and a $500.00 cancellation fee should the author wish to terminate contract before it expires or the publisher cancels, which breaches the LLA contract.

In the new contract, for any new Work(s) there will be an administrative fee of five hundred dollars ($500.00), made payable to the Agency upon signing. This is a one-time fee, unless the Work(s) do not contract with a publisher and require renewing after one year. Renewals are two hundred fifty dollars ($250.00) per year. Upon publication of the Work(s), only the LLA 15% shall apply.

Charging administrative fees is old-school predatory agenting. But the “cancellation fee” is a new wrinkle. I’ve gotten a lot of complaints about publishers that force authors to pay to terminate their contracts early (this is a potentially abusive practice)–but this is the first time I’ve encountered an agency that penalizes its clients for such termination–and does so even where the termination is not the author’s fault. Wow.

Upfront fees, contract termination penalties, multiple placements with a vanity publisher: the Loiacono Agency is a trifecta of “writer bewares”.

(Literary agent Janet Reid has also weighed in on Loiacono Literary.)


Swetky logo

The 25 or so book placements claimed by The Swetky Literary Agency (don’t you love that dawn-of-the-web vibe) is much, much smaller than the list claimed by Loiacono.

In other ways, though, it’s similar. There’s a handful of placements with reputable independent and specialty presses; the rest are “sales” to vanity publishers (Koehler Books) and small presses that authors can work with on their own. Also, even if every one of Swetky’s book placements were impeccably reputable, 25 sales over the nearly 15 years the agency has been in business is a pretty sad track record (this blog post from a publisher to whom Swetky offered a completely inappropriate book offers some possible insight as to why).

The agency’s apparent lack of commercial success is certainly reason for caution. But it’s not why I’m posting a warning.

I’ve heard from multiple writers to whom Faye Swetky offered representation or the possibility of representation, and then told them that their manuscripts needed editing. Fortunately, she knew a terrific editor who might be willing to work with them: David J. Herda, a much-published author of nonfiction.

It’s no secret that Swetky is Herda’s agent; that info is right there on the agency’s website. What is a secret–at least from the writers who contacted me with their stories–is that Swetky and Herda are either married or romantic partners. Among other things, they share an address (the image below is public record; note that it matches the address on the Swetky Agency logo, above):

Address record showing co-ownership by Faye Swetky and David Herda

This connection was not acknowledged to any of the writers who contacted me. To make matters worse, Herda charges enormous fees (I’ve gotten reports of up to $40,000; here’s one writer who was told Herda’s fee would be “no more than $45 thousand”), and some of the writers I’ve heard from have not been satisfied with his services.

This is a textbook editing referral scheme–common in the old days, but something you almost never see anymore.

UPDATE 1/13/18: Swetky has overhauled its website (though the old version is still around) to make it look a bit more current. The list of recent works includes titles with 2012 pub dates.


Warner Literary Group logo

Sarah Warner, principal of the Warner Literary Group, has an impressive background as an acquisitions editor. It would seem to be the perfect set of qualifications for a successful literary agent.

And yet, Warner’s track record is tiny. Since the agency’s founding in 2011, she appears to have made just 12 deals. Seven of these are with solid publishers–but the rest are books by agency clients that have been placed with the agency’s own publishing division, Hedgehog & Fox. In fact, with the exception of one book authored by Ms. Warner herself, the whole of Hedgehog & Fox’s miniscule list appears to be made up of agency clients.

Something else agency clients have in common: lawsuits. Warner Literary Group has been sued by three of its authors–a huge percentage for such a small agency.

In 2012, Derek B. Miller sued for, essentially, what he described as substandard representation (his very detailed complaint can be seen here); he later won a motion for declaratory judgment terminating Warner as his agent (she had refused to allow him to cancel the agreement). Firoozeh Dumas sued in 2016 for similar allegations (her complaint can be seen here); ultimately the arbitration clause in Warner’s agency agreement prevailed, and the parties were directed to arbitration. A third lawsuit filed last October is from client Karla M. Jay, whose books Warner published with Hedgehog & Fox. Jay alleges that Warner withheld royalties “in order to pay other expenses of WLG”, and, as with Miller, refused to allow her to terminate the agency agreement.

That agreement, by the way, has a problem. Here’s the first sentence of the agency clause that’s supposed to be inserted into any book contracts the agency negotiates (my bolding):

The Author irrevocably appoints Warner Literary Group, LLC, as the Author’s sole and exclusive agent (the “Agent”) with respect to the Work for the life of the copyright (and all renewals and extensions thereof)

This is known as an “interminable agency clause,” and it entitles the agent to represent a book not just for as long as a contract is in force but for the whole duration of the book’s copyright (in the USA and most of Europe, the author’s lifetime plus 70 years). Major authors’ groups warn about such clauses; I’ve written about that here. This is red-flag language; you do not want to find it in an author-agent agreement.

UPDATE 6/19/19: Both Firoozeh Dumas and Karla Jay prevailed in their legal actions against Warner Literary Group. Dumas’s action was resolved by arbitration in August 2017; she was awarded expenses of $2,787.50 (the arbitration fee owed by Warner, which Dumas advanced so that the case could go forward), and her right to terminate the agency agreement (with cause) was affirmed.

UPDATE 5/19/20: Sarah Warner is still doing business as an agent, but under a different name: De Nobili House. The new company was formed in September 2018.


  1. Jeanie,

    Thanks for your comment. But there is no misinformation in my post, and I don't "make up information."

    The paragraphs describing the fees are your own words, reproduced verbatim, from your own email to authors, which was shared with me by someone who received it. Quoting from it is not illegal. I also didn't see "Just kidding!" anywhere in the email, so it's not fake news, either (in the sense of "news that is fake" rather than just "news I don't like").

    Reputable literary agents most definitely do "work strictly for commission". They don't rely on "administrative fees" to stay in business, and while many do work with clients on revising and polishing before sending out a submission, they don't charge fees for this either. And they certainly do not penalize their clients by forcing them to pay a fee for terminating a publishing contract, or having one terminated by the publisher.

    If selling books to publishers isn't bringing in enough money to support your business, maybe it's time to consider a different line of work.

    As for Argus Publishing, I have documented complaints of its fees (in other words, I have evidence).

  2. As CEO of Loiacono Literary Agency I feel compelled to correct your misinformation. The fee of $500 for the first year covers comprehensive editing, shopping of manuscript, and marketing and promotion of the book as long as it is under contract, which is outrageously inexpensive compared to any freelancer with no vested nor future interest in the manuscript. I will not charge and send authors to freelancers who will ultimately swindle them. I did that once. Never again. When the author got the MS back, it had not been edited nor polished and the author assumed it was. The author was charge nearly $5k for nothing. I had to edit it myself. Editing sometimes takes three to four months. There are at least five rounds done back and forth with the author to get it ready. Then there is creating a submission package, research as to whom to send it, follow-ups, resubmissions, and contract negotiations. After the MS is acquired by a publisher, it goes through at least three edits there. When released, there is continuous marketing and promoting, working with the publisher and author in all forms of media and for events and signings. Find one Literary Agency who does all that. You won’t.
    The $250 per year thereafter is if the book is not contracted with a publisher the first year. The work continues. Out motto is “Can’t is not in our vocabulary.” Therefore, we never quit.
    The cancellation fee is an incentive not to try to get out of your contract. I have had authors who signed with LLA, we did all the edits and polished the MS, then the author canceled and self-published with what we did. Not acceptable.
    So, using our proprietary contract information is 1) illegal and unethical and 2) out of context. This is fake news, twisted information.
    Same goes for Argus Publishing. They have done more for LLA authors than any of the Big Five we have contracted with. They do not charge anything for publishing and are traditional publishers. Never have I had trouble with them not adhering to their contract, which is comparable to any large publisher in the industry. Honest, forthright, and punctual in response to questions and delivery of royalties.
    If you wish to have the truth, ask the source and not make up information like news channels. You can get this from our website Those who submit to LLA are doing so voluntarily. We do not take advantage of anyone, but on the contrary do more than any other agency I have ever encountered.
    And as for
    Anonymous said…
    I worked as an editor, and a few years ago LLA had me edit for a "friend" of theirs who was a "publisher", which then closed down. The "publisher" and then LLA screwed me out of payment for all the editing work I did. Which I provided because I didn't want to punish the authors, and thought that the agent would take care of me. They didn't. I have yet to see a dime. On books that are now published. And still on their site. At the time this caused me to believe they are unethical, and this new "policy" just cements that.

    (Apologies for wanting to stay anonymous. I don't want blow-back, and I feel like a fool.)
    9/23/2017 2:48 PM
    I have no idea who she is or what she is talking about. Never have we ever ‘screwed’ anyone out of a payment. We do not pay freelancers. The author hires them and is responsible for paying them. This is another example of fake news and misinformation. Have this anonymous person contact me personally and I will tell you the truth. She should ‘feel like a fool’ for writing this. Ridiculous.
    As far as ‘working strictly for commission,’ try paying bills with no income. I have several with big houses that have yet to earn out their advances and the books have been out seven years. Some with medium and smaller houses get royalties, but 15% or 15% is pennies. Live in reality, folks.
    Jeanie Loiacono

  3. I worked as an editor, and a few years ago LLA had me edit for a "friend" of theirs who was a "publisher", which then closed down. The "publisher" and then LLA screwed me out of payment for all the editing work I did. Which I provided because I didn't want to punish the authors, and thought that the agent would take care of me. They didn't. I have yet to see a dime. On books that are now published. And still on their site. At the time this caused me to believe they are unethical, and this new "policy" just cements that.

    (Apologies for wanting to stay anonymous. I don't want blow-back, and I feel like a fool.)

  4. Hi, Heather,

    For me (and some people may not agree with me), what distinguishes a vanity press from a self-publishing service is that a vanity press goes to great lengths to present itself as a publisher, and claims or implies that it is selective and/or provides benefits that are superior to self-publishing. Often, it will conceal its fees, or claim that the fees represent only a small portion of the publishing cost (this is nearly always a lie), or sanitize them by pretending that they apply to something other than actual book production.

    On that basis, I'd class Dog Ear Publishing as a self-publishing service. It's upfront about its fees, and it doesn't pretend to be something it's not.

    Whether that makes it a good choice is another question. There are many similar services; while the packages they offer are all based on the same set of basic services, they vary a lot in prices and extras (though the extras aren't necessarily worthwhile). I agree with you that Dog Ear is expensive, and its comparison charts are fairly misleading.

    When choosing a self-publishing service, comparison shopping is essential. On the Self-Publishing page of Writer Beware, there's information and tools to hep you do that.

  5. I'm just getting on to the scene of self publishing and worried about Vanity Presses. does any one know if Dog Ear Publishing is considered a vanity press? They do ask for large sums of money for package deals, but does this make them dangerous?

  6. Adding linkage to the quote (from Jeanie Loiacono) in Christine's comment above so people can see the whole thing. I am pretty sure (though I couldn't swear to it) that this essay wasn't there when I was researching my post.

    (I would add that all reputable agents "work strictly for commission.")

  7. From LLA's site:

    "As the publishing industry evolves, as it has exponentially in the past twenty years, so does the agenting role and model. It used to be that agents could work strictly for commission and actually put food on the table. That was when the quality and quantity of books were rationed, meaning you got more for the money. With self-publishing, a myriad of micro publishers, and small houses that are staying afloat while bailing, agents are no longer able to wait for the check that is six to eighteen months coming; no longer able to work tirelessly for a writer who expects everything for nothing. Who in this world works for free?"

    Q: Who in this world works for free? A: Authors, they have and continue to do so until the Agent can find them BOTH a good sale. Then the Publisher works for free until the book they have acquired sells!!!
    Certainly Commercial publishing evolves, as does all business, the one constant has been they do NOT charge the Author, nor should any Agent!

  8. Back in 1975 Donald Westlake published the novel "Dancing Aztecs" and one of the characters was a scam literary agent who used the name Zachary George. Westlake included an ad for the Zachary George agency, no doubt based on ads that he had seen as he was making his way as a writer. Pretty much only the prices have changed:


    Of course, you’re a writer. You know that. But it isn’t enough merely to write, you need to be published as well. Success in writing is really yours only when you have reached the great Public with your ideas.

    But how can you “break into” print? Is publishing really the closed world that people say? Do you really have to “know somebody”? Or, can talent “make it” on its own?

    I say you can make it. I’ve seen others who made it, and I’ve helped some of them along the way, and I can help you, if you have the talent, and the desire, and if you’ll trust me.

    For a limited time only, the Zachary George Literary Agency is seeking to expand its client list. Send me your short story, your novel, your magazine article, your poem. If it’s salable, I’ll find the right market for it. If it isn’t quite “up to snuff,” I’ll write you a personal letter, telling you where I think you went wrong.

    Once you’re successful, I’ll take only the standard 10 per cent commission from my sales of your work. Until then, of course, it will be necessary to charge an advance against those commissions—fully refundable when you begin to sell—at the following rates:

    Short story or article $10.

    Novelette or TV script $25.

    Novel or film script $50.

    Get in touch with me today. Why wait for success any longer?"

Leave a Reply

JANUARY 18, 2017

The Continuing Decline of “Assisted-Self-Publishing” Giant Author Solutions

MAY 4, 2017

The Law Finally Catches Up With Tate Publishing & Enterprises