The Friday Project and the Rules of Dating (or how to spot a lasting relationship)
I have been thinking for a while about how to address the issue of The Friday Project’s spectacular collapse. I don’t want to get into specifics about the company itself. I have seen the published figures, and from before Christmas things were said to me that made me think this was a shaky operation. I have also spoken to many disgruntled authors and my heart goes out to them.
There were a number of issues that made me rather suspicious of the hype around TFP and, unlike with less “media-friendly” but impressive operations like Snowbooks, fear that some of the coverage, especially in the trades, was failing to look beneath the surface of a company that promised much but when it came to chart performance delivered relatively little.
As I say, I am not going to talk directly about TFP, but think it is worth writing about what one should expect from a small publisher and the warning signs that may signal less substance than style. I am going to call them The Rules of Dating. Some of this may have been useful to TFP authors, some may not. I hope all will be useful for authors being wooed by new set ups in particular.
1. Don’t be blinded by technology
The book industry is so far behind other media industries when it comes to technology, both in terms of what it can do and creating new markets for books. The fact that publishers constantly call my website a blog (it isn’t, it’s a depository of most of my published work with occasional blogs) says it all.
In the 2008 issue of The Deal, the London Book Fair magazine I have just edited, advertising industry guru Steve Hatch, who heads the sixth biggest ad agency in the world, revealed a startling statistic about the ad spend on the web by UK publishers. To quote: “Excluding the millions devoted to in-store deals, in the last 12 months UK publishing spent £33m (source: Nielsen Media Research) on above the line advertising. Given the amount of time the key audience spends online, what do you think was online’s share of that £33million? £3m? £6m? Maybe a really brave £8m? The real figure was £800,000, a mere 2.4% of the total industry spend. To put that in perspective, in 2006 the total spend on online advertising for business in the UK was £2.06bn, just over half the total spent on TV advertising. (source: Internet Advertising Bureau).”
The industry has spent so long in minor debates about the ebook and territory, it has failed to gen up on the grab power of the web itself. As a consequence, it is now trying to catch up with the speed and understanding of a lazy student on the eve of her finals. There is a tendency to believe superficial claims without looking beneath the surface to see if those claims really stack up. This has definitely happened with the reporting of the new publishing start ups that “harness” web 2.0 technology and the reaction of authors and the trade in general.
During the Internet Bubble on the Stock Market a friend who worked in the City as an analyst told me: “No one understands how these companies that are heavily in debt are defying the laws of economics. It is a whole new economic model that no one understands.” She paused, and then added: “Or maybe they aren’t defying anything. Maybe they are just waiting to be found out – like Icarus.” A few months later stocks came crashing. Among those who suffered were a few publishers and booksellers who had made ill-timed and ill-judged investments in the ventures that were shaky and short term.
2. A blog is just a blog is just a form of vanity publishing
Why would a blog make a great book? Very few if any blogs have made a direct transfer from net to bestseller charts. Belle du Jour is always quoted, but let’s look at that more closely. First, the book that emerged was not a direct copy of the website. Second, the book was snapped up only after journalists had hyped it up as a search for the person behind the blog. So, in other words what was being bought was not a straightforward blog, but a media phenomenon that had already excited interest in Fleet Street as well as online. Her publisher knew she could write a good story and that she could give good headline. It was a no brainer publishing proposition. It was not a simple blook story.
Most other so called blooks, in the UK at least, have failed to excite readers – and why should they? One of the things about the net is that it defines and captures an instant audience. It is mistaken to assume that there are more potential readers out there. In fact, “reader” is the wrong word: the internet is not about readership or audience, it is about community, and blogs are about participating in communities – and as Morrissey once said, some are bigger than others. Books serve a different purpose and are a different, more personal and permanent reading experience. Blogs are instant feedback, even more out of date in a day’s time than yesterday’s copy of The Sun.
Much of what is out there is written because the author wants to write it and not because they understand there is a “market” for their work. They are not writer and publisher in the way that commercial publishing would understand. To me what blogs do is one definition of vanity publishing: publish and be damned whether there is a market or not. I am not denying there are good blogs out there, but there is also a lot that have few if any readers, which is fine too. They are not written to make money primarily, but to reach a community of like minded people and in a fractured society provide an outlet for one’s voice that used to be found at the local pub, church or political club.
That is not how profitable commercial publishers should operate (and don’t even get me going on the scurrilous reporting of the dropping of a book about Gustavus Adolphus by Wiedenfeld & Nicolson. I actually know about the Swedish king, and even I can see it’s unlikely to be a money-spinner for a business making its money from trade not educational publishing).
3. Beware of publishers who discourage agents
My experience with large houses, and several successful smaller houses, literary and commercial, is that editors actually like to deal with an agent, because they have someone who has a long view of the industry, understands the business side in a way their author may not and can keep any difficulties from becoming nasty and personal. Agents are there to fight the corner of the author, and I would feel very suspicious of a publisher that actively discouraged me from getting an agent. I would feel that they wanted to keep me vulnerable and in their power. I may be wrong, but that is how it would make me feel.
4. A publisher should publish
By that I mean they should properly edit your work and help restructure it for the BOOK, as opposed to the blog, market. As Marshall McLuhan said, the medium is the message and, despite similarities, these two media have very different reading requirements and messages. Your publisher should show that they understand this and be shaping your book accordingly. That means reshaping narrative, text and style to suit the book format. If they are just sticking it on paper, I would be suspicious. Try to talk to other authors who have been published by that publisher and find out what their experience was and how that measured up to what they promised.
5. Look at the balance sheet
Companies House is a great place, spend time there and order accounts for the company. You can also check the solvency and record of directors. How much are the directors being paid (this is under “directors’ emoluments”)? In the case of TFP directors this sounded like a lot for a small business. Start ups have to work on a shoe string. Fat salaries for the top brass the first three years need to be justified in sales. Also look at what promotions they are in and estimate how much that is costing – there is loads on this site about how much these cost. Measure that against their chart positioning. Also find out if they have a no advance/small advance rule if that applies to everybody they publish. It will make a difference to the way your book is treated and you need to assess how committed they are to your work to make it a success – that usually means a financial risk taken up front by them that focuses minds.
Money out has to be replaced by money in: it’s as my friend from the City said, you ignore the law of economics at your peril. Do their plans make sense and are they economically viable? Publishing is a business, whatever people may say. Unless you have a great backer with unlimited patience and pockets or Arts Council funding, then you will have to make money to survive. That means directors who actually understand a profit and loss account.
6. What’s the scuttlebutt about the directors?
Just because someone has a high profile does not mean they are everything they say. Look at their track record with other companies, how did that company perform under their influence? Have they done a Tony Blair? Risen without trace? Check out what is said about them on the net. If there is dirt it will be out there and as their potential author you have every right to ask them about it.
7. Don’t believe big promises
Anyone who promises to make you a millionaire is lying. Publishing is a business based on art and no one can second guess the market like that – why else would Bloomsbury have only paid J K Rowling £2k for Harry P, and why else would all the other publishers have turned her down? Most authors make very little from their work and have to work hard to make the books that do sell sell. Find out exactly what they are going to do to get the book out there and what you can do to help, but don’t expect miracles. They happen, but rarely and usually with help.
8. Is the list sustainable
How many books a year is the publisher pumping out and how many of those can it realistically sustain? Everyone agrees that there are too many books published, and a small publisher that goes great guns and pumps 100s of books into the market is setting itself up for failure. Even the large houses are cutting back so that they can concentrate on making the ones they retain work. This isn’t just about the money in the PR and marketing budget, but the number of people working within those departments and how much time they can realistically spend promoting and marketing your work. Are they over stretched?
As said, this is all about small publishers in general, not TFP. But the problems it faced highlight the tough environment everyone is trading in these days. Authors are rightly precious about their work. Regardless of what we may feel about it, it is their special creation and when approached by a publisher it’s easy to get carried away by the perceived glamour, excitement and those day dreams we had in school. Fine, but, if you are serious about a publishing career, look at these rules and think about how your potential publisher measures up to them and then make a decision.
Comments
Posted by Emma Barnes on 23 April 2008
Outstanding piece, and thanks for the mention.
I’d only make two comments: accounts at Companies House need to be interpreted correctly. For instance, at TFP the director’s salaries were down as x but much of that in the last months went unpaid, and was owing to them when it went bust. And at Snowbooks we can register a hefty provision against future returns, which we do, but it makes us look much less profitable than another accounting treatment might. Finally, many small publishers can put up only abbreviated accounts (we do) which shed a lot less light. Still, a sensitive eye can identify fascinating things from the accounts and it’s crucial for seeing if directors have been struck off previously, etc.
The other note is about agents. I totally see your point, but on the other hand one of the great obstacles to getting published is having to get an agent. I like to knock down obstacles like that so we actively encourage authors to submit direct. And I know I’m not out to shaft anyone – but that doesn’t mean others aren’t, so your point stands.
All the other points: brilliantly made and if authors can bear not to bite off the hand of the first person who offers them a deal, they’d be wise to do their research. The sad truth is that getting the publishing contract, which seems like the big achievement, the goal that debut authors strive for, is just the beginning. The publication process is a commercial one, and can be disheartening and different to authors’ dreams. (Personally, I think the process is more likely to be a disappointment with a large house, with a fixed way of doing things, where you are one of many authors, but I would say that.) Best go into it with eyes wide open.
Loved The Deal, by the way!
Posted by Em on 23 April 2008
Ooh, also meant to mention one exception to the rule about pumping books out: Salt Publishing, who are just about the best poetry publisher on the scene at the moment. They have a new model which is based on print on demand, and as we know poetry sells relatively few copies so by managing their stock levels through POD they can sustain a larger list. And poets are, rightly, flocking to them. Just goes to show there’s always an exception to the rule: but your general point, being ‘do your research’, would reveal to a poet a strong and well-regarded publisher in Salt.
Posted by Danuta on 23 April 2008
Hi Em and thanks for all that feedback (Salt is an interesting and unusual model, you are right, but it is poetry!). Your points are really helpful. Regarding agents, I should clarify, it is about a publisher putting an author off getting an agent after signing them up – which does happen. As you rightly say, getting an agent can be a nightmare, so shouldn’t put unagented authors off trying for a book deal initially.
And glad you like The Deal. For anyone who wasn’t at the fair, it can be read online at the London Book Fair website, here: http://view.vcab.com/showvcab.aspx?vcabid=0vUgag8S68rr8
Posted by Em on 23 April 2008
Hiya – yes, totally agree on that agent point. I personally think that small publishers’ reputations can be greatly enhanced by starting an author off who then goes on to be published by larger companies, so I was delighted when Sarah Bower, author of The Needle in the Blood, got an offer from Curtis Brown, and Robert Finn, author of our bestselling Adept, hooked up with Sheil Land. Makes me all warm inside – and of course Snowbooks will benefit in backlist sales once the larger company spends a hundred thousand on marketing the new book!
On the other hand, I have been stung twice before by signing an author up, and them getting an agent as a result, only to have the agent withdraw the ms and sell it to a larger publisher using Snowbooks’ interest as a selling point! That’s just not cricket.
And yes, you’re right, Salt is poetry, and that model wouldn’t work in novels. Maybe short stories, though (although I think Salt are doing them, too!)
Posted by Jane Henry on 23 April 2008
Hi Danuta,
As ever a brilliant and insightful piece. I thought TFP was bold and interesting when it started up, but was a) not convinced by the experience of those involved and b) also thought they were publishing too many books. Small is definitely beautiful for independents, I think. Well actually for mainstream publishers too. We ran into such alot of problems at Scholastic when we started over publishing. Publishing works so much better when you can be quick and flexible and respond to market demands as well as seeing the bigger picture.
I think your article should be required reading for anyone online who thinks they want to write a book and may get seduced by the first person that comes along.
I can see Emma’s point about wanting to break through and get people published, but I also think (from both sides of the divide now) agents are worth their wait in gold. As an editor I preferred to discuss tricky problems with an agent rather then compromise my relationship with an author, and as an author I value my agent’s input and ability to fight my corner if needed (luckily so far she hasn’t!).
Have just finished the zedlebrity book btw, and I have littered it with as many zedleb references as I could get away with!! I will be acknowledging you of course.
Hope the pregnancy is going well.
love Juliax
Posted by Danuta Kean on 23 April 2008
Thanks Julia, your points are every interesting and helpful.
And thanks too, I am remarkably well, though the brain can be a little absent at times – that may be the norm! We are very excited about her arrival in July, though a little daunted….
Posted by nmj on 23 April 2008
Hello Danuta, I am a TFP writer (not blog to book though, I had posted extracts of my novel on my blog, and that is how TFP found me) – I can’t speak for others, but would just like to say that TFP did *not* discourage me from having an agent when they signed me up. I had already been through the wringer with my novel (two agents, many years, I won’t get into the saga here) and it was a huge relief when TFP signed my book, a relief that they ‘got’ it and weren’t worried about the ‘tricky to market’ label. I agree that agents can be worth their weight in gold, but at the end of the day, if they don’t get your book published, they don’t get your book published!
Posted by Em on 23 April 2008
I did your cover design, NMJ! Hope you liked it. (Didn’t get paid for it, of course…)
Posted by SUSAN HILL on 23 April 2008
Excellent piece Danuta.. many very good point about small indie publishers – I am one, with my other hat on of course. There is one point… hyping oneself can never work ultimately because anyone in the Trade can get access to real sales figures via Nielsen. Now of course these do not include special sales (i.e. non-booktrade sales) and etc but they are a good guide… don`t look up one title from a small indie publisher look up half a dozen. One book with poor sales is not representative and a lot of the large corporate publishers have books out there which have sold 200 copies. But if you look up half a dozen or so books published by, say, HarperCollins, you won`t find many in there which have sold 200. If you look up a Inde publisher`s figures and find 10 of their books have sold between 50 and 200 copies, then you know to run away !
It is fine to put your best foot forward and tell the world what great books you have – you`d be an idiot to say ‘our titles are a bit iffy’. but to say ‘we are doing wonderfully’ when a. you are not and b the rest of the trade is not and to say ‘we`re making loadsa money’ and ‘we get very few returns’ and ‘we are on course to turnover 6 million next year’ when none of this is true is dishonest and also silly as you are bound to get found out. And when you do, boy are you going to get stick.
Agents. Two of Long Barn`s author, with books out in 2009, have found a top agent as a result of our taking them on and they have found them through me. No small publisher can get foreign rights to the extent that a top agent can and not only the rights but the top money for each individual country. We do not have the expertise, the foreign rights specialists etc. But these authors have got a good number of really good foreign deals as a result of having an agent.
Long Barn pays its authors a flat advance of 1,000. No negotiation. I cannot afford to give out more upfront but this means that we try to promote and get behind our authors equally. We don`t let those we have paid little for sink or swim by themselves. Also, if you have a modest advance you are likely to earn it out quickly and start getting real money in. Agents do not send me their books because they know they are not going to be able to negotiate a big advance, on which they will get commission. But the ones who do send know that I will put everything i can behind each book I publish and in the end this may mean they actually earn more money – just not off the back of the advance. I paid £500 advance seven years ago for COUNTING MY CHICKENS by Debo Devonshire. Her agent was perfectly OK about this. We have sold 85,000 copies as of this month.
Re TFP. You are dead right that web-to-book, which was how they began ( and their original idea was not ONLY to do with blogs) was an original idea and with care and attention to BOOK publishing, might have worked quite well. BLOOD, SWEAT AND TEA, about a paramedic`s life, did. But they veered right away from their original business proposal and started to churn out far too many books which had nothing to do with that. They tried to turn themselves into general publishers, without a focus or a strategy, publishing more and more books when they should have been publishing fewer and fewer just to try and buy themselves out of trouble. That never works. Care and editorial attention went out of the window – if they had ever come in – the truth was never told to authors and creditors and I think that was because it was not being told to themselves. Self-deception when you are in a financial hole is as bad as when you are in the grip of an addiction.
The sad thing is that there are so many would-be authors out there clutching at any straw to get published and never looking to see if the straw will hold water. If only, if only, if only, they could see that getting your book taken by a publisher and put into print between covers is NO GUARANTEE OF ANYTHING WHATSOEVER. I read a blog-comment yesterday from an author published by a small publisher (not TFP, not LBB). I checked their sales out. They had sold – this is truly terrible to report but through the tills, in a bag, to a customer they had sold ONE COPY.
Posted by dulwichmum on 23 April 2008
Dear Danuta,
Well done, great piece. I was a TFP author until I broke my contract with them in January. I was told by Clare Christian that TFP were loved by their authors and that many did not have the need for an agent as she managed them so very well and was so incredibly fair handed. Clare repeated this claim on every occasion that I spoke to her, right up until I broke my contract with TFP because of their inertia based attitude, lack of communication and inexperienced editorial support. I am very lucky to have found a super agent and I would actively discourage anyone from signing a contract with a publisher without an agent.
Posted by Hazel Cushion on 24 April 2008
Great piece and very interesting – as a small publisher we have found working with a London agent (Pollinger Ltd) gives our unagented authors the opportunity to be professionally represented for translation and film/tv rights. It’s an expert field and I openly admit that I do not have the time or experience to do well for them. Plus the Pollinger agents can spot rising stars from our list and move them on to larger houses when they feel the time is right for them. The satisfaction of offering a launch pad to a writer’s career is immense.
I would suggest a propective author contact other people who are already published by a company (via the author’s website) to get their feedback before signing a contract. Most authors have their own website and they are a friendly bunch.
Also remember the Society of Authors will vet any contracts and I suggest unagented authors avail themselves of this important facility.
Posted by Stewart Ferris on 24 April 2008
I think you’ve put the whole issue of potentially unsound publishing into focus, Danuta. I know what it’s like to start a publishing company with lttle more than coins, and the lesson from TFP seems not unlike the craziness of the dotcom boom when huge amounts of money were raised (and spent) on businesses with no real substance. It really is a shame for the authors and suppliers who suffer in these circumstances.
Posted by Helen on 24 April 2008
Great piece, Danuta. I was discouraged from acquiring an agent when I signed with TFP. Then when I later acquired an agent and showed him my TFP contract (which I had by then signed) he was horrified at its terms. There was talk of TFP funding my membership of the SoA but that turned out to be…. well, just talk.
I agree with all the points you make. It’s hard, though, to have the confidence as an aspiring writer not to clutch at the first book deal that comes your way. I admit I was naive! But as a first-time writer, what did I know? I guess this is what people mean by hard-won experience.
Hope you and Bumplet are keeping well.
Posted by nmj on 24 April 2008
Hey Emma, I love the cover and it has been greatly admired. I was closely involved in the feedback at different stages of the design. I had asked for a sleeping woman, bleak but sexy, and that is exactly what you gave me. It sums the book up perfectly. I am sorry you have not yet been paid.
And re. TFP contracts, can I just say that the Society of Authors vetted my contract thoroughly, and though there was no advance – not unusual for a small publisher – they told me that the royalties were better than many they see!
Posted by Danuta on 25 April 2008
Thank you everyone for your feedback.
Helen, that’s a good point about grasping at the first deal that comes along. It is very hard t say no or to ask awkward questions, which is why I wrote this: forewarned is forearmed, as they say.
Regarding royalties on the contract: as I understand it, some TFP authors did get advances and regarding better than average royalties, well if the book sells nothing or very little then that better than average is worth practically nothing. So a better than average offer on paper hosud never be taken at face value, but questioned along with everything else: how will they promote the book? Where will it be distributed – can they show you any guarantees that it is to appear in wholesalers catalogues, booksellers promotions etc? Things that will mean that you have a chance of earning something for your work. The main thing is that regardless of the size of the publisher, you are entering into a BUSINESS contract with them and should have the same rigorous attitude to the small print as you would in any other scenario.
Posted by Jen Hamilton-Emery on 25 April 2008
This is a really interesting article, Danuta. Just a quick point of clarification about Salt’s publishing model. We started off using POD and quickly grew out of it as our sales rose. Now the majority of our UK and Australian titles are quality hardbacks, printed in batches (some are paperback but none are printed by POD).
Plus, we specialise in poetry AND short fiction. And I think we’re the happiest publisher in the world
Posted by Helen on 25 April 2008
Absolutely, Danuta, you get to the heart of the argument. It’s not worth the time/emotional/financial investment in writing a book unless you are confident it will be edited, promoted and sold effectively.
You’re so right – no book deal at all is better than wasting time on a book that’s likely to end up at the bottom of the rep’s bag – neglected and ignored, the butt of unkind jokes.
I was told I would be offered a new contract with TFP under its new owners (HC). But whenever I asked TFP for details on how the imprint would work within HC – the kind of details you outline in your comment – I was stonewalled.
In fairness, that might be because the information was – genuinely – unavailable.
I am heavily pregnant, and after suffering pregnancy problems last year, doctors advised me to avoid stress. This has proved difficult due to my involvement in the TFP collapse.
I don’t want to portray myself a victim. I plan to move on from this mess as best I can. I’m a grown-up and should have done my homework better, shopped around more, found an agent first, and not jumped at the first deal to come my way. But I think people should be aware of the potential pitfalls in publishing deals.
For weeks, I asked TFP almost every Monday when the new contract would be ready. “Soon,” came the inevitable reply. The waiting and uncertainty became a hell. I no longer trusted TFP to keep their promises.
Was there someone at HC I could speak to? Oh, no. TFP were ‘looking after’ authors. Had I not noticed that there were people worse off than myself? Such as the creditors and authors owed royalties? What right had I to be upset?
I’m sure other people were indeed worse off than me – and one reason I won’t be signing with HC is that I don’t like what I’ve seen of how TFP treat business associates – but that didn’t stop me having valid concerns of my own.
Whenever I expressed annoyance or frustration at TFP for signing me up to months of work on my book (non-fiction parenting) last autumn, just months before they went bust, they acted as if it was me that had the problem.
After all, I was assured, I would be one of the ‘fortunate’ few to be honoured with an HC contract.
Yesterday, I told TFP I would not accept a new contract from them and that I’ve asked my agent to find me another publisher. It’s difficult to give up my first book deal. I was so excited back in the autumn when I was first signed.
But the trouble is, you see, that after everything that’s happened at TFP I wouldn’t have felt ‘fortunate’ to be published by them.
I know we all have to look out for ourselves in this world, make compromises etc, but self-respect is important too. So are time, money and career.
Last night, I slept properly for the first time in months.
Posted by Danuta Kean on 25 April 2008
Ah Salt strikes me as a very happy place – I have had emails from some of your happy authors as well. I am glad that someone is doing good things with short stories. I LOVE short stories and think they are a much neglected part of the market.
MaL, I really think it is tough when dealing with a debut book – what we create is part of us and can be as precious as a child. It is no wonder we are vulnerable. I am very sympathetic to authors who go through a bad experience, whether with a publisher that goes under or an agent who turns out to be a shyster. Why should someone with no knowledge of the book world know what to ask of a potential agent or publisher? One of the reasons I put my work online is so that those without an “in” in the business will be better informed and hopefully spot any potential problems. Of course that doesn’t mean that people won’t get burned, but hopefully….The book trade has a lot of very good people in it, people who are very passionate about their authors and their publications. It is why when things go wrong so many of us feel it acutely. Good luck with the book and especially the baby.
Posted by ros morris on 26 April 2008
Dear Danuta,
I have to thank you for the power of your blog!
About 18 months ago I read a piece of yours about finding an agent/being published/how long one should wait once a manuscript has been submitted to potential agents/publishers. I wrote to you (as Alice Heath) and Patrick Janson-Smith responded. He suggested that I send him my ms. I did so; he liked it and became my agent! He subsequently found me a publisher (Mainstream) and my book ‘Don’t Wait for Me’ is being published on the 3rd July. Patrick, as you probably know, has now returned to publishing but I am still with Christopher Little.
This is all primarily thanks to you and for your foresight to have started your website.
Hope that your pregnancy is not too tiring and that everything goes well.
All the best,
Ros Morris
Posted by Danuta on 28 April 2008
Well gosh, that has really made my day Ros. Thanks for letting me know, and, more important, letting any readers out there feeling a bit bruised by the whole fight to get and agent or get published know that things can work out. I am really chuffed for you.
Let me know what happens with the book and tell Mainstream to send me a copy
Good luck
dxx
Posted by ros morris on 29 April 2008
Danuta, I most certainly will! If your address is not at the top here – then please email it to me. Thanks for your saying that I made your day! The power of the written word…
ros
Posted by The Poet Laura-eate on 6 May 2008
I guess blogs are vanity publishing in that ‘vanity’ is invariably involved to some degree but ‘vanity publishing’ as I understand it is about handing over large sums of money to someone to get your physical book published (aka ripped off) for something you are invariably unhappy with but might give to friends and family as presents perhaps.
Whereas self-publishing is about taking control and calling the shots yourself with a decent publishing facilititator who will guide you through the process for a fair price and give you various pick & mix options re their services in terms of advertising etc.
However your low percentage of advertising spend by established publishers just goes to show that they are doing the writer few favours these days.
Posted by AlexM on 15 August 2008
Your blog is interesting!
Keep up the good work!