Twain on the Brain

by Rachel

Get excited people! Mark Twain’s (almost) neverending autobiography is finally going public in November. Leaving behind 5,000 unedited pages of memoirs and notes, Twain gave instructions not to publish this mammoth manuscript until 100 years after his death. Right now the manuscript is safely tucked away in a vault in UC Berkeley and will run in volumes for all you Twain fanatics eager to know every single thought that ever crossed his mind.

That’s very exciting, and it will probably be necessary to catch up on my speed reading if I want to read the half-a-million-word memoir in full.

Do we have any diehard Twain fans here? And, will you be reading his 100-year old memoir?

Building enough bookshelves

by Lauren

“I would be most content if my children grew up to be the kind of people who think decorating consists mostly of building enough bookshelves.” Anna Quindlen

While I can’t speak for Anna Quindlen’s children, I think that those of us here seem to have gotten it right! Thanks to everyone who sent in their bookshelf photos. I’ll start here with mine, and then follow me after the jump for some from DGLM agents and blog readers!!

As I mentioned, I added a new bookcase to the family recently, so the first is haphazardly organized and covered in knickknacks, photos, and mementos. The second actually has some organization to it: Baby-sitters Club and Little House books on the bottom; galleys in the middle; and the top shelf is a combination of books I represent (which I really have to get better about bringing home, because there’s a lot missing), books I sell rights for, and books I’m eager to read that are ready to move up to the majors: the bedside table pile. I actually moved the bedside table pile on top of the bookcase for photo purposes—that’s the pile on the left that’s topped with my brand new Room by Emma Donoghue galley. Those are the books I’m in the middle of or desperate to read next. The pile beside it are the books that I don’t own (though some of those are intermingled elsewhere as well) and have to remember to read and give back. At a glance, it seems about half of those are Jim’s!

LOST in a good book

by Michael

It's BEA week, and I'm in New York, in a hotel, exhausted by my day of standing around. But my mind keeps drifting back to Sunday and the finale of LOST. As I said to friends, I laughed, I cried, and I was completely caught up in the moment. I will miss the show, flaws and all.

What's this got to do with books, you ask? LOST had many literary allusions throughout the show, and this LA Times blog post  goes through a bunch of them. Interestingly, the producers and I like many of the same books. Are any of the LOST books on your favorites list?

A poor get-rich-quick scheme

by Jessica

My father, who worked in the newspaper business, was especially fond of quoting the New Yorker writer A.J. Liebling, who remarked that “freedom of the press belongs to the man who owns one.” Book publishing may not suffer from quite the same issues (not least because most publishing companies are now owned not by individuals, but conglomerates) but it’s a still a business in which it does not hurt to arrive equipped with your own funding.

As we all know, in the present market, publishing houses are looking for authors with well-established, and ideally national, platforms. For non-fiction writers especially, this translates into having the resources to spearhead their own publicity and promotion. Such resources may not necessarily be monetary—authors may possess celebrity, the backing of a large and well-known organization, media connections, or all of the above. These, mind you, are in addition to credentials and the ability to write well (or hire someone who can). Being an expert in your field is rarely enough. You need to be able to demonstrate that you can drive sales. Sometimes you need the wherewithal to actually deliver sales. Nothing sweetens a deal like a letter of commitment for the purchase of 10,000 books.

The business of building platforms, including putting together websites, blogging, networking, doing p.r. (on your own or with the help of a freelancer) is costly, whether in terms of cash or time. It’s true that on-line media may mean that publishing, unlike politics, is not solely a rich man’s game, for it offers to the intrepid and web-savvy a relatively cost-effective means of building a following. But it’s also real and time-consuming work, work that comes in addition to your professional and personal obligations, not to mention the actual writing. I can understand why many writers find the demands of the publishing industry onerous, a bit like the to-do list Cinderella's stepmother commands her to complete before heading to the ball. In addition to being talented and credentialed, writers must be marketing whizzes, masters of social media, twitter adepts with legions of followers. If it sounds a little crazy, it is. The demands are many and the rewards few. For many published authors, writing is less a revenue stream than a long term investment. And sometimes it’s solely a labor of love.

Publishing a book is perhaps the worst get-rich-quick-scheme imaginable, but it seems that few of us—writers, booksellers, agents, editors, designers, sales reps, etc.—are in it for the money. Although there are always a few exceptions who prove the rule (and it’s true that publishers must make enough money to publish another day, and satisfy the media conglomerate of which they are a part) the book business still tends to draw people who are passionate about books, those for whom writing, or working with writers, is something of a calling. What keeps you in the publishing orbit? For me, it’s the constant opportunity to learn. Plus the ability to lose myself in a terrific novel and call it “work.”

Galley tales

by Miriam

It’s BEA week (check this out for an overview of the conference if you’re not familiar with it) which means that some of us are at the Javitz Center checking out publishers’ exhibits, schmoozing with authors who are in from out of town, and loading up free tote bags with galleys of books that are already generating buzz.

For me, the point of BEA has always been collecting those galleys. Invariably, I find myself walking the huge expanse of the Javitz arena ridiculously bogged down by the weight of too many of these advanced readers copies only to realize when I leave the building that getting from 11th Avenue to civilization requires a very long walk to the nearest subway or an endless wait for a cab. No matter. It’s still a thrill to read something in this vulnerable, unfinished format (complete with typos and mostly exaggerated promotional information on the back cover) and then watch the published book race up the bestseller lists, win a huge prize, or both.

I just came across this old piece from New York magazine and was delighted to see how many of those galleys I’d picked up at the 2007 BEA went on to gaudy sales and great acclaim.

Are any of you attending BEA this year? What galleys are you walking away with?

Creative marketing

by Stacey

I found this little piece in the Metropolitan section of the Sunday NY Times and thought it was worth sharing. I've noted before when I've found authors employing unique marketing tactics because I think it's really interesting to see what people come up with in such a competitive marketplace. This one definitely falls into that category. The author Jennifer Belle hired several dozen actresses to read from her new book, THE SEVEN YEAR BITCH, at various points around the city. 600 actresses responded to the casting call! Now we'll have to see if the clever idea translates to book sales. Since she's a previous bestseller, there's a good chance she'll hit the list again, and while it's pretty difficult to determine cause and effect between publicity and sales (minus an Oprah appearance), the fact that the Times picked it up suggests it's having its desired effect. I'd love to hear about any other unusual, high concept, creative author marketing ideas you've come across in your travels. I will personally be attending the Junie B. Jones Stupid Smelly Bus event complete with an actual bus at a very cool local bookstore, Books & Greetings, this weekend with my older girls. We're looking forward to seeing some creative marketing in action!

Books DO make you smarter!

by Chasya

Book Expo America kicked off today, and while the show floor won’t open until tomorrow there is already a lot of talk underway about a topic that will dominate discussions this year -- digital publishing. This brings me to news I stumbled on at Moby Lives, of a new scientific study published in the Research in Social Stratification and Mobility, which shows that simply having books at home increases the level of education a child will attain. The 20-year study also concludes that the outcome of a child's education level and how far they advance will be affected twice as much by having books at home than by their father’s education level, which is also a determining factor here.

This sort of thinking makes sense to me. Just being surrounded by books can make them tantalizing enough for you to reach out to discover what lies within them on your own. Having them constantly present can instill in a person that reading and literature is significant and worthwhile.

Heading into the digital age of books I wonder how this will affect young people should electronic readers become the dominant medium. If they are not surrounded by books will they think of them in a different way? With so much else to distract them (I’m looking at you World of Warcraft), will they think of books much if they’re not physically there? What say you, readers?

Happy BEA!

by Lauren

By the time this posts, I'll already be at the DGLM table in the International Rights Center at the Jacob Javits Center, doing my duty at Book Expo America as the agency's subsidiary rights director. Today is the beginning of American publishing's largest trade show and, for me, a three-day extravaganza of back-to-back meetings with foreign publishers, sub-agents, scouts, audio editors, and film producers. I’ll leave it to one of my colleagues to give you the BEA scoop in another post, but in the meantime, I thought it might be a good time to talk subrights.

I offered a basic rundown of how subrights works a couple years ago, but maybe now would be a good time to talk in more depth. Since foreign rights take up the bulk of my time—and will account for most of my meetings this week—why don’t we start there? If you’d like to know more about audio, film, and serial, just let me know below, and I’ll tackle them in future posts.

Foreign is the biggest rights market. When a book sells to an American publisher, there are more or less three options: North American, world English, or world. Occasionally a book sells separately to Canada and the US, but that’s not the norm unless the author is Canadian, and even then, it really depends on the type of book.

In a North American rights deal, the American publisher will distribute their edition in English in the US, Canada, the US territories, and the open market. The open market is the term for those territories where English-language rights are fair game. American and British publishers have essentially carved up the world into three sections: US exclusive territories; UK & Commonwealth exclusive territories; and everywhere else. Occasionally, there’s a land grab from one side or the other insisting that they must have exclusive rights to a particular place (BEA 2006 featured a panel on the whole kerfuffle). I’ve seen British publishers insist that they should get Europe exclusively because they’re…nearby? And I’ve seen US publishers insist that India’s not in the British Commonwealth. The part of it that always perplexes me is that the major players on both sides are generally owned by the same parent companies. The open market is the territories in which both the US and the UK publishers are allowed to sell. In the end, all that matters from the authors’ and agents’ perspectives is that the publishers’ dispute doesn’t prevent a sale to both territories and that the book is widely available. The notion that an island nation that no one involved could pick out on a map is a deal breaker is really quite silly. Fortunately, it usually works out.

In a world English deal, this is blessedly not our problem, though unfortunately we also lose the chance to do a separate deal in the UK. This typically means that the US publisher has a UK arm that they feel will publish or distribute the book well. All non-English rights, though, are controlled by the author, which means that we’re trying to place those where possible.

In a world rights deal, it’s all—English and every other language—in the publisher’s hands.
The way that foreign rights deals are typically done is through a network of subagents in the major territories throughout the world. In countries like the UK, Germany, Japan, etc., there are agencies that represent American publishers and agents, and those are the people I work most closely with on foreign rights deals. Our subagents represent the full list of rights that we represent on behalf of our authors in their territories, though of course not all books will sell in all countries.

Sometimes, books don’t sell internationally at all—it’s often said that such books “don’t travel.” Books that depend largely on pre-existing interest in the author or subject, for example, are less likely to sell internationally if that pre-existing interest isn’t also international. A novel by a small publisher in the US is more likely to sell than a bestselling American cookbook by a celebrity chef who is not on TV outside the US market. This is one of the things I love most about foreign rights: the rules are totally different and sometimes the little guy in the US market gets to be a bigshot elsewhere. As part of that, there’s a lot of information to manage: true crime sometimes sells in Australia, Germany and Japan, but rarely elsewhere unless the case has international reach; memoirs are tough in Spain; and you can’t typically sell to a foreign country those things that they feel they do better than the US. For example, literary fiction is tough to sell in France, but commercial novels are easier. (The French don’t exactly clamor for American attempts at high culture.) Horror’s tough to sell in Asia, because their standards for what’s frightening are quite different than the American one: think of The Ring as compared to an American slasher flick.

I really love these little glimpses into foreign cultures, and it’s always really satisfying when I choose a book to highlight for a particular subagent or publisher and get a sale. And it’s a huge pleasure to work directly with clients of the agency who aren’t my own, some of whom I’ll be lucky enough to see for a bit at the fair!

Any questions?

James and the Giant Zombie

by Jim

Sometimes a book will become a bestseller and we suddenly see dozens of knock-off queries. There were about two years when everyone said they wrote the next Da Vinci Code. The thing is, you can’t tell if they were working on something that ultimately felt comparable to the original title or whether they’re peddling a quickie novel they pounded out to fit what they perceive as a market need. Ultimately, it doesn’t really make a difference as long as the quality is there. But, well…it usually isn’t.

There’s another rash of query-alikes happening right now, but this time, I KNOW they’re just ripping off a formula. And for some folks, it’s working.

First came Pride and Prejudice and Zombies. Then Sense and Sensibility and Sea Monsters. And since then, dozens of similar literary mash-ups have been acquired and hundreds have been written (or at least queried).

My question to you: isn’t this a gimmick that gets old after the first time? Even the author of the first book moved onto something different right away: Abraham Lincon, Vampire Hunter. Now THERE is an idea….

Where will all the bookstores go?

by Jane

Last week, I was chatting with a client who was visiting from out of town and who I hadn’t seen for a while. We talked about all of the changes in publishing, especially in the area of electronic publishing, that had occurred since we had last seen each other.

One of the things he asked, and which I thought was a very interesting question, was what will happen to the brick and mortar bookstores now that electronic books are gaining such a foothold, to say nothing about the increased market share that Amazon and the other on-line booksellers have. What will this mean for the large chains – Barnes & Noble and, especially, Borders.

Then on Friday, the 21st, there was a piece on the front page of the Wall Street Journal, “E-Books Rewrite Bookselling,” discussing just this topic.

And Mike Shatzkin, industry pundit, estimates that by the end of 2012, digital books will be 20%-25% of unit sales with another 25% of books sold online. That’s 50% of all books sold and it would seem to me that losing that volume of business will cause the large chains, at least, to shutter a significant number of stores.

The only way I can imagine they could survive is by carrying an even greater variety of products other than books than they already do. And, because these changes are happening so quickly, they would have to begin carrying this additional merchandise immediately so as to build up customers before their book business deteriorates any further.

I think the independent stores that are left—after the chains took over a huge part of the market and put many of them out of business years ago—will be less affected and, in fact, could thrive. For them, selling more varied merchandise will be less of a “leap” than their much larger, more corporate cousins and their customers are truly the most loyal of book lovers. How ironic, considering what happened to the bulk of the independent booksellers when the chains descended over a decade ago.

I am still convinced that electronic book publishing will increase readership as opposed to destroying it. It is up to the big retailers to figure out how to keep up with this new world in order to stay in business.

What do you think? Will the chain bookstores survive and if so, how?

Presidential reading

by Rachel

I’ve got to admit, I only picked up a copy of Netherland last year because I heard President Obama was reading the book. Usually I’d give a book a fair go, but I couldn’t get into Netherland at all—I want to say it’s because the main character’s wife was named Rachel (which kept throwing me off), as well as there being too many cricket references in the book (a sport all-too familiar and exhausting for me!). These were incredibly petty reasons not to love the work, though they were enough to make me stop reading. But coming back to why I picked up a copy in the first place—it was because Obama was reading it; I think it’s fascinating to know what a public figure is reading. And not just any public figure, but a president.

So it’s no surprise that I loved this slideshow on the Huffington Post of some of the U.S. presidents’ favorite books. After evaluating their favorites, I think Bill Clinton sounds like the type of person I’d like to sit down and talk books with. And, George W. Bush—95 books read in 2006? That’s a lot of spare time for reading.

How do you rate the presidents’ book choices? And, have you picked up a book simply because a public figure was reading it?

It's a Book!

by Lauren

As the (perhaps overly) proud aunt of the world’s most amazing nephew, I try to keep up with the latest children’s books offerings to make sure that my boy’s got all the most valuable reading material. No one should have to grow up without his or her fair share of pigeon tales. I made sure to be the one to read him his first book, even though he was sleeping and less than two weeks old—and regardless of its apparently quite insidious actual message.

And now, thanks to the Book Bench blog, I know what I’ll be buying him in August for his “visit with Aunt Lauren” gift. Fortunately, my sister was raised by the same book-loving mother I was (funny how that works out), so I have no doubt he’ll grow up aware of how fun and wonderful and significant words can be. Once he’s old enough to take his reading habits to nursery school and beyond, however, I fear he might need to share the final message of Lane Smith’s forthcoming It’s a Book with some of his less fortunate peers, and I’d hate for him to be less than prepared.

16-year-old failure gets published

by Jim

Galleycat directed me to this blog post from a 16-year-old debut author.

Published at 16. Must feel amazing, right? Well, not necessarily. She offers this: “I'm 16. I got a book deal when I was 15. There are authors that were published at 13 and 14 and I always find myself thinking, God, must I fail at everything I do? They were published younger than me!”

I love this girl. Not only does she have an incredibly rational and professional approach to the publishing process, she’s also the kind of crazily motivated go-getter that I find equally unnerving and inspiring.

So sure, it’s easy to say that getting published isn’t a race when you’re 16, but the facts hold true: there is plenty of time to become a published writer. Even if you ARE already above the legal drinking age.

Collateral damage

by Michael

I really feel for authors. Partly because it’s my job, but also because I work with them closely and know how hard the business can be. I wrote a bit about rejection the other day, that being rejection from editors, agents and other “gatekeepers.” But then there’s rejection from the buying public. Sometimes books just don’t sell—the book doesn’t find its intended audience. Worse, sometime people buy the book and then explain to the world, via blog, or tweet or Amazon review, why they hate it. Those reviews sting. But I think there’s something that has to be even tougher: when readers reject your work, without having read it, because of a decision made by the publisher—in fact, they may boycott the book to make a point. But as John Scalzi smartly points out on his blog, the one getting punished isn’t the publisher, but the author.

There have been a couple of major brouhahas that caused readers to consider boycotting books from certain publishers. Earlier this year, there were calls for a boycott of Bloomsbury books over their perceived whitewashing of covers, and there’s quite the Amazon backlash to titles not available in the Kindle format. As Scalzi rightly points out, when one boycotts a publisher, authors are hurt, not the publisher. The author benefits more from one book sale than the publisher suffers from a lost one, as the publisher has an entire list (and probably several other imprints, or even other businesses) from which to make money, while the author has just the one book.

Now, I know what you’re thinking—authors don’t have to be published by any one publisher (I’ll ignore that it’s often the case that only one publisher is willing to publish the book), so they have some say in the situation. But in the two examples above, the controversies didn’t exist when the author signed the contract, and in both cases, the authors had no control over the perceived malfeasance. Authors have control over so little in the publishing process, that singling any one book or author out just doesn’t make much sense.

Maybe you all disagree, and I’m open to hear your thoughts. I just hope people will think twice about who’s getting hurt.

Sh*t My Dad Says

by Stacey

This might be old news, but the fact that Justin Halpern's book based on his tweets about his dad is making its debut at No. 8 on the New York Times list this weekend is just incredible. This article goes into detail about the book, currently #25 on Amazon, and the sitcom scheduled for next season starring William Shatner. Wow is all I can say about the whole thing. This proves that all you need to make it is a really crass dad with a smart, funny writer for a son, and a quirky, catching idea. The Internet will do the rest.