What can help books sell?

There is no simple solution to increasing book sales, but here are some ideas.

Hello! This week, I felt a bit uninspired because I traveled to Washington, DC, for business on Sunday and didn’t return to New Jersey until late Monday night (thanks, Amtrak). I wasn’t sure what I had written here was “good enough,” but then I revisited it and thought it had some valuable information, so here we are.

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First, some housekeeping:

I have a request. If you leave a comment on one of the newsletters, please do not promote your business or book. I commit several hours weekly to writing Publishing Confidential, and building my audience on Substack. It’s not cool when people hijack the comments to self-promote or simply go there to argue. I value the exchange of ideas in this community, so be kind to everyone! Thank you.

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And now…onto publishing:

Authors and other publishing professionals often ask me, “What helps to make a book sell?” While there isn’t a singular answer, several factors prompt a consumer to purchase a book. Don’t worry; I will not rehash the discussion about blurbs (yet). Let’s dig in:

I. Customer and Consumer mean two different things in publishing:

If you ask someone in a publishing house's sales department about what customers they service, they’d tell you about distributors, Barnes & Noble, Amazon, indie bookstores, and big box retailers (Target, Walmart, etc.). This is problematic because publishers cater to their accounts more than they think about expanding their consumer base. Attending a sales conference in the industry means you’ll hear feedback about what accounts want rather than what consumers want.

In yesterday’s edition of The Hot Sheet (which you should subscribe to), Jane Friedman interviewed publishing veteran Peter Hildick-Smith, who founded the consumer research firm Codex Group in 2004. Peter and I have the same kind of thoughts about what ails publishing. In the interview, he makes this important point:

 In trade publishing, the “customer” has historically been thought of as the major trade accounts. But in a market where now roughly 70 percent of book units are sold direct to the consumer through online channels, the individual book buyer is now the most important customer by far. This is a real sea change in the book market’s dynamics—and one that not only requires new ways of thinking about publishing priorities but new tools that help publishers understand this new customer better to become more effective at motivating the all-important “click” to browse and to hopefully buy.

I couldn’t agree more.

II. Consider the format:

If I had my way, trade paperback originals would be the primary publishing format for books, and hardcovers would become “deluxe” editions. Paperback originals aren’t a demotion for authors. The format makes sense because of its lower price point. Consumers are likelier to take a chance on an unknown author if purchasing their book doesn’t make too much of a dent in their wallets.

Consider that streaming services have difficulty competing with Netflix because its standard subscription with ads only costs $6.99 per month, and its catalog is deep. Streaming services also have problems competing with TikTok because people can watch movies and show clips for free. There is an account dedicated to scenes from The Godfather; several accounts post clips from The Sopranos, Sex in the City, and Gilmore Girls. When consumers gravitate towards a price point between $6.99 and “free,” they will unlikely spend between $25-$30 for a hardcover book.

Kindle Unlimited is another excellent example of a small consumer investment for a lot of content. For example, the stakes are low for a reader who wants to try a new romance author on the platform because their subscription includes specific “free” (but not free) ebooks.

The same could be said for Audible subscriptions, where consumers earn credits for future audiobook purchases. It’s not that it’s free; it’s that it seems free.

I’m not implying that publishers need to offer subscriptions. That isn't very easy and not as profitable as you’d think. I’m suggesting that publishers experiment more with formats. Years ago, when I was working at Dutton Books, we published a hardcover with a $19.99 price point and marketed it as a “summer special.” It worked. Rigidity is not going to improve book sales—flexibility will, however.

III. Trend forecasting:

No matter what industry we discuss, trend forecasting is involved in product development. I’ve always found that book publishing somewhat lacks in this area because the industry tries (to no avail at times) to preserve itself. You can’t be too precious about literature when you need to generate revenue—case in point: Colleen Hoover.

Trend forecasting isn’t niche; it is big-picture thinking. If you were to read Modern Retail, you’d see how companies use trend forecasting to elevate sales. This is especially true during the holiday season. Do we need a pumpkin spice-scented book? Maybe!

Publishers should explore what regular folks buy from other sectors: fashion, accessories, tech devices, etc. This falls in line with identifying the audience for a book. It is impossible to do so unless you know what those audience members do when they’re not reading. What movies are they seeing? What music do they like? What apps are they using? It’s an equation the industry must solve.

IV. Book covers should not all look the same:

Inevitably, every season, there is a book that sells well and has a cover concept that other publishers use. The most recent cover trend was a color mosaic with the title somewhere between what looked like leaves. Differentiation is important. I know the thought behind similar book covers is that the consumer bought book A, so if book B has the same spirit visually, maybe they’ll buy it, too. The problem is that too much of the same thing is boring, and the books tend to bleed into one another. Sometimes, when a book doesn’t sell, a contributing factor is a bad cover. I’ve experienced it several times throughout the years, and it is usually because an author insisted on a particular design that didn’t play well with consumers. Unfortunately, some sales accounts insist that a book have a specific cover (Barnes & Noble was the ultimate culprit for a long time), and they aren’t always right.

Now that we are completely immersed in the digital age, where everything is visual, it is essential to get book covers right. As my 15-year-old daughter and her friends say, “It has to be aesthetic.” In other words, a lousy book cover isn’t going very far on social media.

Additionally, the title format and font should be easy to read. For example, don't use cursive on the cover to attract a younger audience. Why? Sadly, not many young people write in cursive these days, and children are no longer learning to write cursive in school (sigh). They don’t identify with it.

V. How many clicks does it take to buy a book?

Since 70% of book purchases are made online, authors and publishers must make the process easy for consumers. A pet peeve of mine is when someone posts a link in their Instagram caption. You can’t click on a link in an Instagram caption. It has to be in your bio or within your Instagram stories.

Take a look at the app LTK (Like to Know). Influencers use it to create collections of things they like: fashion, home decor, and jewelry. It’s addictive, and consumers can “like” an item, which makes a bookmark system. It is also great because if I love a pair of shoes, I only need to click once, and I am taken to a retailer’s page where I can buy them. If you need bookshelf styling inspiration, search within the app. You won’t be disappointed.

Authors must familiarize themselves with hyperlinks or hire someone who can teach them. If your book is being published in a few months, and the cover is final, it is the first thing I should see on your website. The second thing I see should be a buy button. A future edition of this newsletter will discuss author websites.

VI. Debut authors must think strategically.

When I consult with debut authors, I talk to them about their careers. I want to know if a second book is being written or under contract. If the answer is “yes,” I ensure the author knows that whatever strategy we employ must be as effective as possible to lead to book sales. Publishers will scrutinize sales figures from debut books but not the promotional efforts surrounding them. For example, a debut book could have had an ineffectively executed publicity and marketing campaign that didn’t result in sales. Publishers are more prone to think the book didn’t connect with readers instead of assessing what kind of campaign was done. We can’t fairly judge a debut whose marketing campaign on social media didn’t sell copies—because social media marketing campaigns often don’t result in meaningful sales.

VII. Your second book must also sell.

Here is a scenario: You are about to publish your second book in a two-book deal with a publisher. Your first book had tepid sales. After the second book, your current publisher has the first option to look at your third. If they decline, you need a new publisher. Sometimes, I wish authors could start with a clean slate after this happens—especially those whose books were published in the early days of the pandemic.

Your second book is akin to a middle child: the eldest was your guinea pig, and your youngest requires much of your attention, but the middle child can care for themselves, so you let them be (sort of). Here is some advice: Treat each book like it’s your last one. This means approaching it by being present and not putting so much focus on the next one. I can hear a collective “But…” right now. “But” nothing! You’ve got to remain invested in each book. Participation is not optional.

If marketing and publicity didn’t work out well for your first book, use your voice when your second book is in the mix. It is okay to ask a lot of questions and expect answers. I promise.

VIII. In closing…

I will write a lot more about this topic. Publishers should be aware that the longer the SAG-AFTRA and WGA strike, the less new content can air on streaming services and in theaters. People want to be entertained. Look at what’s happening in the entertainment industry and fill the void. When you fill it, ensure the cover is fantastic and the price isn’t prohibitive. Change the format. Experiment. Be flexible!

End Notes:

What I’m Watching: I will watch the first two episodes of the third season of The Morning Show on Apple+. I love it for a couple of reasons: I’ve worked around morning shows for a long time, and the stuff that goes on off the air is…yikes sometimes. I also think the cast is incredible. So is the writing. Pay the writers!

What I’m Listening To: I am prepping for the Sea. Hear. Now. music festival in Asbury Park, NJ, this weekend, where I will see The Killers, Foo Fighters, The Breeders, Sheryl Crow, and many more artists. I want to scream, “He doesn’t look a thing like Jesus!” (You'll get the reference if you listen to The Killers.)

What I’m Reading: I recently finished The Guest by Emma Cline and loved it. We meet 22yo Alex, who may have been a sex worker. Alex exists in a morally gray area—she steals, drinks, and does drugs. We don’t know much about her past. We don’t need to. Alex proves what I’ve always known: if you look a certain way, dress a certain way, and speak a certain way, you can infiltrate wealthy people’s worlds, and they’ll never question you.

Next up: Daughter by Claudia Dey

As always, send comments/questions to publishingconfidential@gmail.com