Daily Pub Game Bite

Via Publishers Lunch (12/28/12), Pearson has invested $89.5 million in B&N's Nook Media entity. Microsoft ponied up $300 million back a couple of months ago. Since splitting off their bookstore entity and their electronic and College Bookstore entity, B&N's been watched very closely.

This adds a bit more heft to Len's operation as it stands its ground in the battle against everyone's favorite on-line behemoth, Amazon.

As PL points out, however, the Pearson investment has "significant potential" as Pearson is "the world's alrgest textbook publisher".

And the battle's getting ferocious as B&N hesitantly let out the news that their holiday sales were below expectations.

And if you subscribe to Publishers Lunch/Daily Deals (and if you don't, why aren't you taking advantage of this industry inside line?) you also saw the news that PEW Research has a series of digital surveys that explore trends "among those who read electronically in 2012". Since digital is now an estimated 20% of book sales, this information is vital to the author seeking to understand how the landscape is changing and how they can be a successful player in the e-book market. Good news? Average number of digital and print read in the year was 15 titles. Bad news? That figure is down from the prior year.

Library ebook borrowing is up though! Make sure you're cozying up to your local acquisition librarian. RWA's "Romance Sells" advertising publication reaches out to them, as does BookPage's monthly print magazine that contains reviews and offers advertising. BookPage even provides a list of subscribers, so check them out and see who you can be talking to.

That's it for this first day of the new year.

May your 2013 be a happy, healthy, safe and prosperous one for you.

Write happy!

What's In the Wind for 2013? Some Thoughts

Via Morning Media news feed (the daily industry news feed provided by MediaBistro; the complete story appeared in TechCrunch by East Coast Editor, John Biggs) - Excerpts of Mr. Biggs' thoughts on what may the publishing biz may see in 2013:

"Add in the merger of Penguin and Random House – a Napster-esque move designed to stave off the vagaries of a non-collusive market – and you’ve got an even bleaker picture.

In short, after centuries of progress, the old method of transmitting information via the printed page – not to mention the publisher’s tendency to control content with an iron fist – is crumbling. In its place we have an entirely new system and regime, one ruled less by a central authority – the editors, publishers, and printers of yore – and now ruled by the mob.

That’s not a bad thing. It lets people publish books that would have never seen a printing press and it gives an organization with seemingly bottomless resources – Amazon – the ability to define the rules to which all others must cleave. This new media has laid a book store chain low, bleeding publishers nearly dry in the process, and it has changed the way we consume media from a slow meal savored over time to an experience more akin to grazing or, more precisely, a bit of sushi on the go."

and more thoughts from Mr. Biggs:

"Goodbye, Barnes & Noble stores. Barnes & Noble stores will see a massive contraction while smaller booksellers will thrive. B&N knows what’s up. They recently split their company into two and now one company sells paper books and the other one sells digital. In fact, Microsoft invested in the digital side, leaving the print side to fend for itself. And fend it must. Although this year saw brisk sales at small mom & pops, B&N saw a minor dip in retail sales due to store closings and slow sales in stores and on BN.com. Even the college business is slowing.

A major writer will go digital. I doubt Stephen King will make the jump, but one of the lesser mystery folks will probably go all digital. Why not? It gets them more cash for their efforts and places them at the helm of their business – and blockbuster writing is a business. Going indie no longer has a stigma attached."

Not sure if the last is much of a prediction since it seems that the J. A. Konrath motivated self-pub/digital move is one being taken by any numer of authors, from unpubbed to multi-pubbed authors reissuing their back list either via a self-publishing forum or making deals for those back list books to be reissued in digital via digital house other than their current pub houses.

But will there be a new E L James in town? A new J. A. Konrath? Waiting with bated breath!!!

What are you predicting for the 2013 year in publishing - What trends, writers, digital changes, books-to-film do you foresee?

Arriving on 12/26, my February 2013 issue of RT Magazine arrived yesterday and had some interesting bits and tids in it, that may offer some insight into what's up and coming in the romance pub game - reports & predictions from an industry leader that's been watching the romance game for decades.

There's an article on the new genre of "New Adult", geared to college and early 20's readers that will be a new trend to watch. For those 20-somethings who aren't interested in YA, who are looking for more mature subject matter and possibly more in the way of the physical relationship between the couples.

Additionally, there's a brief discussion on the issue of Harlequin's category line changes.

Harlequin Blaze line has dropped from 6 titles per mont to 4 (which begs the question regarding erotic/steamy romance - does HQ know something about a waning appetite for hot love stories that no other publisher seems to have noticed????).

Harlequin Presents Extra imprint has been closed. From the Harlequin website listing for guidelines for each line, this is what it says about the HP Extra:

"They offer all the international glamour, passion and alpha male heroes you expect from Harlequin Presents, with a flirty young voice and a whole load of sass!

Written by talented, original authors such as Heidi Rice, Natalie Anderson, Kelly Hunter, Kimberly Lang, Anne Oliver, Anna Cleary and Lucy King, these entertaining romances reflect the life experiences of today's young women, within a chic, upmarket, and usually urban setting. The heroines are often your twenty-something girls-about-town but there's no compromising on the Presents Extra/Riva hero: he must be very alpha and absolutely to die for. There'll be sparks flying when these two meet—and nothing short of fireworks once they get to the bedroom!"

But HQ has also launched a new imprint, KISS, which, if you've heard anything about it, sounds like a blend of higher-aged NA, rom-com and chick lit. According to the RT report, author Kimberly Lang (one of whose books is in the inaugural quartet) says, "KISS is very contemporary and smart with a young and vibrant urban feel. "We're taking some of our favorite romance books and giving them a little twist to deliver fun, flirty and sizzling stories for our readers. We're also updating the alpha hero - he's a little younger, a bit flirty, a little less damaged and broody..."

To me that sounds like the "rom com is dead", and "chick lit" is dead adages may be waning as well, and some "fun and flirty" romance is on the way!

Further, the popularity of the tortured hero may have left readers in the cold who are looking for a kinder, gentler, less angst-ridden hero type and HQ is seeking to fill that gap.

(But it also sounds awfully similar to HP Extra, doesn't it? I'd love to discover if the changes are merely cosmetic, perhaps length and a kickier imprint name than the rather stodgy Extra one?)

But ultimately it sounds like a perfect example of genre blending - taking all the best aspects of 3 genres (or more?) and turning them into a new, hybrid romance that looks to satisfy as many tastes as possible!

HQ is often on the forefront of romance changes, so maybe we'll see more coming our way.

Definitely appears that a KISS title or two should be in your TBR pile so you can check out this latest trend, no?

Taking the opportunity here now to proslytize a teeny weeny bit, too. Trend watching in romance publishing, keeping abreast of industry changes in the romance genre are something we all pretty much do as a matter of course, right? But how much time do you spend casting your eye across the entertainment landscape as a whole? Trends are not isolated in books - TV and film are usually in sync to a certain degree as well (can you count the vampire and paranormal TV shows? I can't!). Sex plot lines in films and in theatre continue apace with the hunger for erotic romance between the covers. Cowboys - historical and contemporary are hot on screens large and small - as they are in romance.

As someone once said in connection with the railroad magnates who found their empires crumbling in the face of transportation advances (i.e., THE AUTOMOBILE), "They thought they were in the railroad business. They didn't realize they were in the transportation business."

We in publishing (be we authors, agents, publishers or any other sort) are not simply in the publishing business - we are in the entertainment business. Competing for time and dollars and being as aware of the entire industry cannot help but give you an interesting perspective.

So go forth in 2013 - armed with your crystal ball and a wealth of industry knowlege that makes you a force to be reckoned with!


"If the artist does not fling himself, without reflecting, into his work, as Curtis flung himself into the yawning gulf, as the soldier flings himself into the enemy's trenches, and if, once in this crater, he does not work like a miner on whom the walls of his gallery have fallen in; if he contemplates difficulties instead of overcoming them one by one...he is simply looking on at the suicide of his own talent." Honore de Balzac

Wrapping Up 2012: Lawsuits & Silk Ties That Bind

by Lise Horton

While the #1 headline in our neck of the woods would have to be E L James and Fifty Shades of Grey trilogy, there was an overall theme to the year that can be summed up in one word: Litigation. And here’s just a sampling:

The eons long (okay, 7 years) Google Settlement case finally gave its last gasp as Judge Denny Chin refused the settlement proposal and the weary parties went their separate ways, with Google’s “a digital copy of every book in the world” plan falling apart. There’ve been some arrangements and understandings between Google and publishers that will lead to money changing hands, though authors are prominently missing from the discussion. The Authors Guild is attempting to pursue the matter on its own, on behalf of authors, but certain points in Chin’s Opinion make the Guild’s chances of success slim.

The concept of digital scans of every book? Didn’t die, though it is in stasis in the case of the Authors Guild v. Hathi Trust, an academic endeavor that grew out of the Google book scan project and likewise had the same goal. While the Authors Guild, with fair use arguments and the first ever use of Section 108 of the Copyright Act in a suit, did not prevail, the decision is being appealed. And just because the Hathi Trust started with academic and archaic texts? They didn’t stop there….unless Harry Potter’s being studied at the collegiate level!

The other massive lawsuit that hit in 2012, and one which will have far reaching implications for every party involved, but particularly authors who are basically left out of all of these equations, including settlements (in addition to the customer herself) is the Department of Justice price fixing suit against the Big 6 houses. Naturally, we can all commiserate with poor, weak, innocent Amazon ….who has now been handed the freedom to play with pricing at their whim and for their benefit. Meanwhile the publishers who’ve settled (Hachette, HarperCollins, Simon & Schuster and hot off the press, Penguin) (the courts approved the settlement agreement with the first 3, which includes among other things, $62 million in payments, and the Penguin settlement approval is pending) must now comply with a number of restrictions and oversight. The remaining publisher, Macmillan, and Apple, are set to battle it out in court. Macmillan continues to hold that they did not collude. They’ve got their legal work cut out for them, however as, along with the DOJ, numerous individual states have launched their own suits against Macmillan and Apple.

From a recent New York Times piece, it is pretty clear that Amazon was not the one having sand kicked in their face by the alleged bullies with their behind-closed-door pricing discussions:

“For Amazon, whose share of the e-book market has eroded to close to 60 percent from about 90 percent since 2010, the Justice Department action is a major victory over one of its top rivals, Apple. In anticipation of the announcement, Amazon already appeared poised to drop prices on e-books.
“This is a big win for Kindle owners, and we look forward to being allowed to lower prices on more Kindle books,” Andrew Herdener, a spokesman for Amazon, said in a statement.”

Numerous amicus briefs filed from nearly every quarter in the industry, objecting to the DOJ position and outraged that Amazon was being given basically their own playing field, were given short shrift.

If you look at the numbers, it’s rather hard to see how much damage folks were doing to Amazon. Even at a low, they had 60% of the digital sales market. Barnes & Noble had 25% and Apple – a defendant in the case – had a piddling 15%.

In a smaller arena, fast on the heels of a lawsuit brought by authors against another of the Big 6 publishers in connection with foreign sales royalties, a like case has now been brought against Harlequin. From the plaintiffs’ site, the general description:

“A class action lawsuit was filed today against Harlequin Enterprises, Ltd., the world's leading publisher of romance fiction, as well as Harlequin Books S.A., a Swiss corporation, and Harlequin Enterprises B.V., a Dutch corporation, on behalf of authors who entered into contracts with the company.

This lawsuit results from Defendant Harlequin Enterprises Limited, the world’s leading publisher of romance fiction, depriving Plaintiffs and the other authors in the class, of e-book royalties due to them under publishing agreements entered into between 1990 and 2004. Harlequin required the authors to enter into those agreements with a Swiss entity that it created for tax purposes, and that it dominates and controls. However, Harlequin, before and after the signing of these agreements, performed all the publishing functions related to the agreements, including exercising, selling, licensing, or sublicensing the e-book rights granted by the authors. Instead of paying the authors a royalty of 50% of its net receipts as required by the agreements, an intercompany license was created by Harlequin with its Swiss entity resulting in authors receiving 3% to 4% of the e-books' cover price as their 50% share instead of 50% of Harlequin Enterprises' receipts.”

This case bears similarities to the one involving a Big 6 house. Royalties are a morass in and of themselves, and these machinations make it nearly impossible for an author to get a clear grasp of the issue. It is a complicated world out there that an author has to deal with, so this is just another example of how important it is to really have as solid an understanding as possible on contracts and the publishing industry’s current practices.

A number of lingering issues arose from the demise of Dorchester as authors sought to get back their rights as the publisher’s assets were being gobbled up by Amazon, get payment for royalties owed, and in general slog through the mudslide that was the end of the publishing house.

But wait! It’s not just folks suing the publishers. They’re doing some suing of their own. Case in point, Penguin suing a number of its authors to get back approximately $577,000 in advances paid for books the authors (allegedly) failed to produce as contractually required. Sourcebooks sued an author for breach of contract for the same issue: refusing to turn in the 3rd contracted book.

Then there’s author Bill Bryson. No, he’s not suing his publisher – he’s suing his old agent for a variety of nefarious oversights, underreporting, and such.

Fortunately, t wasn’t just the lawyers having a grand year, however.

A number of authors in romance made killings of their own. There were major book deals being made for a number of self-published authors of erotic romance as they rode the wave called E L James and Fifty Shades of Grey. While 50 has sold 40 million copies worldwide (and is still going strong as foreign translations continue), a number of well-known, already bestselling erotic romance authors are vying for supremacy on the bestseller lists. From Bella Andre to Maya Banks, Eden Bradley/Eve Berlin and the lady chasing James, RWA’s own President, Sylvia Day, they have caught the industry’s notice and their titles have been satisfying the cravings that James’ books inspired.

Hollywood’s keeping a close watch on these titles, too, as they seek out authors with a solid brand and more product to feed the passions stoked by Christian and Anastasia. The Shades film is in the works and additional options have been made, including on The Marriage Trap by Jennifer Probst (and Probst’s latest 3-book “major” deal has just been announced as well).

The import of the success of these authors to my mind is that the romance genre is now front and center. As we all know, there’s something for everyone in the genre, and with the popularity of Shades, with millions of new readers discovering the joys of romance, they’ll be looking for more great reads and they’ll find them. Romance continues to drive digital, and is the bestselling genre in print, as well. While there are the communities who will continue to denigrate the genre, money talks, and that’s the true sign of success.

Shades even provoked discussion of book banning and censorship, which on a national stage is another plus.

Economically, the publishing industry began a slow climb back after wallowing for a while. The demise of Borders changed the landscape, Wal-Mart emerged as a book-selling powerhouse and sales there will be, for the first time, included in reports from all the traditional outlets. And the tablet and digital wars continue to drive an evolving business that even insiders cannot predict from day to day.

As digital (now at an estimated possible 20% or more of the market of book sales overall) continues to grow and gain importance, the print landscape will be undergoing yet another major upheaval with the merger (not approved as yet as the deal requires international approval in a number of countries that experts expect will keep the final deal held up until later in 2013) of Penguin and Random House. The prior Big 6 will become the Big 5 and while placating press statements give assurances that there won’t be any elimination of redundant imprints, from an author’s perspective, I gotta say – not buying it. Will it mean fewer titles released? Fewer purchases of new works? Definitely a possibility and we all must keep an eye out as I am sure the digital publishers are doing as they carve out their niche.

Some traditional topics, as well as some new matters, continued to hold sway in the discussion this year. Piracy, the rise of ebook popularity and availability via the B&N/Amazon reader wars, copyright issues, trad houses hanging out digital only imprint shingles, contract changes, royalty rates, subsidiary rights, the rise of self-publishing, Amazon’s continued pursuit of control of the publishing industry along with the e-reader and tablet markets, the evolution of the literary agent’s role in a digital arena, shrinking mid-list opportunities, and the ever hearty appetite for YA paranormal titles were all issues visited routinely in the industry.

But ultimately, the biggest story of the year was E L James and Fifty Shades of Grey. Not only has it spawned a demand for more erotic romance – a demand already established romance authors have been able to fill, and newer authors can aspire to fill – but it undoubtedly has created a whole new audience of readers for books offering an HEA in this tumultuous world. It’s made romance a serious contender in the entertainment game. Don’t forget after all – we’re not just in the publishing business. We’re in the entertainment business. The books’ popularity is shining the light on women’s sexuality, on physical relationships and the discourse of same which is clearly a timely matter, as evidenced by the fact that our genre is now sharing the stage with: Creative works in film focused on the subjects of sexuality, love and relationships (Sessions, A Dangerous Method, and Hysteria), television (Girls) and theatre (Venus In Fur, Sex With Strangers).

Love her books, or hate them, E L James’ success has made romance fiction a force to be acknowledged – and reckoned with.

And in the year to come that fact will add another layer of complexity to the already wild and crazy world we writers inhabit.

Here's to all you achieved in 2012 - and to New Goals & Challenges in 2013!

Happy Solstice!
Happy New Year!

Law & Writers - How Much Do You Know?

“The path you walk will be thorny, my son, through no fault of your own!” Maria Ouspenskaya to the Wolfman.

Our path as writers can be truly thorny, too. The publishing world is changing like a nervous chameleon and we have to keep up with all these changes if we want to keep our careers from running afoul of monstrous mayhem. You’ll need to educate yourself to make sure your career is on track and you are maximizing your investments of time, effort, talent and money.

One of the trickiest areas to navigate is the legal arena. It can be tough on the best day, in the best circumstances. But as more and more authors opt to publish with digital publishers – the majority of whom don’t require an agent to get “in the door” – they are doing so without the benefit of knowledgeable agents (or publishing lawyers) to help them understand the contracts they are signing, to advise if the terms are “industry standard” or somehow aberrant, and to clue them in to the potential adverse effects when something goes wrong.

On a lot of RWA and other writing loops I’ve encountered discussions of the confusion over publishing contract terms (as well as a lot of erroneous “facts”). Likewise I’ve seen a lack of understanding of what is standard in our industry. And the proliferation of publishers has left some authors contracting with operations that are not operating as efficiently – and in some isolated cases, as ethically – as they could be. Then there are the day to day legal issues writers are faced with which are often misunderstood or ignored completely.

The only way to make sure you are on an even keel is to get as much education as you can from reliable sources. And even then, you need to be able to recognize when you are simply in over your head and need professional guidance. You take a chance on missteps that may adversely impact your career, and just make you an unhappy camper if you don’t have this self-knowledge.

So to get an idea of how much you know – or don’t – check out the following questions having to do with things legalistic and contractual:

- What is the difference between an option and non-compete provisions?

- Give an example of a case of material breach of a publishing contact.

- What legal concept covers passing a living author’s work off as your own?

- True or False: You can use song lyrics in your story as long as you give appropriate credit.

- Do you have any recourse when signing a publishing contract if you do not want the publisher to include another author’s ads in your book?

- What does it mean if a work is “in the public domain”?

- Can you copyright a book title?

- When can you trademark a book title?

- What is “Fair use”?

- Give an example of when an author might be required to return an advance.

- Give two examples of when rights in a book might revert back to an author.

- True or False: The following subsidiary rights always belong in total to the publisher –
o Book club sale
o Foreign rights
o Audio rights
o Dramatic rights
o Merchandising rights

- An “advance” paid to an author is (choose the correct choice):
o A signing bonus
o An advance against any royalties an author might make on sales
o A portion of guaranteed income on sales of a book

- What is a “work-for-hire”?


These are just a few of some basic questions an author should know the answers to before she signs any publishing contract, and, in fact, as she moves forward to becoming a published author. Do you know the answers? If you do, congratulations you savvy professional, you! Are you scratching your head and wondering if MAYBE you THINK you know a few of the answers? Then you need more knowledge. This business can be unforgiving if you inadvertently err.

Make sure you are making the most of your career – and not mistakenly putting yourself in jeopardy. Familiarize yourself with the basics. Recognize that contracts are not static, and are changing incredibly fast, as the business changes. “Industry standards” are changing by virtue of changing technologies (not just digital publication, but enhanced eBooks and what they mean, what “out of print” now means and how it continues to evolve). And new opportunities can also present new dangers.

I have worked as an assistant in entertainment law, including publishing, for over 20 years. I freely admit I continue to learn new details every day – and I urge everyone to seek out this knowledge to protect yourself and make the most of publishing success. I am not a lawyer, but I’ve been listening to enough situations where authors have gotten mired in difficulties and frustration because they didn’t know enough – and didn’t know they needed to know more.

Don’t let that happen to you!

Farewell To A Great Man & A Wonderful Author

Milton T. Burton, aged 63, passed away in his sleep on December 1, 2011 at 3:30 am after a brief illness.

Simple words to say that my best friend, a man of incredible literary talent and immense curiousity, compassion, knowledge and joy, has left my life.

His renewed literary success, which began with 2005's The Rogue's Game and the subsequent The Sweet and the Dead, gave us last year's The Nights of the Red Moon and his stellar anthology of Southern noir tales, Texas Noir which was published by Down and Out Books in 2011.

It will be a posthumous release, The Devil's Odds, however, in February 2012 and his last contracted book, Mortal Remains, I guess is up in the air.

A wealth of output in a few short years from this Texas native who received critical acclaim for all his writings.

I loved, and will miss him, as a wonderful person. But beyond our personal relationship, was our relationship as writers. And not just myself, but dozens of writers have had the great pleasure of meeting Milton and participating in discussions with him, and we have all come away better writers for it. He was unfailingly supportive to those of us who were his friends. He encouraged our literary ambitions, bought our books and touted them on his blog, Obscure Destinies, and had gruff sympathy for the rejections many of us incured.

He wrote from his soul. He put everything into his books, from political leanings, to romance, to his outlook on man's inhumanity to man, his reverence of women and respect for lawmen. His characters were deftly drawn - the best of men had flaws, and the worst had redeeming qualities. There was humor and thrills, sadness and poignant recollections of bygone Texas times.

I have all his books and will cherish them now that he is gone. For anyone unfamiliar with his writing, you'd be well advised to pick up all of them. They teach many lessons about story craft and characterization. But most of all they teach that a great story can only be great if your heart is in the telling.

Milton's heart was always in the tale. He was a true bard and I will mourn his marvelous stories.

To his friends and family, and his beloved grandkids, he was a friend, father and grandfather. To the world at large? He was a writer of the highest order.

He will be sorely missed.

Godspeed, dear man.

A Month of Exhausting Changes - Here's Your Daily Requirement of Publishing News

Looking to surf the publishing industry tidal wave these days? The business is moving at the speed of a molecule in a particle accelerator, and getting faster and more complicated by the nanosecond. These changes cover everything from who you sell your book to (if you sell it at all or rather pub it yourself!) to how to market it, to how it is distributed, what the laws are and how you can be read.

As an example of the sound and fury, I pulled together a “highlight reel” of digital industry news from a single month’s worth of Publishers Weekly issues. Grab a life preserver and hold on tight. This is going to be quite a ride!

October 17, 2011

PW reported on sales results from the 2nd quarter of the year. Shifts in “Channel Market Share (in dollars)” showed trade bookstore chains dropped to 27.3% share from 30.6%; non-traditional and independent bookstores’ sales rose by 1.7%, and .5%, respectively. No surprise, “e-commerce” market share rose to 37.0% from 27.6%, overtaking by 10 percentage points sales at large chains (though as with everything else, nothing is what it seems – the closing of Borders’ stores may well have upped the digital numbers). And shifts in market share in various formats (by unit) showed paperback down 7.3%, hardcover down 4.7% and digital up 10.5% for the quarter.

Further fueling the digital bonfires, Amazon announced the launch of its latest imprint, 47North, for sci-fi/fantasy/horror titles. 47 joins Montlake Romance and other genre imprints that put Amazon into direct competition with their most powerful adversaries, traditional publishers and the remaining big trade chain/publisher, B&N. This is the latest of the major changes in publishing that began with digital publishers challenging the traditional houses as e-book sales began to take off. After the trad pubs got their digital ducks in a row as another format for print titles, we saw them next begin to set up their own digital imprints to capitalize on the trends – what started with Harlequin and Carina Press was just the tip of the iceberg. We saw Avon Impulse launched this summer and . . .

October 24, 2011

. . . PW reported the launch of InterMix, the digital arm of Penguin imprint, Berkley/NAL. Like Avon Impulse, and Amazon’s Montlake, InterMix will produce genre fiction, including romance. For romance authors, this continues to expand the arena of possibilities for publication – while at the same time it creates a quagmire. Digital publishers with one set of royalty rules, different publication schedules and distribution networks, traditional publishers with their own structure for print and evolving business model for ebook formats of print titles, and now traditional publishers with all-digital arms – in many cases of they are not competitive (royalty rate wise) with the digital publishers, but still bear the cachet of being a “real” publisher, in some minds. How do you educate yourself about the pros, cons, dangers, and differences? Beyond the choice in publishers, what are the differences for you, as a career author? Is it about the money, the prestige, the exposure?

Then, there’s an entirely different arena that every author needs to know about, the . . .

October 31, 2011

. . .public library system. This issue of PW focused on the libraries, their influence with publishers, and their importance to authors. In tough times, library offerings can be very meaningful to authors when people can’t buy books, but they can borrow them and discover new authors. Did you know libraries spend billions on books? Authors can still be very successful by creating a new reader fan base – provided their books are on the “shelves”. Digital publishing hasn’t caught the library system off guard. They jumped immediately onto the bandwagon and quickly began offering digital books (yes, Virginia, there is an app for that!). But this is yet another rocky road to travel. How libraries will acquire e-books outside the traditional catalogue, the logistics of licensing digital copies, and the jockeying by publishers to get as big a piece of this new pie as they can. Macmillan, for example, playing greedy and cutting the number of “loans” allowed per digital title, ended up having their titles boycotted by libraries in both formats (and the trickle down impact of these negotiations hits the author head on). We are witnessing the rule book being re-written and until the ink is dry, we authors are all in the tumult together. From Patron Profiles, a new Library Journal quarterly survey & report, a telling figure: Library patrons read 47 books per year, compared to an average of 27 of all responders. Of this ongoing survey, says Library Journal Executive Editor, Rebecca Miller: “If they’ve (publishers) ever doubted the role of libraries in launching an author, this will set them straight. In turn, librarians get new insight into what their patrons want and need. And they are getting many of their hunches confirmed: that library users are avid readers, listeners and talkers, and that the library is an important part of a rich ecosystem of cultural exchange that is seamlessly connected to the marketplace.”

November 7, 2011

And speaking of being in the thick of things - Amazon was in the thick of a heated debate after the debut of their virtual “lending library”. Seems the titles being offered for free, to members who’ve paid a subscription fee to Amazon – with murky arrangements still unclear as to how, and how much, royalty is paid to the requisite publishers of said titles – were all offered up unknown to most of the publishers whose books are represented. (Another situation destined to impact the original creator of the product: You, the author.) As with so much of the digital arena, here’s another area, too, where evolving legal and ethical concerns impact authors. On top of the ever-shifting royalty rates (and differences between publisher-offered digital titles and those sold through third-party vendors), the conundrum of “out-of-print” and free downloads and piracy, though the thorny issue of Google “orphan” scanning is apparently now dead, there’s the issue of how and where your books are being made available by “legitimate” operations. Is your publisher aware? Are you aware? Are you being served? Or screwed?

And keep in mind that digital just keeps getting bigger. Witness this issues’ report of August Sales – Adult hard down 18.2%, Adult paper down 18.4%, Mass market down 29.6%. Electronic: UP 144.4%.

Over the past few months just about every aspect of the publishing industry has begun to morph. Successful, traditionally publisher authors breaking with their publishers, taking back their backlist rights and self-pubbing them, along with new titles, to great success. We’ve seen: ebook millionaire author Amanda Hocking go traditional (for huge advances) and option her self-pubbed series to one of Hollywood’s premier fantasy filmmakers; the first million digital copies sold authors, and perhaps most telling and disruptive, the first “big book” titles to sell more in digital than they did in print (after the industry got over the concern of simultaneous release cannibalization of the latter format by the former). Need more to convince you digital’s the word? Writers’ Digest already had self-pubbed (or “indie pubbed, the hip new term for independent authors) awards, but now PW has added the PW “Select” quarterly edition that (for a price) lists self-pubbed titles and provides extensive review of same. And while PW had hard, mass, trade and audio book sale bestseller lists, not yet jumping on the bandwagon as the NY Times did with its convoluted new bestseller lists (paper, digital, combined and more), will it be long in coming?

With the major players in the technological end providing better, faster, and cheaper gadgetry to read upon, digital is destined to keep growing. Industry insiders can only guess at how long digital will soar, when it will begin to level off – or if it will. With Amazon’s Kindle e-readers and tablets giving Apple’s iPad a run for the money, with Barnes & Noble and their latest releases – cheap dedicated e-readers along with a B&N tablet to compete with the big 2 (and don’t forget all the other technology entities working on their own gadgets and apps and software for readers and digital books) it certainly seems that there is one guarantee: If you, as an author, are not keeping abreast of this revolution, you will be left behind, left out of the running behind authors who have educated themselves to ensure their best sales, best venue, and their equitable treatment as a vital member of the business community that is publishing.

Kowabunga, dudes!

Psst: A quick tip!

Do not forget your local public library! Talk to the librarian about their acquisition process and how you can enhance your visibility (RWA "Romance Sells" catalogue, for one). Know how you and your librarian can work together to your mutual benefit. Can you hold a reading or panel discussion there? Offer a workshop? Getting readers to the library helps them, and when they stock your books it helps you!

Librarians have ferociously embraced the digital revolution as well and are generating apps that can allow you to download to your e-reader books via the library system.

Libraries have been helping us learn, read and enjoy books all of our lives. Now with funding issues they are struggling for theirs.

Support your local library (and librarians!)!

And because I'm a slacker, here is MORE Publishing NEWS!

With the ups and downs of the stock market, the wild weather (here in the NE, anyway with 10 inches of rain on Sunday), and a similar level of upheaval in the publishing industry, here are few new stories to flesh out the day:

Paranormalcy by Kiersten White will be transformed into a film directed by Ray Kay, a music video director. (Is it just me or does it seem as though the film biz is betting the farm on YA paranormals?). I have to wonder, though about the choice for screenwriter. Adapting the novel will be Mitch Klebanoff. His credits (as per Variety) include “Beverly Hills Ninja” and “Disorderlies”. Don’t strike me as the kind of film normally pitched to teen women, huh?

When it comes to book-to-film successes/failures, however, count The Help a huge success. In particular the performance of Viola Davis, who (in my opinion) truly carried the movie and anchored it in the bitter reality, particularly in comparison to some of the more light-hearted moments in the film.

Of course, with Harry Potter now wrapped up, the Twilight saga set to take its final bows on screen, and no other series “hot” you can bet your OWN farm that the film folks are scouring the countryside looking for likely candidates to put the ka-ching back in their cinematic coffers.

Also from Variety (a perk of my day job), there was an article that discussed film advertising. For those of you wondering about advertising on-line for your books, note that the film industry spending on internet advertising rose from 89.1 million in 2008, to 115 mill in 2009 and up to 142 million dollars in 2010. So they are obviously thinking it is worth the bucks (though in film they are still far more heavily into TV and print ads). Certainly no one can ever tell you (with any certainty) which advertising works better than another. Really, they can’t. But if every industry, business, arena is heavily into internet? Have their own blogs, Twitter accounts and Facebook pages? Pretty convincing to me that social media is – if it isn’t already – going to be where it’s at to get your message out to the public.

Hot genre watch: While vampires rule the night, lots of different paranormal and supernatural types are seeing press these days. From weres and shifters to demons, gods, fallen angels, wizards and all manner of other, will the publishing trend follow the film trend that is seeing lots and lots of fairy tale retellings and super hero vehicles? There are a few out there, but I’m betting that folks who can find a new twist on a Grimm tale can stand out in the crowd. And seriously, folks, if you want your romance hero alpha, why not give him the power to leap tall buildings in a single bound? Guaranteed to make a heroine’s heart go pit-a-pat, no? What genre(s) are YOU seeing emerge these days?

And speaking of romance genres, the formerly taboo World War II era seems to be slowly, quietly creeping into a bookstore near you. While espionage and military thrillers set in the 2nd World War have always been popular, the success of Pam Jenoff’s The Kommandant’s Girl and her subsequent novels have paved the way for other women’s fiction novels that rely heavily on the romance. After The Postmistress we saw Kristina McMorris’ Letters From Home, Lisbeth Eng’s In The Arms of the Enemy and the popularity of novels like Sarah’s Key, The Hotel on the Corner of Bitter and Sweet, The Soldier’s Wife, and Next To Love among others, along with high-profile non-fiction WWII coverage, could a burgeoning new genre of historical romance be far behind?

There has been some sad news of late, as well, including the recently reported death of Debbie Macomber’s son Dale, and the passing of the luminous L. A. Banks following a valiant battle against cancer. The romance community once again showed their true spirit and organized numerous benefits to help Ms. Banks and her family during a most difficult time.

The mantle of late crime novelist, Robert B. Parker, beloved author of the Spenser and Jessie Stone novels, as well as his western novels will now be borne by other authors picking up the storyteller’s job. Three authors will each carry on a torch of the respective series.

Others who passed away in recent days include sci-fi author William Sleator, fantasy author Diana Wynne Jones, and some publishing stalwarts, including 92 year old Ruth Cavin, a 22 year Thomas Dunne veteran, with 900 edited books in her career.

And I just know you're all asking, "So, how’s digital doing?" Publishers Weekly reported that the AAP and Book Industry Study released their comprehensive report that shows e-book sales “across all categories” “accounted for 5.8% of industry revenue”. Because of digital, trade unit sales actually rose. They were “driven by a 215.5% increase in book sales during the period of the study, 2008-2010. Looks healthy to me.

Pretty much the big story of the day, week, month – right now – is self-publishing. It all started with successful authors taking back their back-list rights and self-pubbing older titles. Then came the push with authors self-publishing new titles. And with the uber-deal garnered by million dollar self-publishing phenom Amanda Hocking from a traditional print house, it seems as though every story in every venue is all about self-publishing. Writers Digest had self-pub contests. Barnes & Noble started up Pub It, their self-pub arm. And I’m thinking Smashwords is having a field day with the crowd rushing their virtual doors. When Publishers Weekly took the step to have special issues devoted to coverage and review (for a price) of self-published (or as I’m hearing these days “indie” published) titles I’ve pretty much decided they’ve been anointed as another option for the eager author. The caveat being that if you don’t treat your self-published book like a business endeavor that requires outlay of funds, professional consultation and an acknowledgement that you, no matter how talented you are as a write, cannot do it all and do it all well -- well, you may well be disappointed in the outcome.

And where would the biggest story of the day be without the perennial news topic? In between the publisher and the self-publisher there’s the new “publisher” on the block: Amazon. They’ve begun their genre-specific imprints to publish titles digitally. They started with AmazonEncore, added Montlake Romance, their romance imprint, and their fifth imprint was Thomas & Mercer, a mystery line. Is it just me or is Amazon looking a little bit like the Manchurian Candidate of books? Especially since they are offering a number of their new titles for the Kindle for … get this … free. Not to mention that industry biggie Larry Kirshenbaum opened Amazon’s first NY office. Is that shaking I hear the nervous knocking knees of the big 6?

Well, I’d like to give you a quick list of some of the interesting new releases reviewed by PW, but other than on-line I can’t read them because for some reason my PO isn’t delivering my pricey subscription. 2 weeks and counting. Grrrr.

But on the subscription front, for all you authors out there, especially the folk who attended RWA National in NYC and grabbed a free copy of the Library Journal publication? It’s got a new subscriber discount coupon inside, and having perused this magazine, I can tell you it is a definitely worthwhile investment for keeping up with the industry and one of the pillars of books: Librarians. They buy books, people. Don’t forget them!

Short & Sweet

Class Action suit filed against Apple and numerous "big 6" NYC publishers for the agency model, over the pricing of e-books, claiming Apple & the pubs are "in voilation of a variety of federal and state antitrust laws, the Sherman Act, the Cartwright Act and the Unfair Competition Act". I was fairly sure it would only be a matter of time . . .why do I sense Amazon's presence lurking behind the scenes? Being it is a "class action" suit anyone who bought e-books for what they consider to be an unfair price are invited to join in. I sense yet another judicial donneybrook looming.

Valiant author Leslie "L.A." Banks succumed to cancer. Her imagination and beautiful smile and soul will be missed.

Washington Post has eliminated their book editor. The book section will remain, WP says. Oh really? We'll believe it when we see it. I'm holding out faint hope that they do - and that the last bastion of book review in newsprint, the NY Times, doesn't follow suit.

Borders has gotten court approval to auction off their intellectual property. Guess you don't need a shopping bag, huh?

Books A Millions has open arms for Borders employees, an upbeat note for all those ladies and gents now scrounging for work.

The bestseller list game is a wild and wooly one. Every list is put together from different sales sources. USA Today has added Costco book sales to their compilation which also includes Amazon, B&N, BAM, as well as Sony Reader Store and Kobo. Since non-traditional book sellers are the new big thing, it will be interesting to see who follows suit, especially with Borders now out of the picture.

For those romance authors who did not attend RWA's 2011 National Conference in NYC, or who didn't sit in on the Spotlight on Avon, Avon spent the entire session focused on their bright and shiny new e-imprint, Avon Impulse. The digital only line has attracted a lot of attention from would-be authors for Avon, one of the largest publishers of romance among the big traditional houses. Be forewarned however, if you submit to Avon, you will either get a response that they are interested - or you'll get nothing. If they are not interested, there isn't going to be a response at all. This smacks of disrespect, in the publishing business, where I'd like to think we are equal partners in the process. Guess I'm alone in that thought. I've heard rumors of another house doing similar, but haven't gotten a confirm on who that might be.

In addition to Carina Press (HQ digital imprint), and Avon Impulse, Ballantine Dell has an e-imprint launching too. Seems like they've got their finger in the wind and are climbing on the e-book wagon.

"The Help" will be the subject of a court hearing next week when they hear the case of the woman who claims she is the model for the maid in the book. This will be an important case both for authors and the film community - since the movie based on the book opened Wednesday to glowing reviews. Will that mean $ in compensation? Will it mean authors need to be more diligent in disguising those characters drawn from real life? We'll wait and see!

What's the hottest genre going? YA paranormal. Can I borrow somebody's teenager? (Don't rush the podium, parents!).

And speaking of RWA - Romance Writers of America for those unfamiliar with the largest non-profit organization for authors and aspiring authors of romance fiction - the jungle drums are beginning to beat from chapter to chapter and loop to loop with grumbling of dissatisfied members. Rising prices for membership, hints of changes of member status and the ongoing debate over the validity of authors' digital publication are apparently particular bones of contention. Some members are opting to give up their membership in National, despite their fondness for local and on-line chapters, because they simply can't see they are getting their money's worth. With luck RWA will address these concerns, particularly the new President stepping up in October.

Oh, and one last thing. If you have been following the market, it's obvious the world is in flux, financial speaking. But while the publishing industry is watching the numbers crawl downwards for every aspect of print, what's not going down? You got it. Digital.

The numbers are in for e-books: 2010 saw $838 million in sales. And that ain't chump change, folks.

And on a personal note, I'm looking forward to attending the NYC Chapter of RWA's Golden Apple Awards in September. The chapter is celebrating its 25th Anniversary this year and at the September 15 event we are honoring: Sherrilyn Kenyon, Lifetime Achievment Winner (and moving National Conference speaker); Author of the Year, Elizabeth Kerry Mahon, author of "Scandalous Women", Editor of the Year Leah Hultenschmidt of Sourcebooks, Publisher of the Year - Grand Central and Agent of the Year Kate Folkers.

2010 Roundup

The year is winding down, it’s time for that annual activity known as “looking back at the year that was while we’re all waiting for the old mirror ball to drop in Times Square” so let’s see what we remember about the year in publishing:

Amazon. Nook. iPad. Kindle. Kindle. Kindle. iPad. Google. Barnes & Noble. Dorchester. Digital. digital, digital. Then there was Riggio vs. Burkle. RWA vs. Harlequin. BEA vs. Tools of Change. Wiley vs. Random House. Rowling vs. Meyer. Salinger vs. Colter. E-book pirates against everyone.

Need a bit more to refresh your memory?

I think it is safe to say the word of the year was “Digital”.

Contrary to the predictions of all and sundry, digital did not begin a slow, steady march toward the expected “10% of sales by 2012”. It put on its boogie shoes and made a mad dash for double digits, leaving folks in a state of shock and awe as month, after month, the e-book sales went through the roof. (as reported by PW, digital showed a 171.3% year-to-date increase in digital sales).

One reason? It was the year of the e-reader wars. Sony was already lagging far behind when the Kindle began really heating things up. Then came the newer Kindle. Then came the Nook. And the iPad. And Kobo. Now the playing field is rife with e-reader gadgets and dozens of apps and while Kindle still reigns supreme, the iPad is nipping at its heels. B&N’s bookstore and sales of its original Nook and now the hot and well-received Nook Color, have been managed beautifully and their strategy is paying off (unlike Borders whose dismal third quarter is raising new speculation that they risk “liquidity issues” [PW, 12/13/10], B&N’s 2010 third quarter sales were up 64.3% over last year, based in great part on sales of the Nooks, the success of their new B&N on-line store and digital book sales). Much-anticipated books like Dan Brown’s The Lost Symbol and Ken Follett’s monster Fall of Giants were reported to have sold more in digital copies than hard copies. Other bestsellers did similar business, lending weight to the publishing fears that digital was going to cannibalize print.

From our particular perspective, the recent NY Times article supported what we already knew – that romance has always, and continues, to drive digital sales. Something Ellora’s Cave, Samhain and others could have told NYT! The powerhouse Harlequin has the Carina e-book imprint and the print houses are all on board with simultaneous (or nearly) release of digital formats for all their romance titles, making it not too farfetched to expect similar supremacy, and an even more massive rise in sales for next year.

Several publishing heavyweights have predicted that by 2012 digital will represent 25% of all book sales. No wonder everyone in the industry is scrambling to adjust those business models!

Beyond the issue of sales, comes the other big one-two punch for authors when we’re talking e-books: Changes in contracts regarding the digital format release of books and how it compares to print release, particularly as it pertains to the definition of “out of print”. Agents and publishers are already haggling over how to tweak this definition. It will be a vital issue for authors who are looking to regain rights over titles so that they can utilize the digital format for re-issuing backlist titles. Definitions too favorable to the publishers may mean an author can expect to NEVER see rights to those titles revert. The second sticky wicket as far as authors are concerned is even more contentious: Royalties on e-books. Right now, they are all over the place but generally not favorable to authors. We get 40% from some digital publishers. 25% from print publishers (against an average of 4 or 5% for print format). Arguments that lower production costs to publishers mean they should be paying a higher royalty to authors have so far fallen on (apparently) deaf ears. And the pricing tug of war between sellers like Amazon and publishers, and among publishers themselves over pricing of digital versus print, adds another wrinkle to the problem. As advances shrink, print runs get smaller, shelf-space for midlist titles continues to decrease, and marketing funds are chopped, for authors not in the top tier, might this make digital a more appealing option, if only for the higher royalties available? Except for the bestselling authors who get the full-page print ads and TV interviews, the rest of the pack of authors are out scrambling for ways to market and sell themselves anyway, so the smaller print advances, against higher digital royalties, may well make it a more appealing option.

Beyond the digital news, sadly, the world of books lost some major authors, and, by extension, some much loved characters. Robert Parker died at his desk, leaving one last Spenser novel to enjoy. J. D. Salinger slipped away, but we’ll always have Holden to remember him by. Belva Plain, whose epic romantic novels swept us away died at 95. Genre authors Dick Francis, Philip Carlo and popular romance author Elizabeth Thornton passed away, as did Eric Segal, author of that iconic three-hanky book of 1970, Love Story.

In our little corner of the world, we saw RWA quietly back away from their hard-line stance against Harlequin. Further, they have made baby steps toward studying the issue of digital and how it affects – and stands to benefit – the 10,000+ RWA members. We found some new confidence in the Dorchester situation as the independent publisher changed commanders at the helm. As authors of genre-blended romance and romantic fiction that doesn’t quite fit in the “box”, we saw our stories being accepted in greater and greater numbers by the e-pubs who are willing to give us – and our readers – a chance to embrace more diversity. Erotic romance and its steamy brethren continued to surge ahead, and Amish and Mennonite romance became a “thing”, but the real story was the continued rise of YA paranormal. We saw Publisher’s Weekly begin a romance review section (what were they waiting for?) and there was increased coverage of our genre by the news media, as well as a starring role for romance novels in the film RED.

What will 2011 bring? Obviously – more discussion and debate. More jockeying for supremacy on line and in the hearts of readers. Perhaps a Google settlement, once and for all. There’s bound to be new readership figures, contract quagmires, store closings, higher digital sales, new apps (by the dozen), better and cheaper e-readers. New strategies by the old-timers, and more innovation by the new kids on the block. There’s sure to be a “surprise” bestselling hit that makes a new star out of someone (perhaps even a digital-only novel!), and no doubt we will see the slew of books optioned for films resulting in yet another blockbuster motion picture.

What is the one thing that we can all be sure of?

People will keep reading.

So keep writing.

Here’s to success in 2011.

Welcome to the Monster Mash!

In my post of this past Thursday I commented briefly on the healthy state of paranormal publishing, vis-a-vis the report that Hachette owed its second great year to Stephanie Meyers and the ongoing "Twilight" phenom. When the last Harry Potter novel was released lo those coupla years ago, everyone in publishing held their collective breath. Could the book survive the boy wizard's finale? What was the next great book/writer just over the horizon?

Well, along came Stephanie, and the rest is very recent history.

But that's not all, folks.

Every time the discussion rolls around to genres and trends, there are a few comments that vampires are (pardon the pun) dead, and that paranormal is waning as a genre. There's the discussion of a "new" monster that's all the rage. Whether the talk is of YA, or romance, or paranormal fiction, everyone has an opinion on this genre.

Mine? Well, my opinion is that it is here to stay. Evolving, for sure. But the wealth of writers out there each putting their own spin on the genre are creating a monstrously great selection.

Just this week's edition of Publishers Weekly (print, I'm talking, not online, where there's even more), there were the following stories, blurbs and announcement:

The "Pick of the Week" is the new M. J. Rose paranormal, "The Hypnotist" (Mira).

The aforementioned story of the Hachette success, led by the ka-ching engendered by Ms. Meyer.

The Hardcover Bestsellers/Fiction list includes J. D. Robb' latest, "Fantasy In Death" at 3 and "Abraham Lincoln, Vampire Hunter" at #4 - with the notation that Abe may be headed for the movies - via Tim Burton. And another paranormal title on the list? "Black Magic Sanction" by Kim Harrison. And the Paperback Bestseller lists the Dresden creator, Jim Butcher, with the latest wizard installment, "Turn Coat". And PW goes on to note that the late and much lamented Dresden TV series, canceled over vociferous complaints from his fans, is out on DVD.

Then there's the major story on a "The Passage" (and an 800 page one at that). The first paragraph says "Every few years a book comes along that seems destined for bestsellerdom." The book is the first in a trilogy by 47 year old Justin Cronin, from Texas. And he's not just your everyday author - he's a PEN/Hemingway award winner for a literary fiction novel. But when was the last time you heard about a literary novel garnering a $5.5 million three-book deal AND film deal ($3.7 mill for the boook and $1.75 million option deal by Ridley Scott)?

Moving on to the story, "London Briefcase: What the Big Six Are Bringing to the Fair" (referring to the 2010 London Bookfair). Penguin touts their title, "Blood Oath: The President's Vampire". Macmillan's Thomas Dunne imprint has "The Demon Trapper's Daughter", first in a new YA series. And HarperCollins has the indominatable and prolific Meg Cabot with her "Insatiable", a sequel to the paranormal grandaddy, "Dracula", which has already gathered a slew of foreign rights sales.

In the reviews section we get 6 varying reviews including one on a fantasy world (Bertrice Small's "Crown of Destiny"), a dark horror novel, ("Katja From the Punk Band" by Simon Logan), "Climate of Change" from Piers Anthony, his latest Geodyssey novel, "The Green Leopard Plague and Other Stories", a short-story collection encompassing alternative history, hi-tech sci-fi, psychological fantasy and more including several Nebula winners. A "sword and sorcery yarn" by Michael Ehart ("The Tears of Ishtar"), and, but of course, Sookie's next adventure, "Dead in the Family" by Charlaine Harris.

The "Soapbox" column end-page by Andrea Jones discusses a painful incident involving her title, "Hook & Jill" - which is a retelling of Peter Pan for adults.

But Publishers Weekly does not corner the market on paranormal news. I'd mentioned the positioning of the new release, "Angelology" on the Boston Globe bestseller list. Daily Variety reported on the new TV series, the animated "Ugly Americans" from Comedy Central where monsters, mythical creatures and more will abound. And "True Blood"'s third season package was announced, including the mention of their still exemplary Nielsen numbers.

What else is in the paranormal news? Theatre doesn't escape the lure of the supernatural either, and the sequel to Phantom of the Opera, "Love Never Dies", is poised for a launch.

USA Today (and everyone else) ran a story on the new "Twilight" graphic novel, the first of only many to come, I'm sure.

Publishers Marketplace's Daily Deals reports on foreign rights sales for the "Twilight" graphic. The Publishers Lunch Delux weekly reports sales for a new L. A. Bank's fallen angels series ("good deal" = $100,000 - $250,000), Sylvia Day's new trilogy (book one "Angel Enchained") which has fallen angels, vampires, and lycans - at auction to NAL (and we all know what "at auction" means!). Carol Nelson Douglas's "Silver Zombie" plus a second title, sold to Juno, and it has a paranoraml investigator in Kansas (?) and deals with "zombies, weather witches and demon drug lords". Under the "romance" sales is also announced 2 titles from Vivi Anna, featuring demon hunters, to Silhouette Nocturne.

Children's Middle Grade sales including "The Story of Liesl & Po", with its elements of magic and magicians.

YA sales: "Forever" by Maggie Stiefvater (3rd title in the trilogy), AND 3 new stand-alone fantasy titles to Scholastic, OR Melling's mythological adventure "The Celtic Princess", and William Hill's "Department 19", which is from a series about a government agency of vampire hunters, again at auction for a three book deal.

Okay, though I could go on and on, I won't. But these stories are all ones that I did not hunt up, but simply came across on one, that's right, ONE, day of reading my trades.

So, paranormal dying out? Vampires passe? Weres old hat? I think not.

Authors continue to discover new twists to old favorites, from vampires to shifters and weres. Witches, fae, demons, gargoyles, zombies are being joined by the latest craze - the fallen angel. Dark and appealing, just check out your local bookstore for the covers with the tell-tale wings. With ingenuity, creativity and in some cases sheer genuis they tweak and twist and reform ideas and creatures and keep the genre expanding, growing and moving forward.

Television, film and even theatre are all on the paranormal bandwagon in a big way.

But so much of that comes from the books themselves. From the whimsical to the wacky (Dakota Cassidy's "Accidental" series, anything by Nina Bangs, for example, who populates some of her worlds with everything from the vamp and the were to the cosmic troublemaker and Gods), to the dark and horrific (both Laurell K. Hamilton series, Anita Blake and Merry Gentry), to the darkly comedic (Jim Butcher and Simon Green), to the sexy romances filled with gods from Atlantis, darkhunters and dreamhunters (Sherilyn Kenyon), the hot and steamy (J. R. Ward) and the historical gothic ("The Strangely Beautiful Tale of Miss Percy Parker" by Leanna Renee Heiber, first in a Victorian gothic series to be followed by "The Darkly Luminous Fight for Persephone Parker").

There are romances, mysteries, YA, kids books and picture boooks all romping merrily in the paranormal world. Futuristics, time-travel, historicals, erotic romances: there's no end to the genres and sub-genres that are embracing paranormals.

So I think we can safely assume that, for now, all those things that go bump in the night, all the something wickeds that this way come, well, they're here to stay!

Spring Is Springing and the Ides Are Gone: Today's Publishing News

Like the daffodils and crocuses in my front yard, publishing news is bursting forth all over the place, in just as many hues and varieties as my garden boasts.

First things first, of course: Amazon News! What's a day without another digital donnybrook in the headlines? Fast on the heels of their loss by decision bout against publisher Macmillan (or what I like to call "Where's my 'buy' button-gate"), Amazon is coming out of their corner swinging. Today’s New York Times story by Motoko Rich and Brad Stone says “Amazon.com has threatened to stop directly selling the books of some publishers online unless they agree to a detailed list of concessions regarding the sale of electronic books, according to two industry executives with direct knowledge of the discussions.”

I think we’ve all pretty much got Amazon’s number by now – they’re trying to be the BMOC of the ebook world. With tough competition growing daily (Sony’s Reader was joined by the Nook and more recently the Apple iPad, not to mention the dozens [or hundreds?] of non-Kindle apps proliferating throughout the e-book universe), they’re trying to hang onto their behemoth status and force the publishing world to it’s knees via e-book pricing on their terms (and I can practically hear those millions of writers’ knees knocking together because when the pricing wars heat up, they can expect to get their fingers – or more – burned). Maybe the Amazon folk thought the staid and somewhat antiquated print publishing world would be an easy mark, but as they’ve already proven, the hallowed old halls of NY publishing are filled with visionary types who are embracing digital, and the internet, and publishing business models are evolving even as brand new partnerships are formed (including the “big 5” of the 6 NY publishing houses – Random House abstaining - who huddled up with Apple to carve out the deal for iPad digital book delivery). This is a story that is going to heat up and stay in the headlines for some time to come.

Beyond Amazon there’s lots to cover, so let’s get to it:

New gadgets abound – the Kindle app for the Mac computer is now available (whoops, there’s Amazon again!). And the whimsically named ALEX from Spring Design is now on sale today, though approximately $100 more than the Kindle or Nook or Sony Reader. Its got a 6 inch, E-Ink panel and color touch screen panel, along with Wi-Fi (color was a Nook benefit only, til now – unless you count the $1,000 Japanese gadget).

Another player wades into the “is it history, or fiction”, pool (not to be confused with the plagiarism/copyright infringement pool, or the always amusing “first it was a memoir and then it was a novel” pool): The Charlotte Observer reports that multi-book author Gerald Posner (formerly of The Daily Beast”) told the AP that because of research procedural SNAFUs, his non-fic title, Miami Babylon, might have used text from the book “Clubland” by Frank Owen without proper credit. With bookstores (and James Cameron who’d wanted to film the property) clearing “The Last Train From Hiroshima” off their shelves following the revelations (reported just about everywhere) that not only was author Pellegrino’s source apparently a fabricator, but questions on Pellegrino’s own background making everyone oh-so-nervous (Huffington Post, March 1, 2010) this has gotta hurt all the way around. If these situations keep cropping up, I can envision a vetting process for authors that will feel more like an interrogation in a dark basement room complete with phone books and rubber hoses.

But there’s some upbeat stuff going on, too.

Columbia University announced the winners of their 2010 Bancroft Prize: Linda Gordon for “Dorothea Lange: A Life Beyond Limits”; Woody Holton for “Abigail Adams” and Margaret D. Jacobs for “White Mother to a Dark Race: Settler Colonialism, Maternalism, and the Removal of Indigenous Children in the American West and Australia, 1880-1940” (which title may also be in the running for longest title and subtitle combo – a real prize, by the by). Congrats to all on their serious, thought provoking work.

Also on the prize front comes the longlist for the Orange Prize, which list includes the recent Booker prize and National Book Award-winning “Wolf Hall” by Hilary Mantel, and perennial critical darling, Barbara Kingsolver with “The Lacuna”, as well as that runaway bestseller, “The Help”. This book is not only Kathryn Stockett’s debut and a reading group fave, but is also a soon-to-be-major-motion-picture from Dreamworks. Good luck to everyone!

And speaking of prizes, word is that the National Enquirer (yes, the one by the check-out register at your local supermarket) is being mentioned in the same breath as “Pulitzer Prize”. They are the ones who broke the John Edwards’ scandal (you might have heard about it?). The times, they sure are a changin’ folks.

No surprise to anyone, Stephanie Meyers and her undead crew are still going strong. Sales of her “Twilight” series (and the accompanying profits from box office of the first two films and merchandising) helped Hachette post a second record year in 2009. And to make sure all markets are tapped? The first “Twilight” graphic novel is here!

(See my post tomorrow for a wrap-up of the amazing paranormal phenom, in which Ms. Meyers is a major player).

For writers looking for publishers, there’s a new “matchmaker” in town. Seems like bunches of publishers have staff reviewing literary magazine, The View From Here, in search of new writing talent. Check out the site for yourself for another market for your fiction that might just be the beginning of a beautiful friendship.

E-publisher (and winner for the 2nd year in a row of the Editors and Preditors “Best Publisher” award) The Wild Rose Press has a wide range of romance genres and story-lengths for which an author can submit. They are currently looking for the shorter works, 65,000 words and under, for all of them. They’ve got some Eppie winners in their midst, and some of these shorter titles are available for the new Nook, and all can be purchased direct from TWRP themselves.

Best seller lists abound, in print and on-line. Today here are some of the top place-holders from The Boston Globe, 3/21-27: #1 on the Fiction list is the aforementioned “The Help”. “Angelology”, the recent release by Danielle Trussoni (can you say paranormal’s not dead?) is on the list at #2. Ibid paranormal comment: “Abraham Lincoln: Vampire Hunter” – and already optioned for film by Ridley Scott – by Seth Grahame-Smith (his follow-up to the wildly successful “Pride and Prejudice and Zombies” – which spawned a whole new monster-mash genre of fiction) is number 7. No surprise on the non-fiction list, “Game Change” rules in the top spot. But the serious entries (including “The Immortal Life of Henrietta Lacks” and “The Pacific”) are tempered by the #2 title, “Chelsea Chelsea Bang Bang” by comedian Chelsea Handler (she of the “Are You There, Vodka, It’s Me, Chelsea?” and “My Horizontal Life”).

On the “people on the move” front, with import beyond the bare facts, Barnes & Noble Inc. has a new chief executive (as reported by Publisher’s Lunch today). William Lynch succeeds Steve Riggio, but of greater interest (to me, anyway) is that Lynch was the president of the B&N website. With their re-launch of the Barnes & Noble e-book store, the new Nook and their collaboration with Google* to provide as much digital content as any e-reader could possibly hold, it seems pretty apparent that they are at the head of the pack as far as the Amazon competition goes, and planning on giving them a run for their money – literally. Who better to lead the race than a tech exec?

And last but not least, for those of you who hope one day for publication, or who are laboring on a project of love that seems to be a long journey, look for the March 23 release of the debut Vietnam era-novel, “Matterhorn”. It was written, over 35 years, by Karl Marlantes, a Marine vet, and he tried to find someone to read it and buy it for decades. And now, thanks to the Barnes & Noble Discover Great New Writers Program, he’s made it. You can too. Hooah!

Getting on my soapbox (it’s had a nice rest, after all) if you don’t already, I’d like to encourage you to read at least one newspaper, every day. I read the New York Times daily and 2 free NYC AM papers daily, and The Long Island Press weekly. But I also juggle The Wall Street Journal, USA Today, The Daily News, and sometimes splurge for The Washington Post, The Philadelphia Inquirer and The Boston Globe (cost is higher for these out of town papers). The NYT has wonderful coverage not only of books, with its daily book reviews, as well as its Sunday Times Book Review section (a fast disappearing animal in today’s newsprint world) – but it has tremendous coverage of the business of publishing and the digital revolution. As authors or publishing industry personnel, knowing how the biz is going gives you a leg up on the competition. Take the time to read some different papers. As a professional resource and research tool they are invaluable, and they can even provide story ideas.

Whew. This was a long one. SO, until tomorrow when I explore the explosive paranormal genre in business and print, may your day be filled with great words – be they yours or others’.

* On the Google settlement front? No word from Judge Denny Chin. Are they taking bets on this deal in Vegas yet?

P.S. I almost forgot! I’m sure all your Janet Evanovich/Stephanie Plum fanatics out there already know, but just in case: It’s finally going to happen! Stephanie Plum’s coming to the big screen. The casting of Katherine Heigl moves the project “One For the Money” forward (options happened, but no production got underway for years and years). Now for the good stuff: Who they gonna cast as Ranger and Morelli? Inquiring minds want to know!

Google Settlement Watch - Feb. 18, 2010

For all you "Google settlement watchers", today was "the day". High Noon at the OK Corral. But no joy for either side today, as Judge Denny Chin announced (from the AP):

"To end the supense, I'm not going to rule today. There is just too much to digest."

Everyone and their mother, and that includes the Department of Justice, Amazon, and Microsoft have chimed in on this settlement agreement, both pro and con. And famed fantasy author Ursula K. LeGuin resigned her membership in the Authors Guild over their participation in the deal. But at 300+ pages even I threw up my hands at trying to digest ANYTHING about it.

Rumors are rife as to whether Google and the Authors Guild will go back to the drawing board (or should we say the drawing iPad?) to attempt to restructure the deal yet again if it is not accepted by Judge Chin. Though from what I've gleaned, a fairly obvious solution might be to simply put the onus on Google, rather than on the rights holders. Instead of forcing the rights holders to be the ones to OPT OUT of the gargantuan undertaking (thus allowing Google to scan at will if you, the rights holder, don't notify them you aren't interested in allowing them to do this)if, instead, the rights holders must OPT IN before Google could scan any title, it seems many of the objections would go away.

But of course, there's the rub. That would put a serious crimp in the ease of uploading and, yes, SELLING, books.

As was further reported in the AP story by Larry Neumeister today, Sarah Canzoneri, who is one of the plaintiffs against the settlement and a member of the Children's Book Guild, summed up the opposition view fairly succinctly:

"It's not going to be a great library, it's going to be a good store."

Not for nothing, but Google spokespersons' comments rarely mention the ka-ching involved for them (and please, if you understand how the trickle down monetary theory would work in this convoluted quagmire for publishers and authors, let me know!).

Sorry to dash your hopes.

That's all for now folks.

I'm off to play with my new e-book reader (Yes, sad but true, I've been dragged kicking and screaming into the 21st Century) and prep for my pitch at the upcoming March 13 first annual Liberty States Fiction Writers' conference in New Jersey.

There's plenty more to come on digital news, personnel shifts, and the glorious world of book publishing. Soon!

Until then, have you made your presence known in the book-buying community today? A day without a post, tweet, comment or blog is a day wasted when promoting your "brand"!

My Head Hurts: The Google Settlement (Amended), et al

PW reports on the amended settlement in the Google/Authors Guild deal. Judge Chin accepted the revised agreement and imposed a new deadline for objections to the revised deal of January 28, 2010. A final "fairness" hearing is set for Feb. 18, 2010.

Unfortunately, it still looks to me that the losers in the deal will be (surprise, surprise) the authors. I have a print-out of the redlined revised amendment. Someday when I have nothing better to do I'll read all 337 pages of it. Oy. Apparently the onus has been shifted, somewhat, off the rights holders and onto Google. And international books have been taken out of the deal (US, UK, Australia and Canada remain). But I'd love to have one of the attorneys sit me down and explain exactly how it works. When Google finds an "orphaned" work, they snatch it up, start providing it and make money off of someone else's book/writings, without ever paying a penny for it. And if the work has a rightsholder front and center? They get 67% of the income. Google and the other "resellers" split the diff?

Too much math involved (and for those who dont' know my math skills are commensurate with my nuclear physics skills - which is to say non-existent).

In one corner of the world (i.e. ROMANCE) these last 2 weeks the glare of the spotlight was squarely on Harlequin. After a previous announcement of the start-up of their YA line (all good), and after the 60th Birthday celebrations died down, HQ announced the Carina all-digital arm. Angela James, digital proponant and late of Samhain and the gone-before-it-got-started Quartet Press, was announced to be the head of the new launch(good for you, Angela!) Rather than the release of e-books that had been or were being released as print titles, and different than the Spice Briefs and Nocturn Bites (shorts) that were all e-book shorts, Carina plans full-length novels, of a variety of types and flavors, without any future print release.

This started the rumblings amid the groups who don't favor e-books. And many, many questions arose as to royalty rates, etc., esp. when the Carina site indicated no advances would be paid (I can practically hear the squeals of distress from RWA over that one) and that the DRM process would not be implemented (opening the door to easier piracy and sharing of books, meaning fewer royalty dollars for authors). But apparently there were sufficient interested parties (read: desperate authors) because the Carina site was deluged with submissions.

Then - like a precursor to a Richter-scale sized quake - after the pre-shock - Carina - came the biggest news. HQ's even newer project: Harlequin Horizons - a self-publishing operation (called a vanity press by most) - with little tantalizing bits of info that would give the rejected Harlequin submittee a new 'lease' on their writing life by paying to be pubbed by the Harlequin Horizons line. That "Harlequin" would (kind of/sort of) be their publisher. And the additional tease that, if sales were good, they might be reconsidered to be a 'real' author (the quotes aren't mine - my opinion on self or vanity pubbing is a heated subject for another time and place).

The outcry against this op began with the Romance Writers of America whose "alerts" alerted their members that HQ was now verboten. Out. Kicked to the curb. No advertising HQ titles in Romance Sells. And they banished every single ARM of HQ - not just the Horizons folk. What this meant for RWA members pubbed, or dreaming of bineg an HQ pub was not clear. (Can I be in PAN? Can I get a "First Sale" notice?) HQ pubbed authors were concerned about the diluting of the brand that they were published with (and the taint of the self-pubbed author) (note that 2009 Pres. Diane Pershing was a multi-pubbed HQ author; so is this year's President, Michelle Monkou). What might it mean for entering the RITA with an HQ pubbed book, or having HQ attendees at the National conference, and many other questions arose and with lightening speed zoomed across the Yahoo group loops, blogs, Twitter, Facebook and every other conceivable avenue of communication.

There have been few responses from National to these questions from their members. But when the Mystery Writers of America and Science Fiction and Fantasy Writers joined the outcry, HQ began making subtle and quiet changes. Now the self-publisher is "DellArte Press". No sign of the vaunted HQ name anywhere. Apparently some of the other "too good to be true" bait has also been removed. Satisfying the HQ pubbed authors and, perhaps, the writing organizations who have booted HQ from their "reconigzed" (read: approved) publishers. No word that I have seen as to how the triumverate of writers' groups are responding to this change.

What I found particularly ironic is that numerous other "real" publishers already have partnerships in place with self-publishing operations (Random House, Thomas Nelson's West Bow Press and Smashwords - partners with B&N) were blithely ignored. Can't quite figure out why.

Time will tell! But the vitriol was at such a fever pitch that I was expecting word any minute that Donna Hayes and her henchwomen had been dragged from their Canadian offices and were being tarred,feathered and ridden out of town on a rail. Can you say "i'ts just business"?

As we creep up on the end of the year (a tough business year, for sure), the holiday gift-giving season and no new Twilight, Harry Potter, Dan Brown or other mega-mega title coming down the pike, what does 2010 hold in store? (Adult hardcover sales were up 2.9% for the quarter, but all thinking is that this was a Dan Brown phenom, rather than an upswing in the sales game overall.)

Well, Kensington's doing that little Snoopy dance, having had a stellar year. But they seem to be one of the few bright lights in a continuing tough year.

Fewer mall stores than ever before (Barnes & Noble & Borders) planned. B. Dalton and Waldenbooks stores being phased out. Will 2010 improve the bleak brick & mortar picture? The big three of non-bookstores: Target, WalMart and Amazon continue the "how low can you go" game of lowering prices on books to $8.97, undercutting publishers, hurting the dedicated booksellers and, naturally, the authors. (Lower publishers' profits and that will become fewer titles purchased, lower advances, etc.).

Barnes & Noble is making sure that they don't have all their eggs in one brick and mortar basket, however. They re-launched their e-book store, and its partnership with Google to sell digital books was expanded by its launch of the NOOK e-reader (Count 'Em! 700,000 titles!). Orders were such that the ship date was pushed from Nov. 30 to Dec. 18 (still in time for Christmas). Admittedly not a subject I'm all that well versed in, techno-phobe that I am, but I'm intrigued by the Nook's wireless capabilities (what always kept me from the Sony E-Reader). With lots of little perks - like "sharing" a title with a friend, free downloads while in-store to read as much as you want, and - for those who care - designer Nook covers by such heavy hitters as Kate Spade, it looks to put a crimp in the Kindle holiday stocking of profits.

December's just days away. NaNoWriMo is in full swing as writers the world over seek the elusive 50,000 word MS. The turkey's just a memory (well, not in my house...) and holiday titles are sweeping onto the shelves. "New Moon" is breaking box office records (no dearth of goodies under the tree for Stephanie Meyer, eh?) and somewhere out there is an author deciding how to best get her book into print. Print? Digital? Self-publish? Chisel and stone tablet?

It's a tough business. And every author has to make their own decision as to what process suits them best. Make sure to educate yourself - don't be sucked in by the advertising, word-of-mouth gossip, or the lure of cash. Only you can know what is best for you. Whether you are able to market yourself, or want to rely on someone else to do that. Whether you want to hie to a prescribed formula for a genre novel, or break the rules, break out of the box and tell your story your way. Whether you want your words available in as many formats as possible so you can share your story, or whether you want to hold that physical thing that is a book in your hands (or put it in your parents' stocking). Whether you want the cash up front or are willing to put in the work to get the royalties coming to you over time - or even paying up front to get the book published and then be your own sales person. Many decisions to make. And as a creative professional, only you know what is going to work for you.

WTF?

OK. So we've been inundated in recent months with all sorts of digital news. The good, the bad, and the truly ugly. But what seems to be the ugliest is often the response to the various changes in the publishing industry. IMNSHO (in my not so humble opinion), people really need to get a grip.

A few months back, Amazon made a "mistake" by suddenly removing a huge number of titles from their lists, losing those titles their rankings, and in many cases, the authors' pages were deleted as well. Twitter-rage was all that got a response, in the end (after a long and obvious silence) from Amazon. "Whoops", was essentially their response. Nothing meant by the fact that the books so slighted were all the sort of gay, erotic, or banned titles that have so frequently been maligned. They lost their rankings but it was just a mistake. That furor died away.

Then fast on the heels came the 1984 debacle. Having purchased and sold an e-edition of 1984, it turned out the seller did not actually have the rights to the title, and so Amazon - WHOOPS - yanked it back from all the customers who bought, paid for, downloaded and in some cases not just read but notated it. One must wonder what, exactly, is Amazon's vetting system that they were unaware of the rights issue. Secondly came the hue and cry (and lawsuits) from folks who felt it was inappropriate that the books they bought could be - at Amazon's whim - taken away. Sure, they were reimbursed but the ironic "big brother" feeling left a bad taste in many Amazon/Kindle customers' mouths. So Amazon suffered a period of tarnished rep. What happened to those lawsuits? How is Amazon rectifying the problem? What happened about those banned books? Investigation? Anyone take responsibility? Anyone still wondering if it was as innocent as it sounded?

So, on we go. Digital books are selling like hotcakes. Ibid the new technology, applications. Ditto ibid the willingness of every concievable publisher to jump on the digital bandwagon. Traditional publishers are all vacillating, but after the Dan Brown hold-your-breath moment, when the e-book was released simultaneously with the hard copy edition (and sold like the proverbial e-hotcake), notices began being released that all the pub folk were all going to release simultaneously. They were going to investigate digital "arms" for their business operations. Yada Yada.

With reports citing 200-400% increases in sales of digital titles, it is no wonder that everyone's looking to the e-book for salvation from the tough economic times. Big bookstores are hurting (some more than others), publishers are looking anorexic, and the future is rather bleak (if not downright apocalyptic in some quarters). But we've got the Kindle, the Sony Reader, and a variety of other dedicated e-reader machines, and VOILA just in time for the gift giving season, THE BARNES & NOBLE NOOK! It's sold out, delivery dates are being pushed back and since it's partnered with Google (and how's that settlement thing going, guys?) it's got a gazillion (give or take) titles available for wireless download (take that, Kindle!)

Then we get the news that Macmillan has issued a new boilerplate contract. Bad news for authors (I mean, really, when do authors really get any GOOD news?) - Macmillan is lowering the standrad 25% digital royalty rate (25% of NET, mind you) to 20%. Hue and cry from agents, and authors, but in the end, what clout do we have, actually? If other publishers get the feeling they can make the same change, they will - in a heart beat. (Don't believe it? Hold your breath. You probably believe in Santa Claus, too.)

Things are looking all topsy turvy. Being an author is like being Alice in Wonderland stuck in the middle of a slice-and-dice terror film where the Red Queen is armed with razor-sharp fingernails. Can you say "Oh, My Goodness!" (oh, wait, that was Shirley Temple! But I digress...)

Then mere days ago, that big old behemoth in lipstick, Harlequin, announces Carina Press. All e-books, all the time. After going digital with HQ titles(simultaneous e-book releases of all titles) and short fiction offerings (Spice Briefs and Nocturne Bites) they've plunged into the profit pool big time. Within days they were so overwhelmed by submissions from hopeful romance authors that the site froze up. (Writers, desperate? Say it ain't so!).

There was grumbling, mumbling and all manner of dire forecasts. But - as someone famous once said - hold onto your shorts, you ain't seen NOTHING YET!

Today came the announcement - eliciting a Richter-scale response - that HQ - the grand mere of romance fiction, the be-all-and-end-all of romance publishing (happy 60th bdy, BTW) was (gasp) GOING INTO THE "VANITY PRESS"/SELF-PUBLISHING BUSINESS!

Within nano-seconds the airwaves (rather, the internet) was awash in communications riddled with despair, fury, disgust and any number of other responses to this dire news. Because, of course, self-published authors would immediately destroy romance.

Right.

OK - let's get a grip, folks. First, let's give it a chance. The self-publishing game ain't cheap. It also is not always a disaster (anyone heard of Eragon? The Shack?). Sure, some crappy titles will get published if people - in this tight financial world we live in - have the spare cash to toss out to get themselves in print. But hey, there are some crappy e-books out there, too because it is so easy to get a start-up publisher and get into the e-book game and not everyone is looking for quality product. Instead they're looking for quality ka-ching. And be honest - there are some (many?) crappy print books out there, too. I've bought some of them and have, in a moment of pure disgust, thrown them away (for those who know me, you'll get how astounding that act is).

Secondly, if everyone else is in the self-publishing game (including Amazon), why shouldn't HQ be able to cash in? And as their site indicates, they'll be keeping their savvy little eye on the authors whose books do well through Harlequin Horizons. Once you've plunked down your cash and gotten through the publishing process if you actually have the wherewithal to market your book, promote yourself, get your brand going and SELL the freaking thing, you might just get the attention of the old girl herself, and get a book deal with a "real" publisher. (I just hate that!)

From the RWA (I haven't heard much from the non-RWA types yet, but it's coming, I have no doubt) I can only imagine there was a collective gasp of horror and universal plotzing. If e-books are the ugly, redheaded, step-child of the organization, can you IMAGINE how they'll take the bastard kid, self-published books?

What I want to communicate with all this is that the industry is a' changing, folks. Digital, internet, branding, Espresso Machines, bookstores folding, publishers merging, and self-publishing growing - the old-fangled publishing model is getting arthritic. It's changing and technology is moving at light speed. Instead of sitting around pouting that the industry is embracing new ways of getting stories and writing to readers, why not investigate? Why not get active on these fronts? Why not learn as much as is possible about how these things are going to work before you get all het up about them. Instead of bitching, grab the bull by the horns and make it work for you. Don't buy into the furor. New things always get trashed.

Look at rock and roll, for heaven's sake.

The Rise of the Machines: E-books, Digital Publishing & You

Consider this sampling of recent publishing news:
♥ The complex settlement between Google and the Authors’ Guild, 3 years in negotiations, is awaiting judicial approval after a postponement due to concerns over the burden the agreement places on authors and rights holders, as well as a flurry of filings and debates. The industry is holding it’s breath regarding the fate of the licensing of down-loadable electronic versions of “orphaned works”, but just recently the National Writers Union weighed in against the agreement, saying it was “grossly unfair to writers”.
♥ Barnes & Noble revamps and re-launches its e-book store with nearly 700,000 titles (many public domain works through a deal with Google). With titles available in numerous user-friendly apps, including iPhone and Blackberry, as well as the Sony Ebook Reader and others, it is clearly set to compete meaningfully against the market behemoth, Amazon.
♥ Nearly every single publishing house in the game takes a loss in almost every reported quarter. They cut staff, they cut acquisitions, they cut advances. Oh, except for Harlequin. The Grande Dame of Romance, HQ gains and gains and gains.
♥ Reports continue on the amazing surge in e-book sales. One example: in the period April – June 2009 it is reported that e-book sales tripled from that same period in 2008. Romance e-books outsell every other genre, remaining the backbone of e-publishing.
♥ HarperCollins, which recently debuted its new Harper Studio division – an experiment in drastically changing the traditional advance/royalty payment structure – adds another new division: The digital division handling titles to be released in a single format – e-book.
♥ After concerns of piracy, and debate as to whether a simultaneous release of Dan Brown’s much anticipated sequel to The DaVinci Code, The Lost Symbol, would hurt sales of the hardcover, we have go for launch: Knopf Doubleday is releasing the soon-to-be-blockbuster simultaneously in hardcover and e-book formats on [countdown, ten, nine eight, seven, six] – September 15, 2009.
♥ New apps and readers are in the works, or being released on a near-daily basis. Wired.com counts 12 different e-book readers available at this point. Numerous apps for other gadgets include those for the iPhone, iPod Touch, T-Mobile G1 and the Blackberry.
♥ Random House announces they will be doubling the number of digital books they offer to approximately 15,000 titles, citing “triple digit increases” in e-book sales. Simon & Schuster likewise announces plans to double its e-title collection, adding another 5,000 titles. 95% of the McGraw Hill company textbooks are available in e-book format.
♥ There have been over 2 million downloads of the Stanza app for iPhone and iPod Touch since summer 2008, in comparison to 900,000 Kindles sold. But studies show that the most favored e-book reader remains: the computer.
♥ Long-time NY agent, Lori Perkins, together with book packagers Holly Schmidt and Allan Penn, owners of Hollan Publishing, form a brand-new romance e-publisher, Ravenous Romance. It’s stated goal – to play with the other big boys, er, girls on the block, successful operations like Ellora’s Cave, Samhain, Loose ID and The Wild Rose Press.
♥ Dana Langvin, VP and Director of Electronic Markets at Houghton Mifflin Harcourt says he has “seen a triple digit percent increase in e-book sales and anticipates it could become as much as 10% of the market within five years.
♥ Morrow/Avon names Margot Schupf to a newly created position, Senior Vice President, Editorial Director, of its new Digital Publishing Division.
♥ The first color e-book reader goes on sale in Japan (¥ 99,75, or $1,000).
♥ As we “go to press”, Quartet Press is the latest new e-publisher, starting with their first imprint, Quench, for romance e-books, with other genres to come. And they hit the ground running, hiring digital publishing heavy-hitter, and e-pub advocate, Angela James away from Samhain Publishing.
* * *
There is no doubt about it. Regardless of the myriad debates over pricing, formats, compatibility, cost, monopolies, gadgets, payment to authors, release strategies and the future of the print book, digital publishing is here to stay. And getting bigger, stronger and more prominent with every day that passes. Understanding the realities of this sea-change in publishing is paramount if you are to navigate the business, make the right decisions for your career and understand how it is all going to impact you in the years to come.
Keep your eyes on the news, for details about traditional publishers changing their payment structure to authors (vis a vis advances against royalties, royalty percentage of e-books versus print books, etc.) and other changes to contracts that will be made to accommodate the new formats. Watch e-publishers as they also evolve. Samhain already pays a token advance, and the publishers’ royalty percentages on an e-book are around 30-40%. Will that change, too? Prices for books released by the e-publishers are fairly low. Will they raise theirs to be closer to the traditional publishers selling e-book versions of bestsellers in order to garner a bigger piece of the pie? Or will trad publishers LOWER theirs to be competitive? Will the two distinct business models remain just that, or will they grow further apart? Or will we see a hybrid model evolve that embraces the best of both worlds, and addresses such fiendish problems as the dreaded RETURNS. How is the entire industry going to deal with copyright, piracy and fair use? What about reversion of rights and new definitions of what is, or is not, “in print”? So many questions, so little time!
The industry has seen the future and it is the e-book. Make sure you are making yourself competitive, too, by understanding the business evolution that is underway. RWA has an electronic chapter, ESPAN. There is also EPIC, the individual organization (and sponsor of the prestigious EPPIE awards). Discussions on every aspect of the digital revolution are held at BEA, the EPIC conference being held in New Orleans this March, the Writers Digest conference upcoming in September, the O’Reilly Tools for Change Conference, and the new Digital Book World Conference in January, 2010. There are countless blogs, websites, and such industry sources as BookSquare and Publishers Lunch/Publishers Marketplace, too. Publications like Wired, Publishers Weekly, and even Writers Digest, are invaluable. Likewise, the topic of e-books and the digital publishing industry are covered in every business publication from the Wall Street Journal to Newsweek.
The ideas that e-books will not be competitive, or are not being considered as equal opportunity sources of enjoyment compared to print books, are outdated. NY Times bestselling authors are writing for both e-pubs and print. And major publishers aren’t just using e-publishing as a way to release titles. They’re using it in various ways to boost sales, including “free” giveaways of older titles to rev up interest in new releases, including James Patterson. [The top 3 Kindle bestsellers in recent days (reports Publishers Lunch) are 3 free books, including Patterson’s The Angel Experiment.] Whether you are looking to be published in e-book format as a first step toward traditional publishing, if you intend to stick with e-books for the flexibility and cutting edge technological aspects, or if you are a multi-published author with a NY house who now has to cope with changes in your contract that accommodate the new format (and new practices such as freebies, and how that practice impacts your ability to earn royalties), you cannot afford to be in the dark about e-publishing.
You’ve been warned, Sarah Connor!