- Dołączono
- 6 Lut 2021
Since I've forgot to elaborate the previous post properly, since I am fucking retarded; the brothermen had recently found out that Patty Cakes had hit up with a Nubian queen and was interested in enslave her as his second, blacker literary agent after he blew off Ooga Booga's cock fatly.
Russ Gallen's site is no longer working, and his baby momma had established her own independent literary agency.
And this.
And a rib-buster from the brothermen asking Grok about giving Rickblowies book deals.
Russ Gallen's site is no longer working, and his baby momma had established her own independent literary agency.
And this.
And a rib-buster from the brothermen asking Grok about giving Rick
No, you should not give Patrick S. Tomlinson a book deal. The risks—primarily reputational, commercial, and operational—far outweigh any potential upsides based on his track record, sales trajectory, and the documented fallout from his behaviors.
goodreads.com
Evaluation of Past WorksTomlinson has a decent mid-tier track record in traditional sci-fi publishing:
His writing is competent genre fare with comedic elements (drawing from his stand-up background), but it hasn't built a large, loyal fanbase capable of driving strong sales or word-of-mouth. Impacts of Subsequent Behaviors This is the bigger issue. Tomlinson became embroiled in a prolonged, high-visibility online conflict after a 2018 tweet criticizing Norm Macdonald's humor. This escalated into years of mutual harassment, doxxing, review-bombing, swatting (reportedly dozens of times), death threats, and impersonations targeting him and his family.
- Key books: The Ark (2015, Angry Robot, start of Children of a Dead Earth trilogy) — his most visible debut. Follow-ups like Trident's Forge and Children of the Divide. Standalone or other works include Gate Crashers (Tor, 2018, humorous first-contact), Starship Repo (Tor, 2019), and In the Black (Tor, ~2020, military SF).
goodreads.com- Reception: Solid but not breakout. Goodreads averages ~3.7–3.9 across main titles (e.g., The Ark ~3.89 with ~1,300 ratings; Gate Crashers ~3.80 with ~1,000; In the Black ~3.92 with ~500). Reviews often praise fun space opera, humor, action, and concepts (generation ships, heists in space), with some calling them entertaining "popcorn" reads. Critics note strengths in pacing and ideas but not always depth or breakout originality.
bibliosanctum.com- Sales/trajectory: No evidence of bestseller status or high volume. Mid-list numbers at best—hundreds to low thousands of ratings per title years after release. He has sold direct copies at events/conventions (e.g., dozens at a time for pocket cash), but nothing indicating scalable demand. Publishers like Angry Robot and Tor took him on earlier in his career, but there's no sign of recent major deals, expansions, or sustained momentum into the mid-2020s.
patrickstomlinson.com
yahoo.com
Net commercial impact: Harassment damaged sales (per his own statements). The drama makes him a "high-maintenance" author—returns, boycotts, bad press, and platform volatility are real risks. Sci-fi audiences are fragmented; many avoid authors with heavy online baggage. Profitability and Pricing (If You Ignore the Above)Assume self-publishing or a small-press/micro-deal (traditional houses would likely pass due to risk). Break-even depends on your costs (editing, cover, marketing, printing, distribution, ads). Typical indie SF:
- Review bombing and platform issues: Coordinated low ratings (hundreds of 1-stars) on Goodreads/Amazon hurt visibility and sales. He publicly fought this, involving SFWA and platforms, which drew more attention but highlighted instability.
patreon.com- Lawsuits: He pursued legal action against an online forum (OnA-related) and lost, ordered to pay significant legal fees (~$23k–$80k+ with penalties/interest). He also sued Milwaukee over swatting responses. These drained resources and painted him as litigious.
youtube.com- Reputation in communities: Mixed-to-negative in parts of SFF, comedy, and online spaces. Supporters see him as a victim of extreme trolling; critics (including some in publishing-adjacent circles) view him as combative, quick to escalate, and prone to prolonged feuds. Allegations and old police reports (e.g., past domestic issues) have been recirculated. This creates PR headaches for any publisher or partner.
delarroz.com- Ongoing effects: As of recent years, he continues posting about stlakers, legal fights, and conventions. This keeps the drama alive, deterring neutral readers and retailers. Stand-up career exists but doesn't appear to be a major driver. No major new books breaking through recently.
delarroz.com
To be reliably profitable, you'd need strong marketing (ads, conventions, his existing but noisy platform), series potential, and no boycott drag. Realistic ROI looks poor versus signing a less risky author with similar or better metrics and cleaner reputation.Bottom line: Skip the deal. His books show he can deliver readable SF, but the combination of modest sales + massive ongoing drama makes it a bad business decision. Focus on authors with better momentum and lower risk. If you're a fan doing this personally (not commercially), that's different—but as a "book deal," it's not advisable.
- Production costs: $2k–$10k+ per book (professional editing/cover critical; lower for ebook-only).
- Sales expectations: For a mid-tier name with drama, realistically low hundreds to low thousands of copies lifetime without heavy marketing. His existing audience is niche and polarized.
- Pricing for profitability:
- Ebook: $4.99–$6.99. (Amazon 70% royalty on $2.99–$9.99. At $4.99, ~$3.50 royalty/copy after fees. Need ~1,000–3,000 sales to cover modest costs.)
- Paperback: $14.99–$18.99. (Print costs ~$4–$8/copy via KDP/ingram; royalties lower. Aim for $6–$10 net/copy. Higher price risks lower volume.)
- Hardcover/audiobook: Riskier—higher price ($24.99+) but tiny audience.


