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Category : Trends
Behold! Our new-look website. We’ve done a complete revamp of the site, with the goal of making things easier to read, easier to research, and to get back to having a cutting-edge blog that tackles the questions authors have about the world of publishing. Glad you are joining us! (And if it’s not quite done, or have all the edges squared up yet… well, we’re working on it.)
Let me start the new year with my The Predictions for Book Publishing in 2016…
- We’re going to see more rights sales. I think both traditional and indie publishers are going to push for more global sales, push for more audio books, and push for more variety projects (like coloring books) in 2016, which is good news for authors. It means there are more opportunities to make some income.
- We’re going to see more of iBooks. While Amazon is the 800-lb gorilla of ebooks, their shopping experience has always left a lot to be desired. I think this is the year Apple figures out how to improve the shopping experience and makes iBooks a destination spot for readers.
- We’re going to see more people reading on mobile devices. I know we keep hearing about the growth of print in 2015, but I think that was tied to the fact that the Big Five simply started charging so much more for ebooks, readers fell back to buying print. I think we’re going to see new technology and new interest from readers who want to go mobile.
- We’re going to see more short works. People who like USA Today like short pieces. And if people are reading on their phone or pad, they want short books. I think the rise of the 40k-to-45k novel is upon us.
- We’re going to see more interest in China. The country is opening up, and publishers are just now starting to figure out how to get books in
Amanda Luedeke is a literary agent with MacGregor Literary. Every Thursday, she posts about growing your author platform. You can follow her on Twitter @amandaluedeke or join her Facebook group to stay current with her wheelings and dealings as an agent. Her author marketing book, The Extroverted Writer, is available from Amazon and Barnes & Noble.
Kickstarter is a popular way for artists and entrepreneurs to get the funding they need to bring a project or idea to fruition. It’s been used by everyone from Reading Rainbow to TLC to Zach Braff. So clearly, some big names (along with plenty of little guys) have adopted the unique platform.
For awhile board games and the like dominated the Kickstarter platform, but more and more I’m seeing authors and even publishers launch their book projects through the site. It’s definitely a tempting idea. The thought of having $5,000 or $10,000 as opposed to the few hundred I used to put together my own indie book The Extroverted Writer, is…mind-blowing. Oh, what I could have done with that kind of money!! My book could have been edited by Stephen King and had a large print edition and a Spanish language edition and a braille edition and an ad in Times Square to boot.
Okay, maybe not, but this is the lure of Kickstarter. It creates this “the sky is the limit” mentality. And it works.
So what are the pitfalls? Oh, there are plenty. Kickstarter is an everyman’s version of Shark Tank, except the people with the ideas tend to be artists and creatives as opposed to MBA grads and business owners, while the backers (or partners) are regular consumers, looking to get in on a new product that fits their needs.
Clearly this is a setup that could have disastrous results. And sometimes it does. But it doesn’t have to! Being aware of the
Whenever I speak at conferences, I get the “what’s hot?” question asked me. I generally offer what I’m seeing, but I try to always temper it with, “That’s just my opinion, of course… others might see things differently.” So I was happy to see the Nielsen folks put out some facts on publishing trends with hard evidence to support them.
In the most recent issue of Publishers Weekly, they gave a summary of the Nielsen BookScan report, which tracks the bulk of printed book sales, and a handful of things stood out to me…
First, Christian fiction is really struggling. That’s become obvious to me over the past couple of years, and I’ve discussed it with many other agents. Several houses have stopped doing inspirational fiction, others have trimmed back their lists, still others have simply put a “freeze” on new acquisitions, so it’s become evident that it’s a tough time to be trying making a living writing Christian fiction. But the Nielsen report proved the depth of the problem. Of all the categories in publishing (and BookScan tracks about 50 genres), Christian fiction took the second biggest drop. In the past year book sales were down 15%. Coupled with the previous year’s drop of 11%, we’re seeing the category shrink considerably. (The only publishing category to do worse? Occult & horror fiction, which is down 26%.)
Second, YA fantasy and sci fi is the fastest growing category in all of publishing. It was up 38% in the past year, after having grown in double digits the previous year. So yes, all those Harry Potter and dystopian (Hunger Games, Divergent, etc) readers have made their mark. And the study noted that inspirational and holiday YA novels (an odd combination in my mind) was up 16%, and YA family & health stories (hello The Fault in Our Stars) were up 17%.
Third, adult fiction overall is struggling. Romance is down
Analyzing sales trends is a tricky business. Predicting them is almost impossible. But when thinking of what type of crime novel sells, be it the cozy or the more violent thriller novel, there are a few clear issues that emerge. Are readers looking for reassurances that traditional narratives offer, or is violence the allure?
One model of analysis that is illuminating is the Nietzschean dialogue between Dionysian and Apollonian energies . If Apollo represents law and Dionysus chaos, then crime fiction is built on a fundamental friction between the two. And proportionally, the largest part of any crime novel is the narrative showing the seductive uprising of forces that threaten to destroy society. There may be a certain voyeurism at play here, as the reader is allowed to witness things he would not ordinarily see, as he is given a peek into lives that are as exciting as they are flawed. But ultimately the narrative thrust is towards the vindication of law.
That is one thing that is a recurrent feature: most crime fiction is redemptive. The plot and story are often driven by criminal subversions and focus on the damage done to peoples’ lives by criminals, while the protagonist, often a detective, struggles to catch the culprit, but in the end order is restored and justice served, often lawlessly where revenge is part of the plot. Justice is a prevailing theme, but it is one that is interpreted in many ways. The police procedural traditionally relies on the investigation and the judicial system to restore order, while other novels mete out poetic justice to the wrong doers. These are some of the shared themes of crime novels, but the approaches are all different.
Agatha Christie wrote addictive cozies that centre on a period of English history when class dominated social interactions. Her core strengths are her plotting and protagonists. Poirot remains an undeniable force among detectives. Christie’s novels are
My recent blog posts on trends shaping the publishing industry has led to a number of people writing to as about other new companies that are doing significant things in the world of books. Several people simply asked, “Who are the new companies I need to know about in publishing?” I can think of several…
BookBub — This is a site that offers a daily deal for certain ebooks, and they have a huge database of readers they market to. Publishers and authors suggest titles and pay a fee to BookBub, and the company has an editorial team that selects the titles they want to offer. The price is usually very low (sometimes free), they send out an email advertisement to a couple million followers, and authors have been raving about the results. Another company, Riffle, is trying to do the same thing, only by offering more choices by letting the readers select the books they want to see discounted.
Oyster — A company that is the ebook version of NetFlix. You pay them a monthly fee, and you can read all the ebooks you want. They’ve recently signed a couple of deals with publishers, and their popularity is growing. (So much that recently Amazon created Kindle Unlimited, which does the same thing, only with a larger number of self-published books.) And, if you’re not familiar, Entitle is another company that does something similar. Right now these two and the company below are leading the way with ebook subscription services.
Scribd — They also offer a monthly subscription service to ebook titles, but they’re best known for document sharing and digital distribution. What you may not know is that Scribd does a nice job of working with authors, offering a bunch of analytics on who is reading what, which ebook device they’re using, which genres are most popular, etc. In my view, this is one of the key companies to
In response to Monday’s blog post, I had a couple authors I represent ask me about the NEXT big trends — What are the big things that we’re starting to see that have the potential to re-shape publishing over the next few years?
I don’t have the gift of prophecy, but I can take a stab at several things that are around, are growing, and have the capability of significantly changing things in this industry.
First, the Espresso print-on-demand machine has been around for a decade, but it’s only now starting to reveal what it can do. If you’re not familiar, the Espresso is a fancy computer & printer that sits in a bookstore and will produce one copy of any book you want. To this point it’s been pretty much a non-starter, but now indie stores have realized they can appeal to high-end readers, create a cozy environment for them, print one high-class copy of a book, and not have to invest in a ton of other inventory. Suddenly we’re seeing a new way to do a bookstore. No, this isn’t going to compete with Barnes & Noble, but the folks doing this aren’t trying to compete with Barnes & Noble. They want to create a completely different kind of experience.
Second, Kickstarter and Crowdfunding can help support authors, publishers, and bookstores. A couple of companies have used this lately to raise significant funds for titles that appeal to specific audiences (basically spec fiction and graphic novels to this point). But now we’re seeing publishers and stores go to loyal readers to help support certain titles. In other words, rather than an individual using Kickstarter or IndieGoGo or RocketHub to help fund one unique book, businesses are finding ways to make it a part of their overall finance strategy. That’s a brand new way of supporting the publishing business, and I think it could significantly alter the way some
For the past several months, I’ve had numerous people write in to ask about the trends I see happening in the world of publishing. We’re in a state of evolution in the industry (one could argue we’re in a state of revolution), where answers to questions as simple as “what is a book?” and “what constitutes a publisher?” are changing. With everything in a state of flux, I’ve been trying to use this blog to respond to the basic questions writers have about the industry. Then, over the weekend, a longtime reader sent me the question worded this way: What trends do you see having the potential to reshape the world of publishing?
Wow. A fascinating question. Here are some thoughts…
1. Convergence: How stories continue to shape, reshape, and adapt. One of the biggest trends we’re seeing in the publishing industry is that a novel is no longer just a novel. Nowadays a novel is being evaluated not just as a print book and an ebook, but as a potential film or TV show. (That part you knew about — publishers have long been interested in the dramatic qualities of the stories they produce.) AND the novel is being evaluated as a potential video game; it’s being explored from a social media perspective; it’s being reviewed for potential as a series; it’s being read with interactive media in mind. The story itself may not end — others may participate in the story by writing new endings, or creating entirely new stories that relate (have you seen what J.K. Rowling is doing with Pottermore?). One of the changes that has occurred in storytelling over the past 15 years is the gamer’s mindset, where a story may not have an ending, or it can be told and altered a million different ways. All of those issues are now part of the discussion when we examine a novel. That’s a huge change
I’m taking the month of April and letting people send in ANY question they have about writing and publishing. If you could sit down for an hour over a beer with a literary agent, and ask him anything you wanted, what would you want to know? Here are questions I’ve been sent recently…
If I am offered a contract, should I then get an agent?
That depends on the situation. Although I’m a longtime literary agent, I’m not an agent-evangelist, insisting everyone needs an agent. So think about the big picture here — your agent didn’t discuss the idea with you, or help you sharpen your proposal, or introduce you to editors, or send it out to publishers, or offer career advice. Once you’re offered a contract, the agent is going to step into it and earn a commission. So here’s my thinking… IF the agent can bring value, in terms of doing a great negotiation, and improving the contract & terms, and getting involved in the marketing, and stepping in to help with dramatic and foreign rights, and offering advice for your future, then it might be worthwhile to have an agent step in. But if all he’s going to do is say “yes” to the offer, it may not be worth paying him 15%. Consider talking with a good contract evaluation service, which might only charge a couple hundred dollars. (Or you might talk with an attorney, but be careful — they tend to charge by the six-minute increment and want to keep the clock running, so it can be expensive. Maybe consider this option if you’ve got something complex, such as a series offer or a movie deal.) But don’t sign with someone just so you can have the honor of saying, “I have an agent!”
If my novel is women’s fiction, is it best to target a female agent?
It’s best to target an agent who
This month I’m trying to get to all the questions people say they’d like to ask an agent, if they could just sit down with him or her for a few minutes and talk privately. Here are questions that people have asked recently…
Are the low costs of e-books costing authors money?
Sure. I mean, if a retailer sells a book for $20, the royalty is higher than if he sells it for $10. The average e-book is way down — many below $5, and often you’ll see specials where the books are 99 cents. That doesn’t leave much for an author. The argument is made that people want a deal, and the low prices build readership by finding readers who will spend a dollar or two without even thinking about it. And I think that’s true, to a point… but at some point, we have educated readers that they only need to spend a buck or two on a book, and that means the only people really making money are the bestselling authors.
I’m thinking of setting up my own publishing company. Do I need to trademark or copyright the company? Is there a contract template for doing that?
If you’re just doing it to keep the words “Amazon Publishing” off your title page, then create a business name, do a search to make sure the name & domain are available and not a copyright infringement, and start a bank account in the name of the company. In some states you’ll have to register the company name, so check your local laws, or talk with an attorney if you have greater legal questions. (For the record, I’m not an attorney, nor am I giving you legal advice.) You can find people willing to sell you all sorts of business-planning materials, but most authors who start their own companies simply start them online with a domain name and a bank
So I happen to be sitting at Cafe Greco in North Beach (the Italian section of downtown San Francisco), and thought this was the perfect place to suggest authors sit down to have a cappuccino and talk. This month we’re just inviting authors to send the question they’ve always wanted to ask a literary agent, if only they could be face to face. I’ve been sent a bunch of questions, and I’m trying to get to each of them…
I know many agents are looking for an author to have a big “platform.” What does a big platform look like to you?
A platform is a number. You speak? How many people do you speak to over the course of a year? You write a column? What’s your readership? You’re on radio? What’s your listenership? You blog? How many hits do you get? You do a column? How many people read your work? You belong to organizations? How many people are you connected to? All of those are numbers — just add up the numbers, and you’ll know how big your platform is. The bigger the number, the happier a publisher is going to be. More important is how many people you actually have some sort of relationship with — that is, how many of those folks do you speak to or consider an acquaintance? Can you suggest what percentage might actually purchase a book? A small publisher may be happy with a platform of ten to twenty thousand. A medium sized published may be looking for a platform that is at least forty to sixty thousand. A large publisher may not be all that interested if your platform is less than 100,000 — possibly not interested if your platform is less than 250,000, depending on the project.
Is it pointless to seek publication before launching a blog? I have substantial Facebook and growing Twitter followings, but haven’t launched my