Lots going on in publishing these days…
First, Borders may or may not be in trouble. It would seem incredible that the nation’s second largest bookseller, in the midst of a growth phase with smaller "boutique" bookstores going up in malls, would suddenly be facing a financial crisis. But they say it’s caused by the tightening credit rules, debt, and the cost of money. They had to refinance a huge debt load at a very high rate — never a good sign for a business. And rumor has it Barnes & Noble is sniffing around, hoping to try and snap them up on the cheap. Nobody in publishing wants that to happen. Competition is always good for business, and B&N would have very little competition in the brick-and-mortar book business if they were to purchase Borders.
Actually, I’m not sure the government would allow it. Borders and B&N combined account for 55% of all retail book sales in this country, and surely the government would see that consumer prices would be bound to rise if the two companies merged. However, if you take into account Amazon and other online booksellers, B&N could claim the two chains only amount to about a third of all book sales…so perhaps a permissive federal regulator would allow it to happen. But I hope not. Having two companies creates competition, which is always a good thing.
Second, HarperCollins made big news with the announcement they were creating a new imprint that would rely on very different business practices than most publishers. Robert Miller, the longtime boss at Hyperion, has moved to HC to head up the new venture. The imprint will offer lower-priced books (word is they’re trying to keep hardcovers at $20), won’t pay advances to authors (instead relying on a profit-sharing plan), won’t buy display space in stores (instead relying on their online marketing efforts), and will sell books outright to retailers (rather
Some new information has come out on the bestselling books of 2007, and it’s fascinating stuff…
First, there were nine novels that sold a million copies last year, according to Publishers Weekly (in fact, all the numbers in this column will be based on the most recent issue of PW): Harry Potter and the Deathly Hallows, A Thousand Splendid Suns, Playing for Pizza, Double Cross, The Choice, Lean Mean Thirteen, Plum Lovin, Eclipse, and Book of the Dead. I don’t know how many of those you read but I can tell you it was a great year for Janet Evanovich, and that Pizza is one of Grisham’s clunkers. Ugh.
Second, there were sort-of seven nonfiction hardcover books that sold a million copies last year: The Secret, The Dangerous Book for Boys, Decelptively Delicious, You: Staying Young, I Am America (and so can you), Become a Better You, and, apparently, The Daring Book for Girls. My reason for saying there were "sort of" seven books is because the recorded sales for that last book was exactly one million copies… which would have been an amazing coincidence. (On an honest note, You: On a Diet came in less than 2000 copies short of a million.)
Third, there were eleven trade paperback titles that hit the magic mark: Eat Pray Love, The Kite Runner, Water for Elephants, The Road, The Memory Keeper’s Daughter, The Pillars of the Earth, Love in the Time of Cholera, 90 Minutes in Heaven, Jeusalem Countdown, Middlesex, and Measure of a Man. And no, I’m not kidding… John Hagee’s Jerusalem really did sell more than a million copies. Unbelievable.
Fourth, there were sixteen mass market novels that sold a million copies. I won’t list them all by title, but Nora Roberts held places #1 and #3, and James Patterson held #2, 4, 5, and 6.
Fifth, the only children’s book to pass the million mark was Philip Pullman’s The
Susan wrote to ask, "What is your opinion of e-publishing as a means to break into traditional publishing?"
I’ve yet to see this work much. I keep hearing about authors who plan to e-publish their novel one chapter at a time, which is an interesting concept and might be a nice alternative to those writers with a niche readership, but I’m not seeing it translate into regular royalty-paying deals. Stephen King tried selling his novel chapter-by-chapter and it went nowhere. And now publishers are becoming wary of allowing an author to include material in a book that has already been available on a blog or website or e-zine. I still believe the web is a great training ground for authors, but I’m not sure the practice of e-publishing is actually going to get you a traditional publishing deal.
Laura wants to know, "When an author sends an electronic proposal to an editor at a publishing house through a referral or because of a meeting at a writers’ conference, how long should the author expect to wait for a reply?"
It varies on the editor, the house, and the season (some seasons are busier than others), but it’s generally fair to say that an author will probably hear within 12 weeks or so. If you’ve been waiting longer than 3 months, it’s fine to check back with the editor, just to see if they’re still considering it. Be patient — publishing is a slow process.
Lynn writes to say, "I have an article that has been showcased on an online writers’ forum and has proven popular. Now I’d like to find a publication where I could submit my article. Since most magazines have an online edition, would they consider my article already published?"
You’re asking the question many writers are wondering. The fact is, this topic is still being debated, so I don’t have a definitive answer for you, Lynn. Check
I’ve got a bunch of notes and questions regarding writer resources, so let me try to get to several of them today…
On MONEY: Patricia wrote to say, "Thanks for your recent blog post about earning money. So if a book doesn’t ‘earn out’ its advance, is the balance applied against the next book?"
It is if your contract is cross-collateralized — that is, if all your various book advances are "basketed" into one deal. If not — if each book is on a separate contract — then no, your advance cannot be applied to your next book.
On REMAINDERS: DeeAnn wrote me to ask, "What does it mean to ‘remainder’ a book?"
That’s when the publisher sells the remaining copies of your book to a book wholesaler for less than the cost of printing. It commonly happens when your book is going out of print, or when they’re down to the last 1000 copies or so, and the publisher wants to be rid of them. The books might have cost $2 to print, but they’ll sell them for $1 apiece to somebody who will buy the entire remaining stock, just to get them out of the warehouse.
On SELF-PUBLISHING: Gene wants to note, "The latest issue of Writers Digest is filled with ads for self-publishing. I’m on my second agent, still trying to get published, but it takes SOOOO long. How can you convince me not to go to lulu.com and have my book for sale on Amazon tomorrow morning? When will the traditionalists speed up the process?"
You’re right — there are a ton of self-publishing companies. Some are good, some are not. Be careful. The problem with self-publishing is not the speed, it’s the sales. If you write a book, you have to make sure the book is good (and if publishers are all turning you down, there could be a message there, Gene). You also
Becky Germany is a Senior Editor at Barbour Publishing, and a familiar face at writing conferences. I recently asked her a couple questions about the industry…
In many ways, Barbour has become a leader in Christian fiction — doing novellas, establishing a book club, focusing on mass market. Where does all the creative thinking come from?
Becky: We’re the leading CBA publisher of fiction categorized as romance. We rank fourth in the number of units produced in fiction in CBA. We started publishing fiction as romance flip books way back in 1983 with authors like Colleen Reece, Irene Brand, and Elaine Schultze. I wasn’t at Barbour then, so I"m not sure how it was decided to settle upon romance, but it’s been our strength ever since. The Heartsong Presents book club began in 1992, the year before I joined the company, and out of that has come a number of stars — Tracie Peterson, Wanda Brunstetter, Lauraine Snelling, Colleen Coble, Cathy Marie Hake, and more (forgive me for not trying to name them all, Chip). Our fiction series have helped us remain open to working with unpublished authors and developing them into strong writers.
Another Barbour strength has been doing series and repackaging previously published material (including Grace Livingston Hill) to extend the breadth and life of the product. Our novella collections were born when we decided we could create new short stories specifically for collections under topics of our choice. So the creative thinking seems to extend from Barbour’s roots, and builds on what we do best. Our team members are, for the most part, people who have been with Barbour many years and who know the company’s success model. We’ve learned to work within our strengths and to keep our product subjects broad, in order to appeal to the widest audience.
What are some of the things that have worked (and not worked) in fiction for you?
I’ve been sent some tough questions lately — questions that you might have been wondering about in your own writing career. It seems like there are some difficult publishing questions that frequently get ignored, so I’ll try to tackle a couple of them today…
Donna wrote to say, "It seems like there are a ton of books that have sold a million copies lately. Can you tell me what the top books last year sold?"
I can, but prepare to be surprised. There were only four books last year that sold more than a million copies — Harry Potter and the Deathly Hallows (which sold more than 7 million); The Secret (just shy of 3 million); Eat, Pray, Love (just shy of 2M); and A Thousand Splendid Suns (sold 1M). That’s it. Four books.
There were another 15 titles that sold between a half-million and a million copies: The Dangerous Book for Boys, Kite Runner, Water for Elephants, and The Memory Keeper’s Daughter all sold just under a million. Cormac McCarthy’s The Road, Jessica Seinfeld’s Deceptively Delicious, Stephen Colbert’s I Am America, Sidney Poitier’s The Measure of a Man, John Grisham’s Playing for Pizza, Bob Greene’s The Best Life Diet, the two You titles (You: On a Diet and You: Staying Young), The Glass Castle, Eclipse, and Harry Potter and the Half-Blood Prince all sold more than 500,000 copies. And that’s it. There were 250,000 new books printed last year in this country. 19 of them hit the big time. Yikes.
John wrote to ask, "Do you have ethical problems with ghostwriting?"
I hate this question, because too many people are quick to say "YES!" without understanding the terms. I used to make my living as a collaborative writer. A well-known speaker would send me his notes and his seminar on tape, and I’d turn it into a book for him. It was all his material — I was
Today marks the four best words in the English language… And I don’t mean "Happy Valentine’s Day, Darling" (though there’s nothing wrong with those sentiments — I got engaged on Valentine’s Day way back in 1982). No, the four best words are these: "Pitchers and Catchers report." You see, for those of us who are diehard baseball fans, today marks the start of a new season. Nobody has any losses, everybody has hopes for the future, and there are people across America who believe that this could be our year. (Not everywhere, of course. My apologies to the people of Kansas City.) So on this happy occasion, I thought we should take a bundle of new publishing questions people have sent in…
Rhonda wrote to say, "I had a book published several years ago with a small press. It’s now out of print, but I’d love to get it back into print. Do you think that’s possible?"
The hard truth? Unlikely. I’m sorry, Rhonda, but the facts are there’s almost no market for books that have been in print once before. Publishers have a tendency to look at them and say, "Um…if that other publisher couldn’t sell this, what makes you think we could?" It happens occasionally, but most often with a successful author revisiting an old book, or repackaging a book that can now be tied to an event in the newspapers.
Keep in mind that a book is like a man’s suit. It’s in style for a while, maybe even a long while, but eventually it seems dated. The culture isn’t static — things are moving forward all the time. The world is changing. It’s why parenting or relationship or health books that your parents read won’t speak to our contemporary world. So when your book releases, assume it’s going to be in style about as long as a new suit. In a while, it will start to
A couple months ago, my buddy Andy Meisenheimer stopped in to talk about one of his pet peeves: the overuse of novelists turning all thoughts into italics in their manuscripts. Andy is an editor at Zondervan, and his post caused much debate and hand-wringing with some writers. Never being one to avoid a good controversy, I asked him if he’d come back.
Chip: So your last visit to my site created a stir, Andy. You ready to face this again?
Andy: Yeah, my last guest blog might have come across as Andy’s Vindictive Rant About Certain Arbitrary Rules of Style. People assuring me they’d never, ever, use thought italics, and people offering condolences to the poor writers who have to obey my every whim (and Mike Snyder, constantly calling to let me know his progress in eliminating thought italics from his current manuscript). Instead of a discourse, it became an ultimatum. Instead of "okay" and "better," it became "wrong" and "right."
My intention for that post, and any time I speak up about words, is to encourage writers toward better writing. They aren’t rants about my personal hot-button issues. They aren’t indirect ways of editing my current authors (please, Mike — stop calling). If your editors says to take out all semicolons, I encourage you to say, "Puh-leeze. You got somethin’ to back that up? The market isn’t buying books with semicolons?"
Chip: So would you say an editor’s job is to continue the conventions? Or to help an author break them successfully?
Andy: An editor’s job is to help the author discern what’s working. A good editor must appeal only to conventions of the craft and the effect upon the intended reader to justify editorial comment. And convention and effect are fluid things, open to change and dialogue and debate. Not that they are subjective; there are conventions, and there are effects upon readers, and their equivocation does not
A grab-bag of questions about publishing and writing today…
Mary-Lynn wrote to ask, "What do I need to know about creating a proposal for an agent? Is it like filling out a form, or do I create the story for them to see?"
I guess you could say that creating a proposal is a bit like filling out a form, in that there are certain elements you really need to include: title, subtitle, author bio and sales history, notes on the manuscript (word count, when it will be completed), genre and audience notes, overview of the book, table of contents or story synopsis, comparable titles, sample chapters, and marketing information. If you’re a first-time novelist, you are doubtless going to have to show the agent the entire manuscript, whereas with a nonfiction book you can still sell it based on a great proposal and some sample writings. If this is a non-fiction book, you want to show an agent what the need is for this book, why you’re writing it, and what your qualifications are for writing the book. Those are fairly universal. If it’s a novel, you want to reveal a brilliant story, interesting characters, and snappy writing. An agent isn’t usually going to agree to represent your book based solely on the idea. He or she will also want to know that you’re a fine writer, that you have other ideas, that you’re willing to help with the sale and marketing of the book, and that you’re a person who is easy to get along with. (This part doesn’t get talked about as much as it should. An agent/author relationship is similar to both a creative friendship and a business partnership — so you need to be a match, or neither party is going to be happy.) If you’d like to see some sample proposals, I keep both a fiction and a non-fiction proposal on my business web
Danny wrote to say, "You’ve offered some basic ideas for those of us trying to make the move from part-time to full-time. What else do we need to know?"
I can think of several things that might be important…
First, invest in a separate business phone line. You can write it off as a business expense, and it’ll help you separate your private life from your professional life.
Second, invest in the technology you need. Let’s face it, if you plan to do any serious internet research, you need a fast computer and high-speed internet. (This may sound obvious to most of you, but I was speaking at a conference recently where nearly every writer in the class claimed to have dial-up. Yikes! I wondered if they were also listening to 8-track players and watching black-and-white TV.) The fact is, you’re paying for what you need and don’t have. So if you’re trying to get by with a cheap-o computer, you’re making a mistake. (And here I’ll offer an unsolicited commercial: I finally went to an Apple MacBook a year-and-a-half ago. In that time, it hasn’t crashed once. Just so you know.) The same goes for software, a printer, and whatever bells and whistles your particular type of writing requires. Organizational theory teaches us that things don’t get less complicated over time; they get more complicated. So educate yourself on the complications, then spend the money to bring your office up to date.
Third, invest in a great web site. People used to think of web sites more or less as freeway road signs — something you passed by on the way to your destination. Now we understand web sites are interactive places where we can get information, ask questions, and make comments. If you want to build a readership, think about spending some serious cash to create a dynamite site.
Fourth, invest in great business cards, stationery, and brochures.