Book Trends

Articles about trends in bookselling and the publishing industry.

Impatient Readers Lead to Rapid-fire Series Release

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This post by Sadie Mason-Smith originally appeared on the Melville House blog on 2/12/14.

On-demand services have not only changed the way we watch television shows, they’ve affected our expectations of all media. Instant gratification and binge-watching have affected the consumer model, and the publishing world is taking notice. Julie Bosman reports in The New York Times on a new trend in the industry: publishing release dates for series are getting shorter. Editors like Farrar, Strauss & Giroux’s Sean McDonald are catering to the ravening hordes of but-I-want-it-now readers by shrinking the release dates between installments from a year to a few short months.

According to McDonald, these readers are more than just Veruca Salt imitators—they’re scared. “You can end up with angry and perplexed fans,” he said. “I think people are more aware of series storytelling, and there is this sense of impatience, or maybe a fear of frustration. We wanted to make sure people knew that there were answers to these questions.”

That sound you hear in the distance is George R. R. Martin laughing diabolically. Probably while killing a beloved character. Fans of serials have long been subject to the perfectionist whims of their favorite authors. Who can forget J. K. Rowling’s extra months of work as each successive Harry Potter book took an incrementally longer time before release? Who, even now, is on the edge of their at-this-point-worn-down seat for the last installment in Robert Caro’s Lyndon B. Johnson biographies, a five-book project that has been in-progress since 1982?

 

Click here to read the full post on the Melville House blog.

 

A Victory Against Author Solutions

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This post by David Gaughran originally appeared on his Let’s Get Visible site on 2/14/14.

It should be clear to everyone now that Penguin Random House has no intention of cleaning up Author Solutions.

The only development since Penguin purchased the company for $116m back in July 2012 is that Author Solutions has aggressively expanded operations (see here, here, here, here and here).

I’ve been covering the Author Solutions story for a while now – particularly since the Penguin purchase, which was met with disbelief in the author community. It’s a frustrating beat, especially when faced with a wall of silence from the many companies and organizations in traditional publishing who have links to Author Solutions and its subsidiaries.

Documenting the links between Author Solutions and the rest of the publishing world is depressing work. The list reads like a Who’s Who of traditional publishing. Getting them to discuss their links to Author Solutions has been near-impossible, let alone taking any action with regard to those links.

One exception has been The Bookseller.

Click here to read the full post on Let’s Get Visible.

 

2014: The Year Of Reading Women?

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This post by Zeljka Marosevic originally appeared on the Melville House Publishing site on 1/24/14.

Sometime last year, I pinned a sheet of paper above my desk with the title “Women Writers” and began forming a list of names of female writers that I had read whose novels I enjoyed, admired or found important. I did this because I had too often found myself reading literary criticism or having conversations about books in which every author mentioned was male. A communal, easy forgetfulness seemed to spread over the article’s writer and his reader, or over those taking part in the conversation, a coercive amnesia where we forgot that women had ever written books, that they might even be good, and that they could be discussed alongside books by men —and would hold their own— rather than in separate fenced-off conversations.

Last year was a bad year for women in literature. As we covered on MobyLives, figures were revealed that showed how male reviewers and authors vastly outnumbered their female counterparts across UK publications; only 8.7% of books reviewed in the LRB were by women. In the US, the New York Review of Books flaunted a boy’s-only bumper summer issue when, out of twenty seven contributors, only one was a woman (April Bernard reviewed Frank Bernard, and we mustn’t forget an archive piece from Joan Didion).

2014, the Guardian reports, is being declared the “Year of Reading Women”, owing to a few small but important examples of how readers and critics are considering their next read.

 

Click here to read the full post on Melville House Publishing.

 

Death By Promotion

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This post by Heidi Cullinan originally appeared on her blog on 2/11/14.

Getting Real About the Costs to Authors and Readers in the Current Marketing Environment

My name is Heidi Cullinan, and I’m here to write stories and publish books.

I’m not here to market. I’ll do a little of that because one must, because there is no cultural bulletin board right now my books can exist at, especially not mine as I’m a bit niche and still largely in my own pond. I strive to lift awareness of not just my work but works like mine, the whole LGBT romance pool, but even that is not the main purpose of why I’m here. I like to thank bloggers with ad purchases and guest posts and ARCs. I’ve made a forum for fans to chat, and if you link/@ reply me on social media and I’m able to see it, I’ll do my best to reply or at least like your post. I don’t buy reviews. I don’t ask people to buy books on a certain day at a certain hour at a certain place to game the system. I don’t send mass invites to “events” on Goodreads or Facebook. I don’t add people to newsletters who haven’t asked to be, and in fact I try to parcel out sub-newsletters for the truly die-hard to get ALL THE DEETS and those who just want release dates to not be spammed. I don’t cold-email other authors and ask them for pimpage or, even crazier, give them book recs. I don’t copy other people’s work because I can’t think of my own stories or hump sideways on someone else’s work because I’d sure like to scrape off some of their overflow. I don’t run around to ten million social media sites making sure I comment on every blog post, every review, every single mention of my work. I don’t join every new social media site and work up a huge presence there. I don’t stick my nose into reader conversations unless invited, and even if invited, sometimes I might decline. Because I’m a writer. I write books. I try to write a lot of books. That’s why I’m here. That’s what I do.

You would think, you really would, that such a declaration would be rather like stating the obvious. Except every goddamn day that passes, I feel more and more like the last unicorn, and even though I can’t find anyone actually turning the screws, I feel more and more pressure every day to market, promote, to be a flaming brand across the literary horizon. It’s killing me, and I think it’s eating a lot of our souls.

 

Click here to read the full post on Heidi Cullinan’s site.

 

Author Earnings: The Report

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This post by Hugh Howey originally appeared on Author Earnings with a publication date of 2/12/14. It contains some pretty shocking and encouraging book sales data, at least where indie authors and small publishers are concerned.

It’s no great secret that the world of publishing is changing. What is a secret is how much. Is it changing a lot? Has most of the change already happened? What does the future look like?

The problem with these questions is that we don’t have the data that might give us reliable answers. Distributors like Amazon and Barnes & Noble don’t share their e-book sales figures. At most, they comment on the extreme outliers, which is about as useful as sharing yesterday’s lottery numbers [link]. A few individual authors have made their sales data public, but not enough to paint an accurate picture. We’re left with a game of connect-the-dots where only the prime numbers are revealed. What data we do have often comes in the form of surveys, many of which rely on extremely limited sampling methodologies and also questionable analyses [link].

This lack of data has been frustrating. If writing your first novel is the hardest part of becoming an author, figuring out what to do next runs a close second. Manuscripts in hand, some writers today are deciding to forgo six-figure advances in order to self-publish [link]. Are they crazy? Or is signing away lifetime rights to a work in the digital age crazy? It’s hard to know.

Anecdotal evidence and an ever more open community of self-published authors have caused some to suggest that owning one’s rights is more lucrative in the long run than doing a deal with a major publisher. What used to be an easy decision (please, anyone, take my book!) is now one that keeps many aspiring authors awake at night. As someone who has walked away from incredible offers (after agonizing mightily about doing so), I have longed for greater transparency so that up-and-coming authors can make better-informed decisions. I imagine established writers who are considering their next projects share some of these same concerns.

Other entertainment industries tout the earnings of their practitioners. Sports stars, musicians, actors—their salaries are often discussed as a matter of course. This is less true for authors, and it creates unrealistic expectations for those who pursue writing as a career. Now with every writer needing to choose between self-publishing and submitting to traditional publishers, the decision gets even more difficult. We don’t want to screw up before we even get started.

When I faced these decisions, I had to rely on my own sales data and nothing more. Luckily, I had charted my daily sales reports as my works marched from outside the top one million right up to #1 on Amazon. Using these snapshots, I could plot the correlation between rankings and sales. It wasn’t long before dozens of self-published authors were sharing their sales rates at various positions along the lists in order to make author earnings more transparent to others [link] [link]. Gradually, it became possible to closely estimate how much an author was earning simply by looking at where their works ranked on public lists [link].

This data provided one piece of a complex puzzle. The rest of the puzzle hit my inbox with a mighty thud last week. I received an email from an author with advanced coding skills who had created a software program that can crawl online bestseller lists and grab mountains of data. All of this data is public—it’s online for anyone to see—but until now it’s been extremely difficult to gather, aggregate, and organize. This program, however, is able to do in a day what would take hundreds of volunteers with web browsers and pencils a week to accomplish. The first run grabbed data on nearly 7,000 e-books from several bestselling genre categories on Amazon. Subsequent runs have looked at data for 50,000 titles across all genres. You can ask this data some pretty amazing questions, questions I’ve been asking for well over a year [link]. And now we finally have some answers.

 

Click here to read the full, lengthy report (including many informative graphs) on Author Earnings. This report should be required reading for anyone who is, or hopes to become, a published author.

 

Book Publishing May Not Remain A Stand-Alone Industry And Book Retailing Will Demonstrate That First

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This post by Mike Shatzkin originally appeared on his The Shatzkin Files blog on 1/29/14.

You are missing some good fun if you don’t know those AT&T commercials where the grown-up sits around a table with a bunch of really little kids and asks them questions like “what’s better: faster or slower?” There always seems to be an obvious “correct” answer. Those kids could answer some important questions about ebook retailing in the future like these:

“What’s better? Selling just ebooks or selling ebooks and print books?”

“What’s better? Selling in just one country or in all countries?”

“What’s better? Selling just books or selling books and lots of other things too?”

“What’s better? Having one way to get revenue, like selling books with or without other stuff, or having lots of ways to get revenue so that books are only a part of the opportunity?”

And the answers to those simple questions, so obvious that a 5-year old would get them right, explain a lot about the evolving ebook marketplace and, ultimately, about the entire world of book publishing.

Book retailing on the Internet, let alone an offer that is ebooks only, hardly cuts it as a stand-alone business anymore. The three companies most likely to be in the game and selling ebooks ten years from now are Amazon, Apple, and Google. The ebook business will not be material to any of them — it is only really close to material for Amazon now — which is why we can be sure they will see no need to abandon it. It is a strategic component of a larger ecosystem, not dependent on the margin or profit it itself produces. And the rest of their substantial businesses assure they’ll still be around as a company to run that ebook business.

 

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

 

Written Off: Jennifer Weiner's Quest For Literary Respect

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This profile by Rebecca Mead originally appeared on The New Yorker on 1/13/14.

Early one morning in November, five hundred clinicians gathered at the Philadelphia Airport Marriott for the twenty-third annual Renfrew Center Foundation conference, devoted to the understanding and treatment of eating disorders. The keynote speaker, Jennifer Weiner, the best-selling novelist, was there to offer a personal perspective on weight issues, with a talk entitled “The F Word: On Growing Up Big, Speaking Out Loud and Raising Betty Friedan Girls in a Britney Spears World.”

The Renfrew foundation’s Web site described Weiner’s 2001 début, “Good in Bed,” now in its fifty-seventh printing, as “the first ‘chick-lit’ novel featuring a large protagonist.” The character, Cannie Shapiro, established the template for a number of Weiner’s subsequent heroines: clever, quippy young women whose dress size tends to be well into the double digits. Her characters navigate the perils presented by lacklustre boyfriends or disappointing husbands, slender mean girls, dysfunctional families, and self-esteem issues. “Nobody’s going to date me looking like this,” Cannie tells the tall, handsome, kindly doctor who interviews her for a weight-loss study. “I’m going to die alone, and my dog’s going to eat my face, and no one will find us until the smell seeps out under the door.” Despite their travails, Weiner’s heroines arrive at happy endings that defy cultural prejudices while upholding the implausible conventions of a Hollywood romantic comedy. (Cannie’s tall, handsome, kindly doctor falls madly in love with her.) Weiner’s second novel, “In Her Shoes,” was actually made into a romantic comedy, in 2005; it starred Toni Collette, as the brainy, full-figured heroine, and Cameron Diaz—featured prominently on movie posters—as her skinny, feckless sister.

Weiner, who is forty-three, was outfitted as if for a cocktail party, in a scarlet sleeveless dress and nude stilettos. Her makeup had been applied, before dawn, by a professional; her long, dark-brown hair was loose and shiny. She looked pretty and polished but approachable, like a co-host on “The View.” Weiner, who has a degree in English literature from Princeton, is cognizant of the expectations that attend a writer of commercial women’s fiction. “Handbags are important signifiers,” she told me. (Lately, she has leaned heavily on an orange Givenchy tote.) Her outfit projected confidence, but it also gave her an opportunity to reveal a winning vulnerability. After ascending the podium, she began, “Good morning, Renfrew Center clinicians and therapists. Or, as I have been affectionately referring to you in my head, the people I don’t need to wear Spanx for.”

 

Click here to read the full profile on The New Yorker.

 

The Tipping Point (E-Commerce Version)

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This post by Jeff Jordan originally appeared on his site on 1/15/14.

The news around shopping during the holiday season was dominated by two separate stories. One talked about how traffic to brick-and-mortar stores was well below expectations, and that these retailers were forced to discount tremendously to drive sales. The other talked about how an enormous late surge in packages coming from e-commerce companies overwhelmed the capacity of UPS and, to a lesser extent, FedEx, and caused many of these packages to arrive after Christmas.

But, to me, these two stories are not at all separate, they simply reflect different sides of the same narrative: We’re in the midst of a profound structural shift from physical to digital retail.

The drivers of this shift are simple:

• Online retail has strong cost advantages over its offline counterparts and is rapidly taking share in many retail categories through better pricing, selection and, increasingly, service.

• These offline players have high operational leverage and many cannot withstand declining top-line revenue growth for long.

• The resulting bankruptcies of physical retailers remove competition for online players, further boosting their share gains.

So, how has this shift been playing out? Recent data suggests that it’s happening faster than I could have imagined.

The U.S. Census Bureau publishes what I consider to be the most accurate figure on e-commerce penetration in the U.S. It reports that e-commerce penetration of total retail sales in the U.S. was around eight percent in 2012. But, as I’ve blogged previously, this aggregate figure seriously underestimates the impact of e-commerce in large sectors of the retail landscape. Let’s unpeel the onion and look at the next level of reporting from the Census Bureau, where it segments the retail landscape into six large categories of goods. It’s at this level that things start getting more interesting:

 

Click here to read the full post (which includes charts) on Jeff Jordan’s site.

 

Does Digital Publishing Mean The Death Of The Author?

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This article by Richard Lea originally appeared on The Guardian UK’s Books Blog on 1/23/14.

We used to know what it took to be a writer – you had to publish a book. But electronic publishing is piling pressure on myths of the author’s life.

What’s the difference between making money out of books and writing books that people want to buy? Turns out it’s about 40% – if, that is, you believe this year’s Digital Book World (DBW) survey.

Only 20% of the 1,600 self-published authors surveyed, and just a quarter of the almost 800 writers with a traditional book deal, judged it “extremely important” to “make money writing books”. Shift the issue to publishing “a book that people will buy” and the figures leap to 56% and 60% respectively.

But of course, you say – this is literature we’re talking about. These authors have loftier concerns than the grubby business of making money. Art is their province. If they must consort with the commercial world to find an audience, then so be it. But heaven forfend they should be interested in something so base as raking in the cash.

Except, in the digital age this kind of logic just doesn’t wash. If all you’re interested in is finding an audience for your work, then electronic distribution allows you to find it without any connection to the marketplace at all. Write your masterpiece, stick it on your website, and sound the trumpets for the victory of Pallas Athene. Or, if what you’re really looking for is the grateful adulation of your adoring fans, stick it on Scribophile or WritersCafe and get ready to feel the love. These days the only reason for worrying about publishing “a book that people will buy” is to “make money writing books”.

 

Click here to read the full article on The Guardian UK’s Books Blog.

 

The Illusions of Traditional/Self Publishing & The Reality of Hybrid Publishing

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This post by Bob Mayer originally appeared on Write It Forward on 1/23/14.

There’s a lot of heated rhetoric regarding publishing being bandied about on-line lately. Some of it was generated by the CEO of Kensington putting himself out there with some posts that had a large backlash, but overall, people seem to be digging in and drawing lines.

These lines are more blurred than most acknowledge if we examine them carefully.

It would seem to break down with traditional publishing “vs” self-publishing. I’d like to point out where this isn’t the reality and also how Cool Gus deals with these issues as a ‘hybrid’ publisher with a focus on being agile and working as a unified team.

“We treat our authors so well. You need us!” This is the message that Kensington’s CEO recently stated on-line. I also just read an interview from the CEO of Random House/Penguin saying essentially the same thing. This should be amended to: “We treat our top 5% of authors so well.” I don’t know if these CEOs are simply out of touch, being BSed or what, but the vast majority of authors are treated as interchangeable parts at trad houses and even most agencies. Because the top authors are pretty much the only authors these CEOs interact with, they make the illogical leap that all their authors are treated exactly the same way. I’ve seen many current and former Kensington authors come out on various on-line mediums describing a less than great publishing experience, yet not a single author defend the CEO’s statements. I was published by Random House and sold over one million books under the Dell imprint. During my years there I received almost no marketing support and was essentially dumped as the market coalesced. It wasn’t personal. It was business. Reminds me of Denzel Washington’s character in Man on Fire: “It’s just business.”

“We own Author Solutions.” It would appear that RHP’s CEO does not understand the pure hatred for this company among authors. You want to make money off authors? You think that equals KDP? This goes to a deep misunderstanding about authors, especially those with experience.

The Death of the Midlist.

 

Click here to read the full post on Write It Forward.

 

Print as the Future of Barnes & Noble

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This post by Jane Litte originally appeared on her Dear Author site on 1/19/14.

Barnes & Noble is a venerable brand in US consumer circles. It touts itself as the world’s largest bookseller and is composed of three segments: the main retail segment, B&N College. and Nook Media.

In 2009, B&N launched the Nook, a product aimed at the upper middle class mother with two children. Overpriced and underfeatured, the Nook tablets have faltered despite the hundreds of millions of dollars poured into the Nook segment of the business.

After poor holiday sales in 2012, it was acknowledged that BN would need to move away [from] developing hardware devices and look toward licensing its product on existing platforms. After the disappointing 2013 holiday sales, BN’s CEO was fired and the Nook Media head moved into the position leaving Nook Media without an internal leader.

Everyone in the business of publishing is holding its collective breath about the health of BN. On the plus side, the largest portion publishing revenues come from the sale of educational books (textbooks and other educational products) but that market is headed for a disruption soon. On the negative side, overall consumer dollars spent on books is contracting. One think tank believes that it will continue to contract over the next five years as consumers shift dollars from higher paid books to self published and free books.

 

Click here to read the full post on Dear Author.

 

Astroturfing: The Source of Zombie Memes in Publishing?

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This post by David Gaughran originally appeared on his Let’s Get Visible site on 1/8/14.

Why are there so many zombie memes in publishing? Why is there so much groupthink? It might be because the industry isn’t particularly diverse. Or it could be that book-lovers are nostalgic types who are automatically wary of change.

But I suspect it’s astroturfing by the publishing establishment, a practice admitted to last month by YS Chi, chairman of Elsevier and president of the International Publishers Association, in paragraph six of this article.

For the click-lazy, here’s the money quote (emphasis mine):

“We gathered all the communications people together to discuss the issues and create an action plan. We have a multi-faceted audience to address, and in the next 12 months you will see key messages delivered, compelling stories of our impact on society for culture and education. We’ll ask you to personalize that message. I’m very excited that there is a meeting of minds on this.”

Yey, talking points! I don’t know if I’m more excited about the centrally approved messaging that’s going to flood the blogosphere, or the mental image of YS Chi doing a mind-meld with everyone in publishing.

But I digress. This post attempts to dispel multiple industry myths in one fell swoop. Perhaps then we can start having meaningful conversations, instead of batting around boardroom memos.

 

Self-publishing is a bubble

Remember Ewan Morrison’s prediction in The Guardian? “Epublishing is another tech bubble, and it will burst in the next 18 months.”

 

Click here to read the full post on Let’s Get Visible.

 

Barnes & Noble's Nook Nightmare Stars Amazon and the DOJ

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This article by Brad Stone originally appeared on Bloomberg Businessweek on 1/9/14. It’s a worthy read for authors or publishers releasing books for the Nook platform.

Let’s boil down Barnes & Noble’s (BKS) Nook nightmare into a handy juxtaposition concerning the price of the digital version of Donna Tartt’s gripping new novel, The Goldfinch.

Amazon’s (AMZN) Kindle price: $7.50.

Barnes & Noble’s Nook price: $14.99.

There are plenty of reasons for the stunning decline of the once-promising Nook. Barnes & Noble has found itself unable to compete with the likes of Apple (AAPL) and Amazon in the broader arena of multipurposed tablets. The New York-based retailer has also been undermined by the continuing migration of its customers from physical stores to online book-buying and by the desire of its risk-averse institutional shareholders to support deep, profit-draining, long-term investments in new frontiers.

Even that doesn’t completely account for the dramatic upending of its Nook business. Barnes & Noble today reported gruesome numbers—a 60 percent drop in its digital division, to $125 million, from its sales in last year’s holiday period. (Sales in its physical stores fell 6.6 percent from the previous year.)

 

Click here to read the full article on Bloomberg Businessweek.

 

The Self-Publishing Debate: A Social Scientist Separates Fact from Fiction

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This post, by Dana Beth Weinberg, originally appeared on Digital Book World on 12/4/13.

Is self-publishing an amateurish endeavor, a means of sharing stories, a strategic move in a writing career, or an entrepreneurial activity? To gain insight into this question, I have been analyzing the responses from the nearly 5,000 authors who responded to the 2013 Digital Book World and Writer’s Digest Author Survey in relation to whether an author is aspiring (not yet published), self-published only, traditionally published only, or hybrid (both self-published and traditionally published). In Part 1, I compared the top priorities of these 4 types of authors, and in Part 2, I examined the differences in their stock of published [and] unpublished manuscripts. Now I turn my attention to the differences in their income from their writing.

Not surprisingly, most aspiring authors in the sample reported no annual income from their writing. About 19% of self-published authors in the sample also reported no annual income from their writing, compared to 6% of traditionally published authors and only 3% of hybrid authors. While most of the survey respondents clustered at the lower end of the income distribution, some authors did report earning $200,000 or more from their writing, the highest income choice on the survey: less than one percent (0.6%) of self-published authors, 4.5% of traditionally published authors, and 6.7% of hybrid authors who reported on their income. (In the chart, I have collapsed the top categories to $100,000 or more for better visibility. These aggregated category represents 1.8% of self-published authors, 8.8% of traditionally published authors, and 13.2% of hybrid authors.)

 

Click here to read the full post on Digital Book World.

 

Amazon, World Adult Content Police?

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This post originally appeared on Adele Journal on 5/23/13. Note that it is on the topic of book listing challenges faced by authors of erotica and other adult-oriented fiction, and the full article (link at the end of this excerpt) may include content that’s NSFW and inappropriate for children.

There’s a new sheriff in town, but I was quite happy with the land being lawless. Because, you know, us settlers were pretty good at regulating ourselves. From recent events, it’s clear to me, at least, that Amazon is trying to take control of the wilderness that is electronic publishing.

In retrospect, it shouldn’t be that surprising. They did make the Kindle, after all, and were pretty successful in making their name synonymous with ebooks for the general, mainstream public. But at the time, it didn’t look like Amazon was taking anything away from the ebook-reading people, just making it more available.

Now, they’re starting to impose their order on the wider landscape of all e-publishers, both amateur and professional, and they are taking things away from us.

 

The Amazon Adult Dungeon

If you haven’t heard of this, the Adult Dungeon is what some erotica authors are calling it when Amazon internally labels a work as “adult.” In itself, this is not problematic, as most erotica authors do a damn good job of laying out warnings and content labels in their descriptions. But when a work gets put into the Adult Dungeon, it is no longer searchable. If you search specifically for the title and author, you will not find it.

Nor will it get recommended in the “Customers who bought X also bought…”

They essentially blacklist any book thrown in their Adult Dungeon. They don’t tell the authors they’re doing this, and they don’t tell the readers, either. It’s done behind the backs of everyone involved. Amazon is taking away your right, as a grownup reader, to make your own decisions about what to read. Or, they think you can’t control your (non-mainstream) sexual imagination, so they feel like it’s their place to do it for you.

(This is also what happened, apparently, a few years ago, when they “mistakenly” marked all LGBT related books as ADULT. Of course, they claimed that it was a “glitch…”)

Author Selena Kitt points out — quite rightly — that erotica readers created the Kindle market. Why does anyone want an e-reader? For a private reading experience.

 

Click here to read the full post on Adele Journal.