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Category : Trends
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
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
In this week’s issue of Publisher’s Weekly, they have their annual report on the bestsellers of the previous year. I always enjoy reading about it and discussing it with authors, because nothing gives perspective more than a number. You see, authors like to talk about having books “sell a million copies,” and I’ve frequently seen proposals in which writers make wild promises about selling millions, since the audience for a particular topic is considered huge. (“There are 246 million people with dandruff in this country! There’s a ginormous market for my book on hair care!”)
But then every spring PW releases its report, and everyone gets a dose of reality. How many hardcover novels sold a million copies in 2013? One — Dan Brown’s Inferno. How many hardcover nonfiction books sold a million copies? Three — Bill O’Reilly’s Killing Jesus and two of the “Duck Commander” books, Happy, Happy, Happy and Si-Cology. How many trade paper books sold a million copies? One — and it was released decades ago… F. Scott Fitzgerald’s The Great Gatsby. There was only one mass market book that sold a million copies, proving that this formerly big-number format is quickly dying off, replaced by digital books — George R.R. Martin’s A Game of Thrones.
On the children’s side, there were a handful of books that passed the million mark. Jeff Kinney’s Hard Luck: Diary of a Wimpy Kid #8 sold more than three million copies, and was the biggest seller in one format of any book sold last year. But Veronica Roth’s Allegiant and Insurgent, Rick Riordan’s The House of Hades, and John Green’s The Fault in Our Stars also hit the mark. (Two other titles probably did: Marcus Zusak’s The Book Thief and Dr. Suess’ Green Eggs and Ham, but the numbers are unclear because of several factors.) Still, when it comes to print copies, that means there were
by Ghostwriter [While this says it’s written by Chip MacGregor, it is not. It’s written by a professional collaborative writer who is a friend — Chip just posted it.]
Hi. I’m Ghostwriter and I’m the collaborative author of an engineered bestseller.
The news that Mars Hill Church paid ResultSource about $200,000 to get Mark Driscoll’s book Real Marriage on the New York Times bestseller list shocked a lot of people. For me, that news solved a mystery.
As I already mentioned, I am a collaborative author and occasionally a ghostwriter. Although I am a published author in my own right, I learned long ago that I could earn a much better living helping other people write their books. It’s a good life, and I enjoy my work. Nevertheless, I still hope that someday I’ll see one of my books on a bestseller list—any bestseller list.
This explains my obsession with Amazon rankings and sales figures.
I know, I know…
You have to take Amazon numbers with several hundred grains of salt. I get that. But I still enjoy checking my author page and seeing how many copies of my books have sold in the previous week. Generally, the numbers are unremarkable. Sometimes they are depressing. But a while back those numbers astonished and mystified me.
I’d collaborated on a book with a megachurch pastor and, although it was a contract job for which I received a flat fee and no royalties, I asked for and received cover credit. Because my name was on the cover, I was able to list the book on my Amazon author page and track its sales statistics. Even though I wasn’t going to receive royalties for the book, I was still curious to see how well it was selling.
So I set the book up and waited for the launch date. The first week’s sales stats took my breath away. The book went from zero
I was once let go from a job in publishing for “creative differences,” the same week another guy was let go, at another company, for some very different reasons. We worked in the same industry, are the same race and age, and he lived in a city where I had once lived. Several people got our stories mixed up. I had a writing conference cancel my participation at their event, saying they had heard rumors that cast me in a bad light, and that they didn’t want me coming. You can imagine my surprise when I was told they were un-inviting me, since none of what they’d heard was actually true. I invited them to call my former boss, to talk with the people around me, and to check my references. But I also got angry — I mean, they made their decisions based on a RUMOR? They’d never even called me to ask about it? They never checked facts with anyone at my former employer? Nope. They just heard a story and took it as gospel … and, to make matters worse, the other guy (the one who had actually been fired from that other house) was scheduled to speak at their conference. (I didn’t mention that to the conference director. I figured she could figure out the truth on her own damn time.)
I’ve never gone back to that conference, and I’ve never forgotten how much that error hurt. It’s why I want to make sure I get my facts straight on the stories I write, so that I don’t share something hurtful about somebody unfairly. I don’t mind offering bad news, and I realize some people will read my blog to get some information that publishers are too frequently reluctant to share, but I want to make sure I get my facts correct.
Here’s why I mention all of this: I got a couple of phone calls
Last week I made a point of saying that I think a guy who buys his way onto the bestseller lists is a weasel, and I had a bunch of people write to ask me why. This is a worthwhile topic for everyone in publishing, so let me offer some background…
Mark Driscoll pastors a large church in Seattle. Last fall he was accused of plagiarizing the words of another author, Peter Jones, in his latest book, and in addition there were other examples given of him plagiarizing, including pages of text recreated word-for-word from a Bible commentary and stuck into one of the church’s publications. The people at Driscoll’s church made the situation worse, first claiming it was okay because one of the obviously plagiarized documents had never been sold, then changing their story when it turns out it had indeed been sold, but saying they hadn’t made much, then blaming it all on un unnamed research assistant (even though it had Mark Driscoll’s name on it), then taking pains to criticize the “haters” instead of owning up to their own ignorance and laziness. The whole thing was a mess. Driscoll clearly plagiarized (whether you want to cut him slack and call it something else), and his publisher examined the book and released a statement that admitted there were “inadequate citations,” but defending him for handling the situation well. In the end, the entire mess faded away. I was a bit surprised, since I’ve seen books get cancelled and editorial careers get ruined over less than this. Still, we all moved on.
Until last week, when it was revealed that Rev. Driscoll had paid a marketing firm, ResultSource, more than $200,000 to get his book onto the New York Time bestseller list. The scheme included hiring people to purchase 6000 copies of the book in bookstores, then ordering another 5000 copies in bulk. They even made sure to use