Why I Got My Rights Back, Part 3: We Didn’t Start the Fire

“Fairness isn’t everyone getting the same thing. Fairness is everyone getting what they need to be successful.”

Facebook post by Tina Moss, City Owl Press COO, circa early February 2023.

Previously on my City Owl Press story: with books falling through the cracks, broken promises, and contract concerns, the publisher had lost my trust and I’d lost my faith. I pulled back from my self-promotion efforts and social media to focus on more rewarding projects.

In the meantime, I had a new job on the horizon that offered more income and an opportunity to make a bigger impact as an advocate. It also meant longer hours, a punishing commute, and much more responsibility. The dream of making a career as an author seemed more distant every day.

“Give it one more quarter.”

My book’s performance after being moved to Kindle Unlimited remained lackluster. In December 2022, noting that my Q3 earnings had dropped by nearly half, I contacted Ms. Moss to ask about moving my books out of KU exclusivity.

Want to give it one more quarter? We’ve hired a Facebook ads company starting in January, and I was going to put your books to them. It’s easier with KU for the Facebook ads. If not, no worries, and I’ll remove them. Let me know.

Email from Tina Moss, December 22, 2022.

Relying on Ms. Moss’s representation that the company would market my book in 2023, I decided to wait and see. Based on the expense statements I was to receive one year later, however, no such ad campaign was ever run for Cambion’s Law in 2023.

At the end of January, Ms. Moss mentioned in our City Owl Press Loop Facebook group that City Owl had completed a month with the company, Novel Publicity, and shared the main takeaway: “it is difficult to gain sales on a series that does not already have organic reach.”

“Equity and fairness at the forefront.”

She then announced a new initiative, which she called the “Mastermind Group.” Citing her experience as a learning specialist for students with disabilities, she quoted the motto (familiar to me as a disability rights advocate) that “fairness isn’t everyone getting the same thing. Fairness is everyone getting what they need to be successful.”

We have always operated the company with equity and fairness at the forefront. It is because of those guiding principles that we haven’t considered the differences in our authors and their books in terms of marketing…

And now, I see that was a mistake. You’re not all the same, nor are your books. You aren’t the same in your career paths, and what you desire from being an author. Therefore, you don’t all need the same things…So first step, we are going to form a Mastermind Group. This will be invite only and comprised of our authors who are further along in their careers.

Tina Moss, City Owl Press Facebook Group Post, circa February 2023.

This statement appeared well-meaning but had unfortunate implications, since it established the “Mastermind Group” as the honor students, while those left out were in fact the less successful kids in the class. It seems curious that a former educational specialist would attempt to create “equity” by showing special attention to those already doing well on their own.

No contact and a late contract.

I turned in my Book 3 manuscript to my editor on March 30, 2023. There was one issue: we didn’t have a contract yet—and despite emails from both me and my editor, we heard nothing from Ms. Moss for over a month.

“Just following up because I have still heard nothing from Tina,” I wrote to my editor on April 20, 2023. “If City Owl does not intend to buy book 3 I would like to know as soon as possible. I’m concerned that my release date will now need to be pushed back [again].”

My editor assured me she was planning on acquiring the book and reached out to Ms. Moss herself. On April 27, I had still received nothing, and my editor seemed surprised and apologetic: “I’m not sure why [Tina] hasn’t sent it yet,” she wrote. “She confirmed that she received my email and would be sending it.”

Writing off my losses.

The next day, the contract finally arrived and was signed, which meant my editor could start working on the book. My editor apologized again for the delay, but Ms. Moss didn’t say a word.

Given my ongoing concerns, I probably shouldn’t have signed another contract with her. With everything I had on my plate, however, self-publishing didn’t seem like an option, and I didn’t want to leave the series unfinished. Plus, all else aside, my editor and I had a good relationship and I still wanted to work with her on this book.

By now, I figured I would give them the third book as planned and wouldn’t write another. I’d mostly resigned myself to waiting out my contract term for book 1 and writing the whole series off as an economic loss. Obviously, I wasn’t cut out for publishing and maybe not for authorship either.

Our mission, should we choose to accept it…

This was my headspace on June 16, 2023, when I read an extraordinary email Ms. Moss sent to myself and others outlining a grand plan for us. Though City Owl Press had continued to acquire urban fantasy, she wrote, the genre was “TOUGH” and the market had dipped.

“UF readers are looking to their ‘tried and true’ favorites, and not branching out as much,” she wrote. “So, what can we do? Here’s [sic] my ideas, and feel free to add, discuss, and brainstorm.”

1) Make UF hot again, especially amongst the younger millennials and gen Z crowd. These are your BookTokkers (TikTok) and Bookstagrammers (Instagram) who are pushing fantasy romance. If we can get them on the UF train, we have a trending market. And we can do this by reaching out to them on a regular basis to give your books a chance.

PLAN: Create a list of bookish influencers that we can take turns reaching out to about these books. Influencers have responded well to us, on the publishing side, reaching out to them, but I know they love to hear from authors too. So, let’s create a mega-list (already in progress) on our end, divvy it up, and start reaching out. Offer digital copies of your book, or paperbacks where appropriate (bigger audiences).

Email from Tina Moss, June 20, 2023

Note, other than the 5-10 copies we got for free after our release day, we had to pay Ms. Moss for the physical author copies she asked us to provide to influencers. We paid list price with a 25% discount and got no royalties, while she bought them at production cost.

As she often did, Ms. Moss generously offered Lisa Edmonds as an aspirational model and free resource. Lisa, who was not included in this email thread, was and still is the most successful urban fantasy author at City Owl, with a ten-book series and more on the way. As of this writing, the rights to Lisa’s first four books were reverted to her on Wednesday, February 7. She’s now republishing them herself.

Reading this, it struck me all over again just how much Ms. Moss expected us to shoulder. Not just our own marketing, but rebranding an entire genre, creating an influencer list, offering free copies of our books at our own expense, building a network the same way she’d “built the company,” and “investing” in promo sites. I couldn’t help wondering, if she had such a great network (200 influencers strong, as she would shortly inform me) why was that not leveraged for this project?

“Money should flow to the authors.”

It seemed no one else felt moved to respond, because on June 20, Ms. Moss again emailed. “Did I overwhelm everyone? LOL.” This received a few cautious answers. Meanwhile, I was typing furiously, both literally and figuratively.

What you describe here are great strategies for self publishing, but if we were self-publishing, we would get the full return on our investment.

Now, we all knew there would be free labor involved in this business, and I’m willing to do my part. But I personally would like to see a more equitable investment of time and energy between authors and publisher.

…I guess what I am saying is that time is money, and I’ve always heard that money should flow to the authors in this business.

Email to Tina Moss Re: Urban Fantasy Thread, June 20, 2023.

Listen, was this politic to say? No. Was it a bit sarcastic? More than a bit. Was it also the “nice” version arrived at with equally furious backspacing? Yeppers. But at this point, I felt I had nothing to lose, and I suspected I wasn’t the only one flummoxed by Ms. Moss’s modest proposal.

I wanted someone to say it, and I figured I was well positioned to do so. It seemed clear to me by then that Ms. Moss didn’t welcome disagreement and I thought my fellow authors might feel leery of raising concerns. Since I had an independent source of income and wasn’t making anything meaningful from my books anyway, I wasn’t risking much by challenging the queen bee.

“No such thing as free labor.”

Ms. Moss’s answer was…instructive. She offered to take me off the email chain because “the plan here truly was to get similar authors together to work together for mutual success. If that’s not something you’re into or have time for, it’s absolutely okay.” In other words, she reframed my objections as me not being “into” working with everyone else. I was, it seemed, asking for far too much equity.

So there is no such thing as free labor when you’re an author…Equitable investment of time and energy implies a lot.

Reply from Tina Moss Re: Urban Fantasy Thread, June 20, 2023.

It would take a whole separate post to address everything Ms. Moss stated here, but I do want to highlight one more part. You’ll see why in a bit.

…Ad buys are 100% part of our plan. And our spending increases as books in series do. We spends thousands in long term ads in the form of Facebook and Amazon ads but ROI isn’t possible on those types of ads until you have 3 or more books in series. And unfortunately, even these types of ads don’t work or take a long time to get to profitability if the series doesn’t already have sales momentum.

Email from Tina Moss, June 20, 2023 (emphasis added).

This struck me as inconsistent with earlier representations she’d made to me, on May 19, 2022, June 19, July 3, 2023, and December 22, 2022. Then again, none of those illusory promises ever materialized.

“A vast array of tutorials and resources.”

On June 22, 2023, we received a new resource in our inbox which sought to inform new and existing authors of what to expect from the publisher, including editing and production schedules.

It also instructed us to create Amazon A+ graphics for City Owl, providing links to Facebook group tutorials for creating Facebook and Amazon ads. In addition, it suggested steering readers to the publisher’s website for direct sales.

If it is not in Amazon’s Kindle Unlimited program, readers will be able to buy your book directly from the website. We recommend steering your readers to the City Owl Press website as it allows for the highest amount of royalties without a
third-party distributor in place.

Tina Moss, “City Owl Press Guide for Authors,” circa June 2023.

Notably, my statements show continued sales of digital copies through City Owl’s website in 2023, though my books were on Kindle Unlimited during that time. It appears that City Owl may have violated Amazon’s eBook exclusivity clause by continuing direct sales of my eBooks. Fortunately, it appears that Amazon never caught on.

“Trust me.”

On July 28, 2023, Ms. Moss made her expectations for author-driven marketing more explicit in a lengthy post on the City Owl “Press Loop” Facebook group. She even emailed a link so that those less active on Facebook would have a chance to read it, with the exhortation that “I’d highly encourage you to take a look, especially if this pertains to you.” This post, titled “Reviving a Non-Selling Series,” purported to present “a strategy that works fairly well for a series that is not selling to its full potential” developed by City Owl Press “through a lot of trial and error.”

But this plan, Ms. Moss explained, “requires a team effort between author and publisher.” Overall, the language heavily implied that City Owl conditioned its ad spending for series of three books or more on sustained sales rankings and significant up-front marketing investment by the authors.

The outlined strategy is not a bad one for a self-published author. It’s a big investment up front, but if you’re collecting the full royalties after Amazon takes their cut, the ROI improves. It’s also easier to track ROI and quickly respond when something isn’t working if you have access to your real time sales reports, which City Owl did not provide to us.

Up until this point, I’d labored under the impression that City Owl provided increased marketing support for series after three books, even if there was little support before that. This seemed to reset the goalposts.

Let’s review:

• Ms. Moss recommended authors purchase Publisher’s Rocket/KDP Rocket to perform their own keyword and market research for provision to City Owl.
• Next, authors would need to lift their book’s Amazon Bestseller ranking and maintain it “preferably” under 50k or less (less preferably, 90k or less) “for at least 30 days, but 60-90 is better.” Note, in this context “lift” actually means “lower” i.e. toward #1.
• For the first 30 day push, authors would set a flash sale, then “book short term ads” such as “BookBub Featured Deal (the golden ticket, if you can get it), eReaderNewsToday, BargainBooks/FreeBooksy, Red Roses Romance, [or] Genre Pulse.”
• “We may be able to run a new campaign” at this point, she added, depending on “how much you have left in your marketing budget or if we allocate new funds.” (My expense reports show there was nothing left of my $500 per book ad budget within the first month of release.)
• Ms. Moss urged authors to contact City Owl after 30 days of sustaining the rankings benchmark to let them know we had made the initial spend. At that point, she assured us, “if we have enough in your ad budget, we’ll start booking long-term ads for you.” (Again, I am not aware of any ad budget provided by City Owl beyond the $500 budget spent during release month.)
• After the 30 days, Ms. Moss encouraged authors to book Amazon ads if City Owl “[was] unable to do so” provided, of course, that authors “are comfortable and have the funds.” She didn’t specify what would happen if City Owl was “unable to” buy ads at this point and the author could not afford, or was not comfortable with, a continued investment.
• At the 60 days sustained mark, she added, “be sure to contact us again” because it was “time to kick things into high gear.” Once City Owl “started your Amazon ads…you can stop yours.” Now, she suggested, “if you have the funds to do so, create Facebook ads. One to the first book in your series and one to your newsletter signup page.” Also at 60 days, “if you have the funds, you can…create additional Amazon ads.”
• Finally, Ms. Moss reassured us that “the initial lift in ranking is the bulk of the work. After you get it past that 90 day mark, it’s just maintenance and sustaining.”

The advertisers she names for the “initial push” are listed on p. 6 of City Owl’s “Guide for Authors” as part of the publisher’s marketing plan, specifically the “Digital Advertising Plan” for established authors with three books or more. The Guide notably does not specify who would pay for this plan.

“This is not a forced plan by any means.”

As if she’d realized how all this sounded, Moss later edited the post. Her addendum provided an alternative option for authors who did not want to participate in the plan.

Please understand this is ONLY if you want to try this. You do NOT have to do this. If your [sic] out of contract, you can get your rights back too. This is not a forced plan by any means, only an option.

Tina Moss, “Reviving a Non-Selling Series,” City Owl Press Loop Facebook Group, July 28, 2023 (edit date unknown)

Sustaining an Amazon bestseller rank below 50k or even 90k for 90 days is no easy task. It seems likely some authors might spend months trying to hit that first 30 day stretch under the required rankings benchmark, after which they had no guarantee of return on this investment. If they pressed on after that point, they still risked losing their spot under 90k on the rankings and never making it to the 60 day benchmark at which point investment by City Owl might “kick into high gear.”

Typically, depending on your ad spend, you should expect to be working on your Amazon Ads diligently every week, for at least 3–6 months, before you start seeing some real traction and momentum.

Matt Holmes, “Amazon Ads for Authors: A Comprehensive Step by Step Guide,” circa February 2023, JaneFriedman.com

Some sources state that Amazon recommends daily budgets be set at $5.00 or more to have a competitive edge. Others indicate most successful campaigns cost at least $50 to $100 per day. It may take 3-6 months to get results. As for Facebook ads, Kindlepreneur recommends at least $10/day. I’m not a math person, but based on my best estimate, the costs paid by authors in Ms. Moss’s proposed plan include the following:

• Publisher’s Rocket (one-time): $99
• BookFunnel (per year): $100 ($150 to integrate with a mailing list)
• BookBub Featured Deal (free book, Paranormal Romance): $293 – $371
• BargainBooksy/FreeBooksy: $45
• GenrePulse: $20 (1 day)
• eReader News Today: $45
• Amazon ads for 3-6 months: ($5/day): $450 – $900
• Amazon ads (30 – 60 day sustained ranking, $5/day): $300
• Amazon ads (sustain beyond 60 days): $150
• Facebook ads (sustain beyond 60 days): $300

Using the lowest estimated value in each of these categories, it comes out to somewhere around $1,500. That’s assuming that it takes the author 3 months, not 6, to get to a place where their book will remain under the required benchmark for 30 days.

This number also assumes that City Owl takes over long-term ads after 30 days, not 60 or 90, and that the author only pays for ads for 1 month after that 60 day mark. A less conservative estimate, say if you spent $50 a day on ‘Zon ads, would quickly run you in the thousands of dollars. Either way, the author would almost certainly pay more than they earned.

Ad buys are 100% part of our plan.

Tina Moss, June 20, 2023.

City Owl would sit back and collect 60-75% of the royalties while the authors strove for the Holy Grail of 50-90k on the rankings list. Even if those books never quite got past the goalposts, the press would profit from increased sales with zero additional outlay. It was a win-win for Ms. Moss and a loser’s game for hopeful authors.

It’s all downhill from here.

Still with me? Well, hold on tight, because I’m going to speed through this next bit. In the midst of all this, I still had a book release to deal with.

On August 16, I got my draft cover for book 3 back. I was…disappointed, to say the least, but gamely asked for changes and touch-ups. This would begin several months of emails in which I begged for changes, sent examples and mockups, became ever more dismayed, and finally gave up. My editor had to go to bat for me before we got a version that didn’t make me want to sink into the floor.

On August 17, Ms. Moss emailed everyone to remind them that she needed their plan for reviving their non-selling series. “IF you are interested in this, please send me ONE email…with all of the items required: research on your possible subtitles, keywords, blurbs, and cover design…and confirmation that you understand the steps involved, i.e. sales, ads, newsletter swaps, etc.”

Did you catch that? To me, this sounds like a play for a written agreement that would modify the terms of any existing contract. It seeks substantial steps toward performance and a memorandum of understanding. A promise for a promise, as it were.

On the other hand, Moss never clearly promised that she would pay any amount to match author investment, only that City Owl would consider running ads if authors followed her plan. It’s certainly a take on consideration, anyway. (Lawyer joke. I’m sorry.)

Reviving a non-selling series (redux).

Ms. Moss seemed especially busy in the fall of 2023, running a Kickstarter and attending Comic Con to sell signed author copies. As my release approached and I frequently received her out of office auto-response, I grew increasingly anxious that I would see a repeat of the book 2 fiasco.

I finally got a cover I could live with on October 24, with my scheduled release date of November 7 fast approaching, but I didn’t even have a final, non-watermarked image of my cover to promote. On October 30, with several needed items outstanding, I agreed to postpone my release date to November 28.

On November 2, Ms. Moss did have time to send a second email about the non-selling series program. “I’m compiling all the plans you’ve put together to review with Yelena,” she wrote, “but I only see two emails in my inbox.” It would seem her master strategy had not garnered overwhelming enthusiasm from her flock of wayward owls.

I received my finalized cover on November 14, after following up several times. As it turned out, I didn’t have time or energy to do much promo. In fact, I had a work conference during my release week and barely thought about my book at all.

A “mandatory pause.”

On November 15, Ms. Moss posted in the City Owl Press Loop Facebook Group to share a variety of news items. She explained that a difficult personal situation had caused her delayed emails, that she was “turning half our basement into a mini-warehouse” to stock books for direct sales, and mentioned the non-selling series plan again. She also stated they were “looking at the use of social media as a consumer outreach tool” and would “encourage you all to do the same.”

She then made a more surprising statement: she had cultivated a “nonstop grind culture and workaholism” at the company and would give her entire team a one month vacation in February. “If our goal is to put out the best books possible,” she concluded, “we have to be at our best.”

It seemed like a positive step.

We didn’t light the fire.

The breaking point came a few weeks later, but it’s hard to pinpoint exactly what sparked it. My perception is that a lot of folks had concerns for a long time, but now, several factors combined to raise the temperature.

First, we noticed around this time that while Ms. Moss had told us that Facebook ads were not worth the ROI, she was running long-term ads on Facebook for her own books…using the City Owl Facebook account. Given the push to have us fund our own ads, this rankled. It also raised questions about how Ms. Moss allocated her advertising budget, and how carefully she separated her own author career from her role as a publisher.

Many authors also felt the City Owl social channels, especially TikTok, prominently featured Ms. Moss’s own work, while other authors were featured much more rarely. This was such a well-known and long-running pattern that it had become a standing private joke among the Owls—though the reality continued to sting. Not only had City Owl given every indication that it considered its authors not worth investing in, it seemed our publisher couldn’t even be bothered to feature our books on its free platforms most of the time.

Ms. Moss had encouraged us to network, so network we did. As is common in the publishing world, our network also operated as a whisper network. And as City Owl authors began to open up to each other about their their concerns, an important truth came increasingly to light:

We were not the only ones.

“Little to no care for the author’s career.”

For a long time, I’d thought my issues with City Owl were mine alone. As much as I voiced my objections, I also blamed myself. Deep down, I assumed that Ms. Moss had made some unfortunate errors, or maybe she’d treated me this way because I deserved it: because I couldn’t keep my mouth shut, because my books didn’t sell well enough, because I didn’t do enough to sell them, because I expected too much from her.

In short, though I resisted, I still believed her side of the story enough to doubt myself. But when I learned how many others had experienced similar frustrations, that all began to change.

This also means the story I am telling now becomes no longer only mine, and the risk of telling it is also not only mine to bear. I will therefore just share the post that truly lit the fire in the doomed Facebook group, which was deleted forever the following week on the advice of Ms. Moss’s new attorney.

Again, just dissecting all the statements herein made would be enough for a post of its own (and I’m already at nearly 5k words, gosh if you got this far I applaud your dedication). I’ll just pull out the part that really caught my attention:

For City Owl, backlist budgets are not infinite. We give every series a chance at those ad spends, but sometimes, it doesn’t work. Genres are out of trend, algorithms don’t want to push it, or for whatever arbitrary reason, it doesn’t sell.

We’ll try re-brands, if we think covers, blurbs, or keywords are the problem, and new marketing campaigns on the re-brands, but that’s additional funds that come out of that backlist budget. And if it still doesn’t sell, what happens then? Now the really hard part…

As I said earlier, most publishers do not have a backlist budget. They are focused on frontlist exclusively. There is little to no concern for the author’s career. It is numbers and numbers only.

Is that bad? I can’t say, but I can tell you that’s how publishers operate and stay in business. At City Owl, we do our best to give every single one of our authors the best chance to succeed with their books, but we are a business too, and do not have a limitless budget. However, that’s why we developed a plan to attempt the following…

REVIVING A NON-SELLING SERIES

First and foremost, this has to be the author’s decision and author led. Why? Because at this point, the budget has run its course, and to allocate new funds, a lot of steps need to be taken first.

Tina Moss, post on City Owl Press Facebook Loop, January 1, 2024.4,

And there it is: she explicitly conditioned new budget allocation on author spending according to her plan. Note that she solicited me two or three times for an agreement to this plan even though I only had two books out and City Owl had done none of the rebranding etc. that she describes here.

I responded with some questions, as I wasn’t going to be able to attend the Q&A scheduled for Monday, Jan.8.

In the end, I was not invited to the Q&A anyway, because by that time, I was in the process of having my rights reverted. But I was not the only one asking pointed questions in response to this post. Nor was I the first to get an offer of rights reversion. That lucky duck was S.C. Grayson, who had her books pulled within an hour after questioning Ms. Moss. Meanwhile, there must have been additional questions lobbed in email about the ads policy, because on Thursday, January 4, I woke up to this apology post.

Our Facebook post has people asking a lot of questions …

If I recall correctly, by that morning somewhere between 4-6 authors had already gotten their rights back. But I wanted something else: my records.

I knew other authors had been denied access to records because our contract required us to use an authorized representative. That meant I needed to show I meant business.

Unfortunately, it seemed, the curtain was falling fast. It seemed people were asking too many questions. The sudden statement that “certain internal business matters…must remain confidential” did not inspire confidence in said business matters. Nor did the overall tone of the Admin’s post.

Although it doesn’t show in these screenshots, my metadata shows that the “NAVIGATING BUSINESS DYNAMICS” post went up at 10:19 AM Pacific. I made my comment about records requests at around 11:02 AM Pacific. 12 minutes later, I received my rights reversion offer from Ms. Moss.

I never did receive my “digitized receipts,” because events moved even faster after that. By the morning of Monday, January 8, 2024, there were rumors that a lawyer was getting involved. I had an offer on the table from Ms. Moss to give my rights back, so with no more time to negotiate for the complete records, I jumped ship. As it turns out, I was one of the last to leave without a fight. Let it be known that I’m suitably grateful to Ms. Moss for providing me with that opportunity.

This is what happens when a business erodes trust to a breaking point.

I had to omit some details from this story. Most of it is public record, but some of it is not (and indeed, some records have been wiped with the Facebook group). Much of it is not mine to tell at this time, and some of it may never be told. All I will say, in conclusion (for now) is that I believe this seemingly sudden explosion, the public fallout, and the bitter taste it left in everyone’s mouths was fully foreseeable and avoidable.

When it looks like I…am using the company for my sole purpose, believe me when I say, I understand that frustration and how it looks.

Tina Moss, “UPDATES, ACCOUNTABILITY, AND Q&A,” Jan. 4, 2024.

What happened here has been called a “Trust Thermocline.” The term “thermocline” comes from oceanography and describes a depth at which the water abruptly and rapidly much colder than its surface.

If you gradually provide less quality for more money, you are gradually eroding your customers’ trust in you as a provider. At some point your customers will lose faith and bail, and it won’t be because of one specific change. It will be due to a breach of faith so bad that leaving or switching to a new provider will be worth the cost…This breach is never sudden and silent. Customers complain…but their grumblings are largely ignored by the provider because the customers are still putting money down.

But continuing to put money down doesn’t signal trust as much as it indicates lock-in.

Adam Fisher, “The Trust Thermocline Explains How Companies “Suddenly” Lose Customers And Employees: You Will Not Get a Second Chance to Burn Trust,” Medium, Nov. 4, 2022

The swell of dissatisfied voices, and the swift attempts to suppress them by dropping “unhappy” authors, freezing discussion, and then entirely deleting the Facebook group where the dissenters spoke up, didn’t have to happen. But preventing it would have taken genuine accountability and a demonstrated willingness to change.

Unfortunately, when the apologies came, they didn’t come fast enough, with enough sincerity, or alongside actions showing sufficient will to change. As of yet, I haven’t seen much indication that the company will turn things around. Until they’re ready to make big changes within the black box of their “internal business matters,” I’ll hazard a guess that we haven’t heard the end of the City Owl Press thermocline.

In fact, I’d put money on my story being just the beginning.