It’s been quite a week in my world, so I’m taking a breather from writing the newsletter and encouraging a discussion here. What would you like to read about in Publishing Confidential? Some book publishing topics I’ve been thinking about: the impending sale of Simon & Schuster (who will buy it?), the drastic shift in digital media, what sells a book, why USA Today needs to reinstate their bestseller list, and the continuation of book bans. What’s on your mind about the book industry? Let’s talk about it in the comments!
One more thing. A Mighty Blaze needs your help. They’re a team of 35 publishing professionals who volunteer their time bringing attention to debut authors online, creating literary programming, producing 9 different programs for authors, and more. They are so close to their fundraising goal. You can donate here: https://gofund.me/bc58bc78
Kathleen, I have a rough draft of a post I need to clean up before I share it. I will let you know when I post it. Meanwhile, I would summarize my suggestion as a need for levelling the playing field. The traditional stream of publishers and their associated industry maintain great advantages over self-published authors. But their predominance shouldn't be allowed to perpetuate unfair advantages going forward. For example, 1) traditional publishers dominate the algorithms of online distributors. Their fare includes the work of literary greats (the "Shakespeares") when copyright expires after 50 or 75 years. I'd like to see an algorithm that features self-published authors. 2) Self-published authors are excluded from major awards programs as well as business incentives from various levels of government. 3) Generally, media giants, including news organizations and journals, only review work that has been submitted by traditional publishers. These actions represent long-held biases against self-published authors. There should be no stigma associated with self-publishing.
My view is that if traditional publishers insist on dominating online distribution, then EVERYTHING else, including book awards programs, book review policies, and business incentives need to be equitable and fair. They say that the Internet has disrupted book publishing and turned it on its head. There remain these additional issues that will be corrected in time, I believe, but how long do we have to wait for change to come in these areas that are so vital to competitiveness in today's book publishing industry? Other interests groups raise the alarm when inequitable and unfair practices hurt their businesses. It is time that we do the same.
Hi Kathleen: I'm a "newbie" historical fiction writer, and a part-time Sensitivity/Authencity and Beta reader. Currently, I'm writing my first novel (a historical mystery). In response to your question, here are a few of mine. Any assistance would be greatly appreciated! (1) Should an Indie author set up their own publishing press? If so, when, and how? (2) What is the best way a Sensitivity/Authenticity reader of African American and Disabled American issues can promote their services to legitimate large and small publishing presses in a professional manner? (3) How does a newbie Indie author "find their audience?" I'm having a tough time figuring this one out. My sub genres are historical mystery and historical romance. Again, thank you for answering any of my questions. Your newsletter has been quite informative. Keep up the great work!
Thanks for asking! Perhaps talk about the role of a launch manager and how they mesh with publicity. I worked with a terrific launch manager for a client’s book and she knew and did more for the book’s success than the in-house team.
Thanks for asking! Perhaps talk about the role of a launch manager and how they mesh with publicity. I worked with a terrific launch manager for a client’s book and she knew and did more for the book’s success than the in-house team.
I’m looking more and more at small presses for my manuscript and am curious about potential routes for growing future writing projects into the Big Five?
I think small presses are great and I’ve worked for some of them. You need to think about what it is you want from a big 5 publisher vs what they can do for you. If it’s cache, I’d say think about that differently. Many authors start out at small presses, find success with them, and move on to a big 5 publisher. It’s not accurate to think you’ll get an amazing advance from a big 5. Will you get more marketing? Debatable. Maximize the opportunity with a small press and see where you land.
Thanks for asking! Choosing between traditional (if it is an option) and self-publishing is a topic that interests me, as well as how much it might cost/recommended investments to make before self-publishing (such as working with an editor, or multiple editors?).
I always think writers should work with an editor before querying agents OR self-publishing. That’s worth an investment. You’ve got to list some goals for yourself--your career--and see how they align with how you envision being published. Genre fiction (think romance/thriller) does well in the self-publishing sphere. However, those authors invest in editors, cover designers, and hire PR/Marketing firms (usually). As for cost, that’s hard to answer. What I’ll say is this: if anyone is charging you to publish your book, don’t do it. I’ve heard many stories of authors paying $10K or more to companies who advertise they’ll publish your book. That’s not how things work.
I'm writing a book on ADHD and the family dynamic. Are there specialists in books like that? It's not "academic" more of a how to rase a child without the downward spiral of tantrums, nagging and power struggles
Brandon is absolutely the exception and not the rule. There’s a really great profile of him in Esquire--it’s online. He’s been building his audience for years and writes genre fiction, so it’s a different beast. He’s also a prolific writer who produces more content than the average writer. It didn’t happen quickly for him. He’s got an entire publishing operation to finance, so keep that in mind. He’s got a payroll to fulfill, staff to manage, etc.
Kickstarter for books is not an easy road for authors who haven’t built an audience. You are responsible for the production, shipping, and every aspect of bringing the book to the market. That’s costly.
As for what sells a book: the short answer is that no one has the exact answer. It depends on the book, author, cover, publisher, and what investment the publisher makes to market the book. That’s a general answer. The larger picture to look at is the distribution of the book, the macro environment (ex: the economy), and consumer behavior. Do reviews sell books? Sometimes. Advertising? Not really. Word of mouth? Yes.
Hi Jed! I was a literary agent from 2016-2018. Agents are less gatekeepers than they are the protector of an author's interests. I know it may seem like they are gatekeepers, but agents can only take on so many clients, and those clients need to align with their interests, so finding an agent is competitive. Once you have an agent--a good agent--they are your advocate with publishers, negotiate terms for you, and should be a partner in your publishing career. There are, of course, good agents and bad agents. You want someone who is proactive, collaborative, and communicative. I hope this helps.
Hi, Kathleen, thanks for making the time to do this. Here’s my really broad question: how should writers approach social media/marketing? Knowing that most will get only x amount of support from their publisher -- and I’m not knocking that just acknowledging the reality of limited time/money -- and knowing that there’s a lot of ways to find readers now, what do you think writers can do on their own to help their marketing teams?
The good news is, I feel like follower count on social media isn't as important as it once was. Engagement and views are important, as are the quality of your followers. Something I talked about on Zoom the other day was the importance of audience acquisition--that is where someplace like Substack comes in. When you build a subscriber base on here, you are acquiring an audience, and that is invaluable. I still like Instagram because there are so many ways to use content there: a grid, Reels, Stories. I'm also aware that not all authors can or want to do those things. It's important to know exactly what the publisher's marketing team has planned, and think about which of those activities are consumer-facing but not just focused on bookish media (so, for example, not just advertising in Publishers Weekly, Lithub, etc.). I'm a fan of podcast advertising and ads in newsletter verticals because they go directly to the consumer's inbox. Does that help?
That is excellent, Kathleen, thanks. I appreciate it, and I’m sure your paying clients know that we’re just getting a small sample of what is money well spent for them on your knowledge and services. 😉
S&S is up for sale? My publisher ended up under their umbrella after several smaller sales. I’m unhappy with the way the big publishers just keep eating up other pub companies. What happens to healthy competition when we’re down to just a Big Two?
That said, I’ve been treated very well by the S&S family. I’ve just had this uncomfortable feeling ever since Penguin and Random House first joined forces, and it isn’t easing. I’ve worked in the book business in various roles for thirty years, and watching smaller companies be swallowed up and lose what makes them unique and specialized makes me sad.
I am going to write about S&S and what I think will happen. The short answer is, I do not think another publisher will buy them because Paramount Global, their parent company, wants to close a deal by the end of 2023 and doesn't want any regulatory issues from the DOJ. More to come on that.
PRH tried to buy S&S recently and the DOJ blocked it (whew!). But S&S is still up for grabs, unfortunately. I think lots of eyes are on Harper wanting to buy it. . . .
Hey Kathleen! What a lovely invitation to discuss all things publishing. I have a question about memoir. I have a hybrid memoir on submission here in the UK at the moment (hybrid as one strand of the narrative is composed of letters sent between my grandparents while they were still separated by war in the six months before they married). At its heart it's the story of caring; of mother's and daughters as well as my recovery from a breakdown shown alongside the treatment my mother and my grandmother received within the mental health service. My concern is that it's possibly not landing with publisher's because of the sensitive subject matter? The feedback has been really positive but no publisher yet has acquired it. A few questions around whethwr I have the support of my family, too, which I do... What do you think?
This is a tough question to answer because I haven't read your work--and to be fair to my current clients, I can't give too much free advice. That said, you should re-eaxmine your narrative arc. Do the letters fit into the story or distract from it? Do they break up the narrative? Memoirs about mental illness are a tough sell--I won't sugarcoat that. There are a lot of them, so make sure your comp titles are solid, but not runaway bestsellers. Have you explored hiring someone to help with your pitch/proposal? I just did an event with two writers who have a service called Witches of Pitches. They are reasonably priced and can help you fine-tune your proposal and query letter. Based on what you wrote here, I'd say it needs to be more than a story about caring and mothers/daughters. It's also a good idea to try writing a personal essay as a companion piece to see where that lands you.
Kathleen, I have a rough draft of a post I need to clean up before I share it. I will let you know when I post it. Meanwhile, I would summarize my suggestion as a need for levelling the playing field. The traditional stream of publishers and their associated industry maintain great advantages over self-published authors. But their predominance shouldn't be allowed to perpetuate unfair advantages going forward. For example, 1) traditional publishers dominate the algorithms of online distributors. Their fare includes the work of literary greats (the "Shakespeares") when copyright expires after 50 or 75 years. I'd like to see an algorithm that features self-published authors. 2) Self-published authors are excluded from major awards programs as well as business incentives from various levels of government. 3) Generally, media giants, including news organizations and journals, only review work that has been submitted by traditional publishers. These actions represent long-held biases against self-published authors. There should be no stigma associated with self-publishing.
My view is that if traditional publishers insist on dominating online distribution, then EVERYTHING else, including book awards programs, book review policies, and business incentives need to be equitable and fair. They say that the Internet has disrupted book publishing and turned it on its head. There remain these additional issues that will be corrected in time, I believe, but how long do we have to wait for change to come in these areas that are so vital to competitiveness in today's book publishing industry? Other interests groups raise the alarm when inequitable and unfair practices hurt their businesses. It is time that we do the same.
Hi Kathleen: I'm a "newbie" historical fiction writer, and a part-time Sensitivity/Authencity and Beta reader. Currently, I'm writing my first novel (a historical mystery). In response to your question, here are a few of mine. Any assistance would be greatly appreciated! (1) Should an Indie author set up their own publishing press? If so, when, and how? (2) What is the best way a Sensitivity/Authenticity reader of African American and Disabled American issues can promote their services to legitimate large and small publishing presses in a professional manner? (3) How does a newbie Indie author "find their audience?" I'm having a tough time figuring this one out. My sub genres are historical mystery and historical romance. Again, thank you for answering any of my questions. Your newsletter has been quite informative. Keep up the great work!
Thanks for asking! Perhaps talk about the role of a launch manager and how they mesh with publicity. I worked with a terrific launch manager for a client’s book and she knew and did more for the book’s success than the in-house team.
Tamela
Thanks for asking! Perhaps talk about the role of a launch manager and how they mesh with publicity. I worked with a terrific launch manager for a client’s book and she knew and did more for the book’s success than the in-house team.
Tamela
I’m looking more and more at small presses for my manuscript and am curious about potential routes for growing future writing projects into the Big Five?
I think small presses are great and I’ve worked for some of them. You need to think about what it is you want from a big 5 publisher vs what they can do for you. If it’s cache, I’d say think about that differently. Many authors start out at small presses, find success with them, and move on to a big 5 publisher. It’s not accurate to think you’ll get an amazing advance from a big 5. Will you get more marketing? Debatable. Maximize the opportunity with a small press and see where you land.
how do you assess small versus self-publishing>
Thank you!
Thanks for asking! Choosing between traditional (if it is an option) and self-publishing is a topic that interests me, as well as how much it might cost/recommended investments to make before self-publishing (such as working with an editor, or multiple editors?).
I always think writers should work with an editor before querying agents OR self-publishing. That’s worth an investment. You’ve got to list some goals for yourself--your career--and see how they align with how you envision being published. Genre fiction (think romance/thriller) does well in the self-publishing sphere. However, those authors invest in editors, cover designers, and hire PR/Marketing firms (usually). As for cost, that’s hard to answer. What I’ll say is this: if anyone is charging you to publish your book, don’t do it. I’ve heard many stories of authors paying $10K or more to companies who advertise they’ll publish your book. That’s not how things work.
I'm writing a book on ADHD and the family dynamic. Are there specialists in books like that? It's not "academic" more of a how to rase a child without the downward spiral of tantrums, nagging and power struggles
What sells a book - what authors can do on their own. Would love to dissect what Brandon Sanderson and others have been doing with kickstarter
Brandon is absolutely the exception and not the rule. There’s a really great profile of him in Esquire--it’s online. He’s been building his audience for years and writes genre fiction, so it’s a different beast. He’s also a prolific writer who produces more content than the average writer. It didn’t happen quickly for him. He’s got an entire publishing operation to finance, so keep that in mind. He’s got a payroll to fulfill, staff to manage, etc.
Kickstarter for books is not an easy road for authors who haven’t built an audience. You are responsible for the production, shipping, and every aspect of bringing the book to the market. That’s costly.
As for what sells a book: the short answer is that no one has the exact answer. It depends on the book, author, cover, publisher, and what investment the publisher makes to market the book. That’s a general answer. The larger picture to look at is the distribution of the book, the macro environment (ex: the economy), and consumer behavior. Do reviews sell books? Sometimes. Advertising? Not really. Word of mouth? Yes.
I'm curious about book agents. They do seem to be playing an important gatekeeper role? Would love to hear your insider take.
Hi Jed! I was a literary agent from 2016-2018. Agents are less gatekeepers than they are the protector of an author's interests. I know it may seem like they are gatekeepers, but agents can only take on so many clients, and those clients need to align with their interests, so finding an agent is competitive. Once you have an agent--a good agent--they are your advocate with publishers, negotiate terms for you, and should be a partner in your publishing career. There are, of course, good agents and bad agents. You want someone who is proactive, collaborative, and communicative. I hope this helps.
Hi, Kathleen, thanks for making the time to do this. Here’s my really broad question: how should writers approach social media/marketing? Knowing that most will get only x amount of support from their publisher -- and I’m not knocking that just acknowledging the reality of limited time/money -- and knowing that there’s a lot of ways to find readers now, what do you think writers can do on their own to help their marketing teams?
Hi Paul!
The good news is, I feel like follower count on social media isn't as important as it once was. Engagement and views are important, as are the quality of your followers. Something I talked about on Zoom the other day was the importance of audience acquisition--that is where someplace like Substack comes in. When you build a subscriber base on here, you are acquiring an audience, and that is invaluable. I still like Instagram because there are so many ways to use content there: a grid, Reels, Stories. I'm also aware that not all authors can or want to do those things. It's important to know exactly what the publisher's marketing team has planned, and think about which of those activities are consumer-facing but not just focused on bookish media (so, for example, not just advertising in Publishers Weekly, Lithub, etc.). I'm a fan of podcast advertising and ads in newsletter verticals because they go directly to the consumer's inbox. Does that help?
That is excellent, Kathleen, thanks. I appreciate it, and I’m sure your paying clients know that we’re just getting a small sample of what is money well spent for them on your knowledge and services. 😉
You are welcome! Ask anytime!
S&S is up for sale? My publisher ended up under their umbrella after several smaller sales. I’m unhappy with the way the big publishers just keep eating up other pub companies. What happens to healthy competition when we’re down to just a Big Two?
That said, I’ve been treated very well by the S&S family. I’ve just had this uncomfortable feeling ever since Penguin and Random House first joined forces, and it isn’t easing. I’ve worked in the book business in various roles for thirty years, and watching smaller companies be swallowed up and lose what makes them unique and specialized makes me sad.
I am going to write about S&S and what I think will happen. The short answer is, I do not think another publisher will buy them because Paramount Global, their parent company, wants to close a deal by the end of 2023 and doesn't want any regulatory issues from the DOJ. More to come on that.
PRH tried to buy S&S recently and the DOJ blocked it (whew!). But S&S is still up for grabs, unfortunately. I think lots of eyes are on Harper wanting to buy it. . . .
I should pay better attention to the news. I’m a hermit. 😂
Hey Kathleen! What a lovely invitation to discuss all things publishing. I have a question about memoir. I have a hybrid memoir on submission here in the UK at the moment (hybrid as one strand of the narrative is composed of letters sent between my grandparents while they were still separated by war in the six months before they married). At its heart it's the story of caring; of mother's and daughters as well as my recovery from a breakdown shown alongside the treatment my mother and my grandmother received within the mental health service. My concern is that it's possibly not landing with publisher's because of the sensitive subject matter? The feedback has been really positive but no publisher yet has acquired it. A few questions around whethwr I have the support of my family, too, which I do... What do you think?
Hi Lindsay,
This is a tough question to answer because I haven't read your work--and to be fair to my current clients, I can't give too much free advice. That said, you should re-eaxmine your narrative arc. Do the letters fit into the story or distract from it? Do they break up the narrative? Memoirs about mental illness are a tough sell--I won't sugarcoat that. There are a lot of them, so make sure your comp titles are solid, but not runaway bestsellers. Have you explored hiring someone to help with your pitch/proposal? I just did an event with two writers who have a service called Witches of Pitches. They are reasonably priced and can help you fine-tune your proposal and query letter. Based on what you wrote here, I'd say it needs to be more than a story about caring and mothers/daughters. It's also a good idea to try writing a personal essay as a companion piece to see where that lands you.