GUEST POST: Which Author Are You? (And What That Means for Backlist)

Agent Sally Ekus drops some knowledge for Publishing Confidential subscribers.

Dec 23, 2025

"If you’ve been a subscriber for a while, you may recognize a version of this post from back in June of 2025. Baby got Backlist is one of my top newsletters this past year, so I was thrilled when Kathleen Schmidt, the brilliant and insightful writer behind Publishing Confidential, asked me to update it for her audience. As we head into the new year with our goals, manifestations, and intentions, let’s remember what we’ve already accomplished and think about how to keep it working for us. Supporting the backlist is one of the single best ways to keep our publishing industry thriving. Read on for why that is, a few author tips, and also what I hope is a final push of motivation to walk into your local independent bookstore and pick up those last minute gifts! "

- Sally Ekus

Merry Christmas week to all those who celebrate. As part of my end-of-year content, agent extraordinaire and fellow Substacker Sally Ekus (her newsletter: Not So Secret Agent) was nice enough to write a post about backlist titles.

Before we get into it: I have FIVE spots left in the first Publishing Confidential Cohort. I made an error in my last newsletter—the start date is Jan 7, not Jan 14. You can see the syllabus here and sign up here. If this goes well, the next cohort will be in April (hopefully). —Kathleen

Dear Publishing Confidential Readers,

An original version of this post appeared on my Not So Secret Agent Substack, which is the place I write about non-fiction publishing through the lens of my experience as a literary agent specializing in cookbooks and select works of other non-fiction titles. Today’s version is crafted specifically for the PC community. Thanks for reading and thanks to Kathleen for the chance to connect with all of you!

One of the many things I love about the PC newsletter is how direct Kathleen is with her publishing opinions. Publicists, in my experience, do not beat around the bush. There is simply no time for that.

In my newsletter, I sometimes get caught up in the many “it depends” of publishing. I aim to deliver the guiding principles of the industry and then give examples of applicable real-life scenarios. Today though, I’ll take off the gloves (in my case, the oven mitts) and tell you straight out: Most authors will not make money off their books. That said, there is value in an author’s backlist no matter what.

Accordingly, before I offer representation, I always ask…

WHY do you want to write a book?

Certainly, it’s not for the money, right?

Dear prospective author: Landing a book contract is probably not going to make you rich.

Truth be told, no matter how many times I try to smash someone’s dreams by telling them that even the biggest book deals are not viable retirement plans, I can still see it in their eyes that they’re secretly thinking, “Yea but Sally, I still think I will make money from my book advance.”

Sure, you may generate new revenue from publishing a book by earning out your advance and receiving royalty checks.

Usually though, and this is critical, your “payout” comes in the form of peripheral opportunities that arise from the fact that you’ve written a book. Your book can boost your visibility and marketability and further establish your expertise. Your book is a tool you can use. It is a tool you can leverage.

So, if that’s the case…

If your book will never earn out its advance, is it still worth promoting?

Let me cut to the chase: If you’re a published author whose book came out over a year ago and you think there is no more juice to squeeze from it, you are wrong. As fall royalty season winds down, I can’t help but point out how important “backlist” is for books.

The definition of “backlist” varies with each publisher. Some houses consider titles over six months old backlist. Others may define “frontlist” as the three-month spread leading up to/after your book publishes, and anything after that is backlist. Or, according to one of the big 5 publishers I was chatting with recently, their books formally move to backlist after a year.

However it’s defined, backlists are gold IMO. They are the unsung heroes of the publishing industry. It’s the time when a book settles into the possibilities of consistency and longevity. They are the titles that sell steadily (we hope!) and generate revenue for publishers and authors. They are also those titles that, at any moment, could find a new life.

I remember early in my career flipping through publishers’ seasonal catalogs to get a sense of each house’s overall taste/brand through their backlist titles.

Ah, remember printed publishing catalogs?! I do. Shoutout to all my old dog-eared dELiA*s catalogs and studded belts.

Anyway, while publishers keep cranking out new titles, your book is YOURS forever. Make it work for you and please, please, please, keep working for your book!

Keeping in mind that ~~many~~ most book advances don’t earn out, I’d like to make a gross generalization and say that there are typically three kinds of authors when it comes to advance and royalty outlooks.

Which one are you?

1. One and Done: This is the author who sees the book deal as the end-all and be-all. They aim for the highest advance and are all about the “take the money and run” vibes. They will never earn out and never earn royalties. Now, this doesn’t mean their book isn’t a success! I am purely talking about the author’s mindset.

2. Prolific Lifer: This is the author who is already cooking up their next book idea as they’re pitching their current one. Each book is a steppingstone on a bigger career path; authoring several titles is part of their professional portfolio goals. They aim for a large advance (who doesn’t, amIright?!) knowing all too well it likely won’t earn out. Even without the hope of royalty checks, they have a plan in place to keep their book selling steadily (between 50-100 copies per week, even a year after it’s been published). The author, publisher, and agent would all be thrilled with that staying power and momentum!

***Not So Secret Agent Side Note: The big 5 house I referenced earlier also delighted me when they said they have an entire M&P team (marketing and publicity team) dedicated to backlist titles. They watch market trends, tinker with SEO, and even focus on certain post pub media opportunities. I love this and I wish more publishers had these dedicated teams.***

3. Real Deal: This is the “sweet spot” author who seeks a book deal with a more modest advance expectation and is pleased as punch to hopefully earn out their advance. They see steady royalty checks each season (and wow do those feel great to get!). This author likely aims for midlist publishers, maybe a few independent houses, and is settling into a stable and long-term relationship. This author may also crank out a bunch of books in their career.

***Not So Secret Agent Side Note: I recently spoke to a publisher who has a very specific model where they only make offers that they project will earn back the advance. Not only that, but they also project their frontlist books to earn out within the first 12 months of publication. They sign over 2,000 books a year which, for the smaller size publishing company this is, feels like a LOT to me. They also expect their authors to write more than just one title. As an agent that primarily represents cookbooks and other non-fiction titles, their model and statistics completely floored me. As a point of reference, in the cookbook genre, culinary imprints may sign 8-12 books in a whole year.***

Sure, the three mindsets above are sweeping statements of how authors enter their book deals. You probably fall somewhere between two of them.

As a literary agent, I feel like 99% of my job is ~~managing expectations~~ lowering expectations. Of course, when it comes time to go out on submission, I do everything in my power to pleasantly surprise my clients with beautiful offers.

Let’s say, for example, you are offered a $75k book advance.

For non-fiction authors the timetable for that $75k book advance is often paid out over two to four years. Authors have about a year to deliver their manuscript and then another year of editing, copyediting, layout/design, printing, and distribution. An advance paid out in a four-part schedule is as follows: “on signing”, “on delivery & acceptance”, “on publication”, and “12 months post publication.”

***Not So Secret Agent Side Note: Do we think it is fair to even call it an “advance” if the last payment comes after the book has been published?! Food for thought…***

For fiction authors, you’re often selling your manuscript and diving right into the editing process. Your advance may still have the same payment schedule (or condensed), but the timetable could be much faster to market.

Now let’s say that 6 months after your book comes out, you have had a bunch (okay maybe 8) major media hits that helped establish you as an expert in said topic.

Okay, maybe they’re just regional hits, and if you’re lucky, one national media hit or a big digital publication feature. Great (maybe you even hired Kathleen to help make that magic happen 😉)! Now a local university is looking for a keynote speaker. They found these media hits online and were impressed. Now they want to pay you $5k for a 45-min keynote and 15-min Q&A. Would you say yes to that?!?

I would.

Ultimately, I don’t think any author should set out to write a book because they think it will be a direct money maker.

A book is not a retirement plan, but it can be a big, beautiful business card.

As a literary agent that oversees a portfolio of titles dating back 30+ years (!), and is integrated within JVNLA, which has been in business for over 45 years, I have the tremendous privilege of seeing countless titles that DO earn royalties.

Let me tell you, there is no one topic, trend, or genre that consistently earns out. I often see specific authors (typically with big platforms/communities of beloved fans and readers) earning out. Or I see titles earning commensurate with the size of their associated publishing house.

Bigger houses = more distribution = more sales.

However, even the most consistently earning books have peaks and valleys that mirror the state of the industry.

Not So Secret Agent Sally, what kind of money are we talking about here?!

Like everything in publishing, IT DEPENDS. Back in the days of paper checks, I would often find myself wondering why the publisher spent more on postage than they did on the enclosed payment – not kidding. But then there are the checks that may not be able to pay for a new boat, but they do help you pay the bills. Those are nice!

Every now and then there is that new boat money though. Sure, it may be a paddle boat, but hey, a boat on the water is a boat on the water. Those statements often coincide with some sort of co-merchandising momentum that is happening in the bigger social zeitgeist or the lucky debut author that gets successfully caught in the TikTok shop algorithm.

Though it varies publisher by publisher, most royalty reporting happens in six-month cycles, meaning this coming spring I will be seeing sales on books from this past fall, aka the holiday season, which almost always makes for a nice spike across the board.

And I LOVE when a publisher keeps a book in print that is selling well. This helps authors stay motivated to integrate their book into everything they are out in the world doing. After all, one of the reasons publishers want authors with big platforms is for their potential to be their own driving force in the financial success of their book.

***Not So Secret Agent Side Note Part 1: A few years ago, I had a publisher put a book out of print within 12 months of its publication. Both the author and I were furious! It felt like the publisher didn’t give the book a chance to find its momentum, which can often come well after that initial on-sale push. (FYI, most of the time a book will go out of print once it is selling less than a contractually-stated threshold – anywhere between 25-500 copies/statement period period). To have a frontlist book taken out print within 12 months is rare. Everything became clearer when, within the next 24 months, the publisher had completely revamped their publishing program and ceased a massive part of their list.***

On the flip side…

***Not So Secret Agent Side Note Part 2: I was just chatting with a publisher that I think is particularly skilled at monitoring backlist titles and inventory who said a title that is 30 years old recently went viral thanks to revitalized interest in the topic. Since the publisher has a team dedicated to monitoring inventory, they were able to jump on a new print run and meet the immediate market demand.***

Though authors can’t control what a publisher does with their backlist, nothing makes me sadder then when I talk with an author who thinks that after their book has been out for a few years, the “opportunity” has passed. In most cases, just the opposite is true!

Don’t walk away from the incredible amount of hard work you put into finishing your proposal, landing your deal, and producing your beautiful book.

Over the years, it has been delightful to watch authors figure out how to adapt to the changing landscape. As clients learn to pull various levers on promotion, marketing, and sales for their books, I get to see their hard work show up as a sales spike in the following royalty period.

One of my favorite feelings is when I see an author is suuuuuper close to earning out their advance or has just earned out. I love dropping a note or text to let them know their first payment is on the way. Woot woot!***

I have talked with hundreds of authors who have found creative, consistent, and impactful ways to keep their books selling.

Here are a few NSSA tips on how you can jumpstart and then maintain the energy of your book, and hopefully gain some sales momentum:

· Compile all the media from your book and make sure it is loaded onto your website (with SEO and links).
· Re-share big media hits (stick to placements from the past 2 years or so) across your platforms.
· If your e-book goes on a deep discount sale, PROMOTE, PROMOTE, PROMOTE! I have seen a direct correlation between e-book deep discounts and a spike in printed book sales.
· If your book was published in hardcover first and has a paperback edition (often a year later), you can do a new, full push for the paperback!
· Pitch podcasts. These have longevity! Also, make sure to grab graphics and re-share podcast appearances well after your book comes out. Your platform will have grown, and new readers/fans will be excited to listen!
· Make sure your book is available for sale at events, speaking appearances, demos, classes, anywhere you are showing up to do your professional thang. Or better yet, negotiate a bulk buy as part of your speaking/appearance fee.
· Collab with brands, organizations, institutions. What does your daily/monthly schedule look like? Always ask yourself where your book can be integrated.

***Not So Secret Agent In-Tip Sidenote: In some cases, this may even be a second “book tour” in that you are already traveling to select places for other aspects of your career and you intentionally plan book-related events or media in those networks. It will likely get harder to formally position this as a tour per say if your book is over 2-5 years old. But no matter what you call it, events or appearances where you can integrate your book are gold. I have seen clients and other authors I respect announce second or third waves of book tours to great success! One caveat to consider is the potential venue for these kinds of events. If they are spaces known for book events, they are likely booked with frontlist/new releases. So, pick non-traditional venues instead. Think book clubs, libraries, community centers, educational spaces, private clubs, etc.***

· Assess the marketplace. Who are the emerging voices in your category of expertise? Connect with those people! Collaboration is key.
· Co-merchandise: What are the products that compliment your book? Maybe a display at your local gift store that is a similar color to your book cover?! How can you get your book into “special sales accounts” aka non-traditional places that sell books alongside other items? This is especially key for visually driven non-fiction books such as cookbooks, design books, florals, architecture, etc. For fiction, that may look like your local coffee shop (build those relationships!), book clubs, etc.
· Audit your platform. What accounts do you have the most engagement on and when was the last time you promoted your book? What accounts are the least engaged and when was the last time you promoted your book 😉?
· If you are a non-fiction author, go back to your original book proposal. What was the initial plan you had mapped out for yourself all those years ago before you even landed your deal? Who in your network are super fans (old or new) that you could reach out to? What ideas come to mind when you look at your community/platform from the past and what stronger positions/connections/relationships can you leverage now? For fiction, audit your initial book launch. What worked? What didn’t? What do you wish you got to do and how can *you* make it happen now?
· If you were writing a NEW marketing and promotion section for your book proposal today, what would you include?! Think about the new platforms to pitch. What podcasts, newsletters, social media accounts, etc. exist now that speak to the same audience as your book?
· Pull out your schedule/calendar from the past year and look for new colleagues, contacts, connections that may not be obvious book connections. Who is now in your network and is there a way in which you can engage with them to help keep momentum going for your book? Look for meetings you had, places you traveled to, coffee dates, etc.!

For those of you reading this who have earned out an advance and are receiving royalties, how did you get there? How do you maintain relevance and momentum?

For those of you reading who’ve published a book that didn’t earn out its advance, how have you made your book work for you in other ways? Do you have any stories or ideas to share?

For the readers out there who’ve receive royalty statements but have no clue how to decipher the horror that is these gibberish documents – I see you. You are not alone.

And to those of you who are wishing one day to be published and have the honor and privilege of reading any statement at all that lists you as an author, I see you too. Keep working, writing, and learning!

Finally, for the rest of you in the industry who are reading this and have tips based on your years of experience, I hope you will comment with other ways you have found to move the needle on sales.