Book Trends

Articles about trends in bookselling and the publishing industry.

The Missed Opportunities in Weakness

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This post by Elisabeth Lane originally appeared on Cooking Up Romance on 12/4/14.

Anyone who’s been following this blog for awhile probably knows that I’ll take a “beta” hero over an “alpha” hero any day, but that mostly I wish the distinction didn’t exist. Actually, I don’t think sociology upholds the dichotomy at all so outside of romance novels, the distinction really doesn’t exist. It’s arbitrary, unrealistic and damaging to everyone, regardless of gender. “Alpha” is shorthand for a certain kind of strength in heroes, an unambiguous, worldly, most often physical, but sometimes also economic power. And even when we talk about “beta” heroes, we talk about different kinds of strength: competence and kindness, for example.

But outside of sociological and feminist arguments against subscribing to socially-constructed and ultimately restrictive portrayals of masculinity, I think there are missed opportunities when we focus so intently upon strength. And it’s not just in heroes. I noticed the other day while perusing Amazon’s romance novel newsletter that whether in the blurb or the extent reviews, everyone is obsessed with “strong” heroines. I’m guessing this is code for all sorts of things: independence, smarts, competence.

But lately I’m also seeing ruthlessness, willingness toward violence, and selfishness. This isn’t necessarily a bad thing in itself. In nearly every other genre, women are most often cast in the caring, nurturing, selfless role so having access to another narrative is bound to be empowering for romance readers and writers.

 

Read the full post on Cooking Up Romance.

 

The Weird World of Fan Fiction

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This article by Alexandra Alter originally appeared on The Wall Street Journal on 6/14/12.

What if Edward Cullen, the moody vampire heartthrob in Stephenie Meyer’s best-selling “Twilight” series, was an undercover cop? Or a baker who specializes in bachelor-party cakes? Or a kidnapper who takes Bella hostage?

It may sound like heresy to some “Twilight” fans. But those stories, published online, have thousands of dedicated readers. They were written by Randi Flanagan, a 35-year-old sales manager for a trade publishing company in Toronto.

Ms. Flanagan writes fan fiction—amateur works based on the characters and settings from novels, movies, television shows, plays, videogames or pop songs. Such stories, which take place in fictional worlds created by professional writers, are flourishing online and attracting millions of readers.

Ms. Flanagan started writing her own takes on “Twilight” three years ago, after devouring Ms. Meyer’s vampire books. She has since written 15 stories, including some that are as long as novels. In the process, she has gained groupies of her own. Some 1,500 readers subscribe to her account on fanfiction.net.

“A lot of people don’t understand why I would devote time to this,” says Ms. Flanagan, who writes at night after her young son goes to bed. “It’s just fun.”

Fan fiction has long existed under the radar in a sort of shadowy digital parallel universe. But the form has been bubbling up to the surface lately, as a growing number of fan writers break into the mainstream.

 

Read the full article on The Wall Street Journal.

 

The DBW Writers’ Survey

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This post by Hugh Howey originally appeared on his site on 11/19/14.

The annual DBW Writers’ Survey is up!

Please consider participating and sharing. The more respondents, the more meaningful the results.

Of course, we’ll have to wait and see how those results are analyzed. In the past, the outcome of publishing paths has been the main focus of this survey, which does not help authors make decisions with their manuscripts. There is an implied assumption in those past results that authors can simply choose whether to traditionally publish or self-publish. And so aspiring authors who have not yet managed to get traditionally published do not have their $0 income factored in, while all self-published authors are counted.

Compounding the problem, hybrid authors (those who have published both ways) have been treated as a special case in the past. This is odd considering that the vast majority of hybrids have either been picked up because of success with self-publishing, or found success self-publishing a backlist that did poorly enough with a traditional publisher for the rights to revert. In both cases, it was the decision to self-publish that was heavily rewarded.

These issues can be handled in the analysis. One way would be to compare hybrids with those who have been traditionally published, as both groups represent the top fraction of two different freely made decisions: the decision to either query an agent/publisher or to self-publish. These two groups also have in common the ability to draw the interest of a publishing house, whether out of a slush pile or out of the pool of self-published titles.

 

Read the full post on Hugh Howey’s site.

 

Ebook Publishing Gets More Difficult from Here – Here's How to Succeed

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This post by Mark Coker originally appeared on the Smashwords Blog on 11/19/14.

First the good news.

For indie (self-published) authors, there’s never been a better time to publish an ebook. Thanks to an ever-growing global market for your ebooks, your books are a couple clicks away from over one billion potential readers on smart phones, tablets and e-readers.

As a Smashwords author, you have access to tools, distribution and best practices knowledge to publish ebooks faster, smarter and less expensively than the large publishers can. In the world of ebooks, the playing field is tilted to the indie author’s advantage.

Now the bad news.

Everything gets more difficult from here. You face an uphill battle. With a couple exceptions – namely Scribd and Oyster – most major ebook retailers have suffered anemic or declining sales over the last 12-18 months.

The gravy train of exponential sales growth is over. Indies have hit a brick wall and are scrambling to make sense of it. In recent weeks, for example, I’ve heard a number of indie authors report that their sales at Amazon dropped significantly since July when Amazon launched Kindle Unlimited (I might write about Kindle Unlimited in a future blog post). Some authors are considering quitting. It’s heartbreaking to hear this, but I’m not surprised either. When authors hit hard times, sometimes the reasons to quit seem to outnumber the reasons to power on. Often these voices come from friends and family who admire our authorship but question the financial sensibility of it all.

The writer’s life is not an easy one, especially when you’re measuring your success in dollars. If you’re relying on your earnings to put food on your family’s table, a career as an indie author feels all the more precarious.

At times like this, it’s important for all writers to take a deep breath, find their grounding, remember why they became an author in the first place, and make important decisions about their future. It’s times like this that test an author.

Don’t fail the test.

Back in December, in my annual publishing predictions for 2014, I speculated that growth in the ebook market would stall out in 2014. I wrote that after a decade of exponential growth in ebooks with indies partying like it was 1999, growth was slowing.

I wrote that the hazard of fast-growing markets – the hazard of the rapid rise of ebooks – is that rapid growth can mask flaws in business models. It can cause players to misinterpret the reasons for their success, and the assumptions upon which they build and execute their publishing strategy. Who are these players? I’m talking about authors, publishers, retailers, distributors and service providers – all of us. It’s easy to succeed when everything’s growing like gangbusters. It’s when things slow down that your beliefs and underlying assumptions are tested.

I urged authors to embrace the coming shakeout rather than fear it. Let it spur you on to become a better, more competitive player in the months and years ahead. Players who survive shakeouts usually emerge stronger out the other end.

 

What’s causing the slowdown?

While every individual author’s results will differ from the aggregate, I think there are several drivers shaping the current environment.

 

Read the full, lengthy post, which includes further analysis and specific action items, on the Smashwords Blog.

 

Future Bright For Children’s Books As Industry Names Plot Next Chapter

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This post by Imogen Russell Williams originally appeared on The Guardian Books Blog on 9/26/14.

A mood of optimism marked the Bookseller Children’s Conference, with sales up 10% and editors pronouncing themselves keen to experiment and push the digital envelope

The Purcell Room on London’s South Bank was awash with positivity on Thursday, as the Bookseller Children’s Conference celebrated a section of the books industry where everything is rosy. If current trends continue, said the magazine’s charts and data analyst, John Lewis, this year is set to become the best year for children’s books since records began. Sales in children’s and YA publishing are up 10% in 2014 – an extraordinary performance against the backdrop of a market that is down 2% overall. And it’s not just about new titles. The backlist is making a particularly strong showing in both picture books and children’s fiction, with five of the current top 10 bestselling picture books dating from pre-2011 – including Judith Kerr’s 46-year-old classic The Tiger Who Came to Tea.

Adding to the sense of celebration, Bookseller children’s editor Charlotte Eyre and publisher Nigel Roby also announced the launch of the Bookseller YA book prize, for which any young adult titles by authors living in the UK or Ireland and published in 2014 will be eligible. (Full disclosure: I’ve been asked to be one of the judges, and have been emitting a thin, gleeful squeal ever since.)

 

Read the full post on The Guardian Books Blog.

 

Should You Publish Indie or Traditional? A Hybrid Author Busts the Myths

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This post by Holly Robins originally appeared on her site on 8/17/14.

Yesterday, I gathered with a group of area writers at the Haverhill Public Library Authors Fair. My table was situated between Kristin Bair O’Keeffe, an author who publishes traditionally, and Connie Johnson Hambley, a self-published mystery writer. This was the perfect place for me: I’m a hybrid author who has jumped from a traditional publisher (Random House) to indie publishing and back to a traditional house again. As I start my fourth novel to be published by New American Library/Penguin Random House, I have no contract for the next one. This means that I’m revisiting the all-important question for many writers: do I want to go solo when I publish my next book, or stay where I am?
This is a good time to roundup what I’ve learned about publishing. In the process, I want to dismantle four common myths:

1. Publishers are Out to Screw Authors
MYTH. Publishing companies are businesses that compete in a global marketplace. Their job is to make money—and, in so doing, they will make money for you.

With a traditional publisher, you will get royalties from your books—typically about 25 percent of ebook sales. This is much less than the percentage of royalties you’ll get if you self publish. Rates vary, but with self publishing, you’ll reap about 65 percent of a book sale as your royalty rate.

On the other hand, with a traditional publishing deal, you will get an advance against royalties—anywhere from $5K to $45K for most first-time novelists, though of course there are some pie-in-the-sky whopper deals. You will also get—for free!–an editor, publicist, marketing team, designers, sales people, etc. Your team at a traditional publisher will help you whip your book into shape and get it into the hands of readers.

 

Click here to read the full post on Holly Robins’ site.

 

Thinking of Rebranding Your Blog? Read This.

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This post by Stacey Roberts originally appeared on ProBlogger on 10/1/14.

Rebranding an established and successful business? Why would you do that?

For some, the risk of changing the name of something people have grown to know and love is too big. For others, the risk of being boxed into something they no longer feel much affinity for is even bigger.

No doubt it’s a scary leap to rebrand a blog – would people still read? Would a slight shift in direction upset the established audience? Would the to-do list of technical issues be too overwhelming? Would you lose all that Google love you’ve built up over the years?

At some point, if you’ve felt the rumbling undercurrent of wanting to make a change, you’ll decide those reasons are no longer enough to hold you back. And so you research new domain names, you design new logos, you test the waters. And you make the switch – your blog (and your online identity) is something new. Something more you.

Jodi Wilson did that on New Year’s Eve 2013. She took a blog she had lovingly nurtured for six years from online journal to a much larger online place of community and inspiration, and gave it a complete overhaul. Once a place to share the milestones and sleepless nights as a new parent, the blog had evolved into a new space of a woman finding joy in a simple, humble life. And Jodi felt it required a new look and name to reflect that.

“One of the biggest factors in the name change was the fact that my blog was originally named after my son and his teddy – Che & Fidel,” she says.

 

Click here to read the full post on ProBlogger.

 

The Self-Publishing Revolution Is Only Just Beginning.

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This post by Joanna Penn originally appeared on her The Creative Penn site on 9/21/14.

Reflections On My Stockholm Trip

I spent a couple of days in Stockholm last week, and did three events in just over 24 hours for Lava Forlag, meeting authors at all stages of the journey. Here are my reflections on my time there.

The indie revolution is expanding…and it is incredibly exciting to see the light dawning in people’s eyes.

The Swedish publishing industry is still in the old traditional, print dominated way of doing things right now. Ebooks haven’t taken off yet, Amazon hasn’t opened its .se store and authors are still focused on the route of agents and publishers to reach readers.

I was told that the biggest publishers are integrated with the media companies – in the same way as Rupert Murdoch’s NewsCorp owning Harper Collins, the Fox Network, The Times and the Wall Street Journal.

When big media owns all the publishing channels, there is little chance for the independent voice against such established behemoths. But change is coming…

I was asked to Stockholm by the lovely Kristina Svensson, an indie author who sees the digital future coming to Sweden in the next few years. I spoke to the audience of authors about my reality, the world I live in, where authors are writing what they want, publishing what they want, and in many cases, making a decent living from their words.

 

Click here to read the full post on The Creative Penn.

 

You Know What You Can Do With Your DRM

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This post by Greta van der Rol originally appeared on her blog on 9/7/14.

Okay, folks. You heard it here first. I’M NEVER GOING TO BUY ANOTHER BOOK WITH DRM ON IT.

Yes, that’s me shouting. Do I hear you asking why?

I’m so glad you asked. But first, for those who don’t know, DRM stands for Digital Rights Management. Essentially, it’s an attempt by suppliers to ensure that only legitimate purchasers of electronic content (books, software, music etc) are actually able to make use of their products. Wikipedia’s description is as good as any other. Or you could read this one, which describes the restrictions imposed by DRM.

You might think DRM is relatively new. It’s not. The acronym might be, but the technique has been around from pretty much the time when personal computers exploded onto the scene in the early eighties. Products such as dBase III, word processors, spreadsheets and the like were protected with licences. Without the licence key, you couldn’t run them or do anything else with them. Other software companies came up with dongles – a hardware device fitted to the machine running the program. The idea was supposed to be that pirates couldn’t profit from the developers’ hard work.

Uh-huh.

Two things happened.

 

Click here to read the full post on Greta van der Rol’s blog.

 

Giving Readers What They Truly Crave

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This post by Joe Wikert originally appeared on his Digital Content Strategies on 8/11/14.

Publishers need to take a page out of the retailer playbook. You’ve undoubtedly noticed how good certain online retailers are at suggesting additional products related to the one you’re about to purchase.

Amazon is arguably the king here with their “Frequently Bought Together” and “Customers Who Bought This Item Also Bought” recommendation sections. These elements typically appear just below the product image and above the product details. That’s prime real estate on the Amazon product page so you can bet these elements drive a lot of add-on sales.

You’re probably familiar with content recommendation links and widgets that have sprouted up all over the web the past few years. Taboola is a leader in this space and they specialize in offering links to related content from other publishers. For example, if you’re reading an article on USA Today’s website you’ll see a headline towards the bottom that says “Sponsor Content” followed by links to a handful of related articles from other sources.

I believe this is simply scratching the surface of content recommendation and we’ll see much more sophisticated cross-pollination in the coming months and years. I also believe many of these will be human-curated and implemented via a lightweight post-production model. An example will help illustrate.

 

Click here to read the full post on Joe Wikert’s Digital Content Strategies.

 

Ten Reasons Why The Gatekeepers Of Self-Publishing Have Become… You

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This post by Cate Baum originally appeared on Self-Publishing Review on 9/30/14.

One of the biggest driving forces behind authors who self-publish has been the declaration that writing has become stifled by “the gatekeepers of the publishing world.” Many writers now go straight to self-publishing. Be self-published? Sounds great! Let’s do it! We can all help each other, right? Right? Guys?

The online self-publishing clique has become incredibly judgemental of its own kind. These didacts are scaring the heck out of those wanting a nice gentle, creative, inclusive experience. Simply, self-published authors have become dictators of their own industry. Here’s why.

1. Online Herdism
Thou shalt not pay for any kind of professional promotion. Thou shalt not pay for book formatting. Thou shalt only use your peers with no knowledge of editing a book to – um, edit your book. If you pay for services, you are dumb. Yeah! Just look at the herd go off on paid book reviews without even understanding the different types of paid review or how to use them! Come on, people. Any book needs promotion. After all, you just spent years of your life writing the damn thing. Give it a life. Building a professional book and marketing it with assistance is nothing to be ashamed about, and this truly has to stop being a “thing.” Forum comments start with “I COMPETELY AGREE WITH YOU!!!!” Or “I HATE paid reviews!” or “NONSENSE!!!!” (I noticed it’s always capital letters, many punctuation marks and absolutes, just to be THE MOST AGREEING PERSON!!!!) I always look up the naysayers’ books on these forums, and 9/10 have sold no books whatsoever. But they are “being true to the spirit of indie publishing.” Pffff…

 

2. Everyone Is A Self-Publishing Expert – And Get It All Wrong

 

Click here to read the full post on Self-Publishing Review.

 

Distinguishing Between Straight-Up Advice and Paradigm Shift

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This post by Jane Friedman originally appeared on her site on 5/11/12.

A couple weeks ago I wrote a column for Writer Unboxed, “Should You Focus on Your Writing or Platform?” In short, I said it’s a balancing act, but there are times when you should probably emphasize one over the other.

It generated more than 100 responses, many insightful and valuable, from working writers, established authors, editors, and agents. My colleague Christina Katz was one of the last to comment. Here’s part of what she said.

This post really makes me chuckle … I wonder how much time folks spent reading and chewing on and commenting on and spreading the word about a post ABOUT platform rather than actually spending any amount of time actually cultivating and working on their own platform?

I am a person who does not distinguish between writing, selling, specializing, self-promotion, and continuing ed, and also a person who sees all of these things as essential and necessary to my writing career success. …

For me, there is no separation. Writing is the center. (If you read The Writer’s Workout, you saw the diagram.) But it’s all critical. There’s nothing to debate.

Read her entire comment here.

I’m (mostly) in the same boat as Christina. I find it impossible and irrelevant to distinguish between writing activities and platform building activities. My approach is far too holistic.

So why did I write a post splitting them up?

Because most writers don’t and CAN’T see them as one activity. They’re still asking questions that show they need some concrete ideas on how to manage what they perceive (and what can be) a very real split in one’s life.

 

Click here to read the full post on Jane Friedman’s site.

 

Big Publisher Bashing Again With Fictional Facts

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Today we present two opposing viewpoints from industry professionals regarding the Amazon/Hachette dispute. This post by Mike Shatzkin originally appeared on The Shatzkin Files on 9/14/14, and was written in rebuttal to the Clay Shirky piece we are also sharing today (link to the full Shirky’s post included immediately below).

The estimable Clay Shirky has written a lengthy piece called “Amazon, Publishers, and Readers” on medium.com saying, essentially, that an Amazon-dominated world would be an improvement over the Big Five “cartel”-dominated world of publishing we have today. This is an apples to oranges comparison. The Big Five are not nearly as broad a cartel as Amazon — which reaches way beyond the consumer books they publish — is a monopsony. Amazon touches much more of the book business than the Big Five publishers do. To make his case, Shirky recounts some very questionable history and employs some selective interpretation to get from his own impression of the current Hachette-Amazon dispute (about which he says “Amazon’s tactics are awful, the worst possible in fact”) to a completely different conclusion.

My complaint with the facts and logic start at the top: with the two paragraphs Shirky uses to set up his argument and establishes the “holier-than” context for his position. He says:

Back in 2007, when publishers began selling large numbers of books in digital format, they used digital rights management (DRM) to lock their books to a particular piece of hardware, Amazon’s new Kindle. DRM is designed to transfer pricing power from content owners to hardware vendors. The publishers clearly assumed they could hand Amazon consolidated control without ever having to conspire with one another, and that Amazon would reward them by passing cost-savings back as inflated profits. When Amazon instead decided to side with the customer, passing the savings on as reduced price, they panicked, and started looking around for an alternative conspirator.

Starting in 2009, five of the six biggest publishers colluded with Apple to re-inflate ebook prices. The model they worked out netted them less revenue per digital sale, because of Apple’s cut, but ebooks were not their immediate worry. They wanted (and want) to protect first editions; as long as ebook prices remained high, hardback sales could be protected. No one had any trouble seeing the big record companies as unscrupulous rentiers when they tried to keep prices for digital downloads as high as they had been for CDs; the book industry went further, violating anti-trust law as they attempted to protect their more profitable product.

Almost every sentence of this is subtly or blatantly wrong.

1. Publishers did not begin selling large numbers of books in digital format in 2007. Amazon started Kindle in late November 2007. Significant sales of ebooks didn’t start to occur until after Christmas and continued to grow rapidly thereafter.

2. Although an uninformed person would be led to infer from reading this that DRM was somehow created for Amazon, in fact DRM was routinely used for ebooks for their entire existence before Kindle. DRM on Kindle continued current practice; DRM was not created for Kindle or at Kindle’s behest.

 

Click here to read the full post on The Shatzkin Files.

 

Amazon, Publishers and Readers

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Today we present two opposing viewpoints from industry professionals regarding the Amazon/Hachette dispute. This post by Clay Shirky originally appeared on Medium on 9/12/14.

In the current fight between Amazon and the publisher Hachette over the price of ebooks and print-on-demand rights, Amazon’s tactics are awful, the worst possible in fact: They are denying readers access to books, removing pre-order options and slowing delivery of titles published by Hachette. Amazon’s image as a business committed to connecting readers to books is shredded by this sort of hostage-taking. The obvious goal for readers in should be to punish anyone using us as leverage.

This skirmish will end, though, and when it does, we’ll be left with the larger questions of what the landscape of writing and reading will look like in the English-speaking world. On those questions, we should be backing Amazon, not because different principles are at stake, but because the same principle — Whose actions will benefit the reader? — leads to different conclusions. Many of the people rightly enraged at Amazon’s mistreatment of customers don’t understand how their complaint implicates the traditional model of publishing and selling as well.

Some of the strongest criticism of Amazon comes from authors most closely aligned with the prestigious parts of the old system, many of those complaints appearing as reviews of “The Everything Store”, Brad Stone’s recent book on Amazon and Jeff Bezos. Steve Coll, Dean of the Columbia Journalism School, wrote one such, “Citizen Bezos,” in The New York Review of Books:

At least two qualities distinguished Bezos from other pioneers of e-commerce and help to explain his subsequent success. The first was his gargantuan vision. He did not see himself merely chipping away at Barnes & Noble’s share of retail book sales; he saw himself developing one of the greatest retailers in history, on the scale of Sears Roebuck or Walmart. Secondly, Bezos focused relentlessly on customer service — low prices, ease of use on his website, boundless inventory, and reliable shipping. To this day, Amazon is remarkably successful at pleasing customers.

Coll does not intend any of this as a compliment.

He writes about book-making and selling as if there are only two possible modes: Either the current elites remain firmly in charge, or else Amazon will become a soul-crushing monopoly. The apres nous, le deluge!-ness of this should be enough to convince anyone that the publishers are bullshitting, but if your worry is market manipulation, the publishing cartel we have today has has already created decidedly non-hypothetical harms.

 

Click here to read the full post on Medium.

Click here to read Mike Shatzkin’s rebuttal to Shirky’s post, on The Shatzkin Files.

 

David Streitfeld is Dangerous and Disingenuous

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This post by Hugh Howey originally appeared on his site on 9/15/14.

David Streitfeld of the New York Times has now cemented himself as the blabbering mouthpiece for the New York publishing cartel, and while he is making a fool of himself for those in the know, he is a dangerous man for the impression he makes on his unsuspecting readers.

(I should point out here that I’m a 7-day-a-week home delivery subscriber to the New York Times. I start every day by reading the physical paper. I love it. But they do make occasional hiring mistakes.)

A dishonest man with access to a pulpit is like a poisoner with access to a well. David Streitfeld is a dishonest man. He is a reporter with an agenda. A good case in point is this head-scratcher: Just one summer ago, David made reference to Orwell’s well-known disdain for cheap paperbacks to draw a comparison to Amazon’s fight for lower ebook prices. A year later, the same David Streitfeld claimed that Orwell was a fan of cheap paperbacks. What changed?

What changed is that Amazon used the same Orwellian quote in proper context, just as David did a year ago, but we all know that Amazon simply can’t be right about anything. And so enterprising Amazon-bashers reframed a partial quote from Orwell in an attempt to have the deceased man stand for the opposite of his opinion, in an exercise as disgusting as it was Orwellianly ironic.

 

Click here to read the full post on Hugh Howey’s site.