#publisher markets

[authortoberecognized]

    WRITER’S FORUM

                    WEBSITES HELPFUL TO WRITERS This is a series of posts which, I think, will be beneficial to writers. But first, I would like to include my usual warning about using websites. THERE IS NO SUCH THING AS A FREE LUNCH. Whenever you check a website you are, in my opinion and I talk from experience, being put on a list for sale. So, expect the possibility of being bombarded by…

[fantastic-nonsense]

comic sales are down because the industry is inaccessible and expensive, not because piracy exists

Higher piracy rates are what happens when you make buying comics expensive, difficult, platform-dependent, and inherently exclusionary while pretending trades and digital don't count as sales.

if any single comic book company decided to be a competent publishing company for even a year comic piracy rates would plummet

[wordpressvip]

You other platforms can't deny That when a load time's more than an itty bitty wait And your boss is in your face You get...

The idea. 😏

-----------------------------------------------------------

Don't want your boss in your face about how long it takes to get your content onto your site? Publish faster with WordPress VIP: the world's most popular CMS, built on a solid enterprise-grade foundation. 🦾

[night-market-if]

Holy fucking hell guys! My daughter just self published her own book at 17! She did it all on her own, didn't even tell me she was doing it, and surprised me with it today.

Go support her! Support her over me. I am so fucking proud of this girl.

Buy here

Romance? https://a.co/d/jfwi81f

[communistkenobi]

I’m not a fanfiction rights warrior or anything but the discourse about how it’s actively making published literature worse is so stupid. if fanfiction is having a negative effect on the quality of published fiction, that impact is vastly outpaced by the economic reasons for why mass amounts of low quality garbage is being pumped into the fiction market. certain conventions of fanfiction (namely the use of trope and character tags) are being adopted by the industry not because fanfiction has some hegemonic influence on said industry but because those things are easily adaptable for search engine optimisation and marketing purposes. like what explanation sounds more plausible: fiction is being increasingly tailored to fit into various narrow category tags (“gay enemies to lovers slowburn coffee shop romance,” etc) because the consumer market has seen a rapid sea change in the past 5-10 years and now audiences all want to read what is essentially OC fanfiction that they also pay for, or because formulating books in that way makes keyword search optimisation on google and amazon way easier to market low-effort schlock to people? this is not a new phenomenon and blaming end-users for the state of the industry is basic cart-before-horse reasoning. you can dislike fanfiction and find the people obsessed with it annoying, but the relatively niche space those people occupy online is not structurally responsible for books being more shitty than usual lately

[obstinaterixatrix]

here are all the recs I posted for femslash february 2024...! each individual rec post can be found in my femslash feb recs tag. I actually thought I wasn't going to be able to do this because work got super chaotic, but in the end I couldn't bear to skip out on a leap year. that's a whole extra day for yuri.

last year I focused on official releases, so this year I wanted to focus on series that aren't technically officially available (plus a french-japanese film). fan translations are always a dicey for artists/translators/publishers/etc because obviously they need to get paid... but yuri's already such an overlooked genre that—in an official capacity—we end up with a couple drops from what's already a pretty small pool. I read hana to hoshi about a decade ago, and I keep submitting it to the seven seas survey for licensure! and yet!! no dice. and even when there are official releases, sometimes they just... disappear!? wish you were gone was licensed and then taken down, so for a while the only way to read it (if you missed out on buying it) was the fan translation. I think it's important to support artists and official releases, and also, to appreciate the thankless endeavor(/crime) of scanlation.

hope yall find something you like!

[haridraws]

big publisher: we think your work has broad appeal, we don’t only want to market it to LGBT readers

me, standing next to a home-made 40 foot sign that reads "YOU DON’T HAVE TO BE QUEER TO READ MY BOOKS, BUT IT HELPS 😘": yeah I think we’re on the same page here

[valtsv]

sorry if you’ve read this before and i just haven’t seen you post about it, but the book “hell followed with us” by andrew joseph white seems right up your alley

i need some kind of faq with a section where i explain that i consider andrew joseph white to be a poor writer except when it comes to describing excesses of body horror and gore because people keep suggesting hell followed with us to me and i'm sorry but his books are not good. aside from the vivid descriptions mentioned above they're incredibly devoid of compelling narratives, fleshed out characters or immersive worldbuilding. the guy can come up with some amazing concepts for a story, but his ability to execute them is consistently disappointing. i'm glad he's making money and having fun pursuing his creative passions but his stuff just does not appeal to me at all and frankly makes a hater out of me.

[federer7]

Italian market, Mulberry Street, New York. Between 1900 and 1910

Photo by Detroit Publishing Company,

[aplpaca]

i think the popularity of anime means that books could get so much weirder and do fine if publishers werent fucking cowards like. one of the most popular recent animes has a main character who fused with his demon dog and now his head and arms turn into fucking chainsaws. soul eater was fucking huge and just look it it. the grim reapers son has 2 guns that are a pair of shapeshifting sisters and thats only a tiny fraction of whats going on in that series. we need more of this energy in english-language sff books. im begging major publishing to Get Weirder

[finelythreadedsky]

how is there a novel retelling of the descent of inanna by olga tokarczuk published in 2006 in polish and it HASN'T been translated into any other languages

[nicollekidman]

god the thing with books is that there is room for literally everyone in every age group with every taste from every walk of life and every preference!!!!! it's literature!!!! a foundational part of humanity!! but publishing trends are squeezing kids/teens out of genres and markets created specifically for them to chase the childadult contingent, while at the same time, romance/erotica (which is healthy, fun, has always existed) is being marketed aesthetically similarly and to the same audience of what used to be YA. so now there's a very weird collapse that is simultaneously putting adult romance in front of children, squashing teen stories, and sanitizing actual erotica. it is VERY weird but it is not an issue with authors suddenly being bad or women suddenly being stupid perverts, it's a direct result of the publishing industry and how books are being sold/published/marketed

[e-louise-bates]

Instead of "20 books to $50k" or "how to increase readership by writing and publishing a book every month that is exactly like every other popular book out there," I need the kind of marketing advice that goes along the lines of, "hey, here's how to get a modest fanbase and sell enough books to justify this as a side gig without having to go crazy and spend more than you earn on marketing." Because honestly, all the advice I find these days either a) requires me to put way more time and money into marketing than I am able to do, or b) requires me to write fast and sloppy in very specific sub-genres, and that's really not why I write stories.

And like Emily Starr, I would--and will--continue to write stories regardless of how many people read them, but it would be nice to be able to reach more than a dozen readers, and to be able to reasonably look on my writing as a part-time job rather than an expensive hobby.

(It doesn't help that there are so many articles out there claiming that self-publishing is dead! It's gotten too bloated and now only a handful can make a living off it! But wait--traditional publishing is also dead! It's gotten too greedy and now only a handful can make a living off it! Mid-level authors? Whether traditionally published or self-published, they apparently no longer exist)

[night-market-if]

Chapter Three

Chapter Three is here! Right now it is early release on Patreon with a public release being on April 8th. Subscribe to the Bog With tier to get access to the chapter. All asks in the next two weeks will be posted under spoilers so do not worry about getting spoiled if you have to wait.

If you do join to support me, I thank you so much! We are back on track now and it feels good!

🪷✨🪷✨ If you want to support me 🪷 ✨🪷✨ 

🌿 Free Demo 🌿Book 1 Steam🌿Book 1 Itch.io🌿🌿 Patreon 🌿Discord🌿FAQS🌿

[thewritersalchemist]

Brandon Sanderson did make smart career choices, but they might not be what you think.

(originally posted on a different writing blog in March 2022)

This is NOT another post breaking down “what you can learn!” from Sanderson’s massive Kickstarter earlier this month. Well, it kind of is, but it’s the opposite of some of the others.

Buckle up, it’s unpopular opinion time.

On March 1, 2022, fantasy author Brandon Sanderson announced a Kickstarter: pledge to help him publish four standalone novels he’d secretly written during the pandemic. He and his team set a goal of one million dollars, and he estimated they would get two to four million total.

In three days, the Kickstarter had reached twenty million dollars, and it currently (as of March 27, 2022) sits at thirty-three million dollars.

The publishing world was—and still is—staggered.

In the last three weeks, I’ve seen a dozen indie authors and marketers try to break down that massive success and what lessons others can take from it for their own careers. Most of them write to various Amazon markets. Some of them made good points. One thing everyone keeps repeating is that Sanderson has made “smart career choices.” But every time, I’ve walked away from those articles shaking my head. Most of the articles seem to be missing the biggest and most important point. It's hard to talk about taking lessons from Sanderson’s marketing before you talk about lessons from his WRITING career.

A few facts:

The four novels Sanderson will be publishing with the Kickstarter money are already written. He wrote them for his wife (and because he wanted to explore new stories) during the pandemic.

He will be publishing them through his own company: Dragonsteel Books. He created the company to publish special editions of his books, carry his book swag*, and have an alternative option for people to buy his books if Amazon ever stops selling his books again.**

Sanderson has a reputation for being reliable with his book publishing. If he says he’s going to publish something, he does it, and he tries to keep fans updated as he goes.

*Book swag / book merch = special items created for fans of books. **Years ago, Amazon briefly stopped selling his books because of contract disputes. You can read more about it here.

And some facts about Sanderson himself, if you’re not familiar with his work:

His first book to be published—Elantris—came out in 2005. It was the sixth novel he wrote, and it was published by Tor. It took eighteen months for someone to read the book and then call him about it.

Before Elantris was published, he’d written thirteen novels.

He now has so many novels out that Wikipedia has a separate article for his bibliography.

He was handpicked by Robert Jordan’s wife to finish the Wheel of Time book series, and he was on the writing team for the Wheel of Time TV series.

So what were Sanderson’s “smart career choices” as a writer?

He didn’t write to market. This is going to be the most unpopular opinion of all, but hear me out, please. Sanderson tried it. Back before Elantris was published, after a lot of people told him his books weren’t being accepted because they were too long and didn’t have the popular format and tropes of the time, he tried writing to market. He’s said those were the worst novels of his writing career. So he stopped. He went back to writing what he loved. That love and passion kept him writing books that have resonated with fans for almost twenty years now. If we’re going to talk about why his fanbase loves his BOOKS so much, let's start with how much HE loves what he wrote and how much that love spills over in how he talks about his books.

He constantly pushes himself to improve. He knew from the beginning that he needed critique, and he got it. Since college, he’s been in critique groups and had alpha readers, and they keep pushing him to be better too. He himself says that some of his earlier books (yes, the published ones!) aren’t his best. He’s honest that he keeps wanting to do better and looking to improve.

When he made plans about publishing, he didn’t just think about it like a writer. He thought about it like an author. He figured out his writing pace and he tried to be consistent with that. You can talk for hours about how he finishes books and how that “makes him better than Patrick Rothfuss and George R. R. Martin,”*** but I don’t see many people talk about how Sanderson learned from them and others and FIGURED OUT what he had to do AHEAD OF TIME so he wasn’t doing that to his fans, intentionally or accidentally.

He also approached his published author career like a reader. He treated his fans like he would have wanted to be treated as a reader. He used social media to connect with them and to keep them posted. He was and still is actively involved in his fandom.

He’s given back to the community. He’s taught at university for years; he’s talked at conferences; he’s free with his advice on his writing podcast; he’s given fans advice for years at cons and book signings and through his website, and he always has a smile for his fans.

***I’m not going to discuss Rothfuss’s or Martin’s choices; I don’t know what’s going on in their lives, and I think there’s a difference between authors having a responsibility to finish a series and authors ‘owing’ fans the way their particular fans claim. This is only about Sanderson and his decisions.

THESE were his smart career choices. THESE are the reasons his books are so popular and why his Kickstarter got to twenty million in three days. Sure, finishing Wheel of Time helped get his name out there to some readers, but the majority of Sanderson’s fans don’t talk about Wheel of Time like they talk about his own books. Wheel of Time fans (some of them) talk about being grateful he finished the series, yes. But Sanderson fans talk more about Elantris, Mistborn, and the Stormlight Archive.

If we’re going to break down Sanderson’s success, we have to go back further than his marketing. We have to look at his foundation and be honest about why and how he is where he is.

If you write to market, three things sell your books:

your ads

your other marketing (but mostly your ads)

and how well you followed the recipe for that market

Whether your plot and characters are objectively well written doesn’t matter as much. (I'm not saying it doesn't matter at all.) Why? Because the recipe is what the ads sell. So if you’re good at following the recipe, readers will keep coming back after their first few from you. Not so much if you like to change recipes a lot or can’t follow one well. You might get other readers, but you won't get that particular market's readers.

I’m not dissing writing to market. If you DO mostly write to market, you won’t be able to take many lessons from Sanderson’s Kickstarter success (or his career in general) because Sanderson’s marketing isn’t what keeps his fiction selling. His writing is. His fan interaction is another huge part.

A note on consistency.

Sanderson is a prolific writer. He can sustain a publishing pace that many people can’t. I can’t, for sure. I would LOVE to be that prolific, but I’m not there, at least not right now. Being consistent doesn’t mean you have to publish every year or write every single day. It means finding what pace works for you and then being consistent with that. If that means publishing once a year, good for you. If it means once every three years, go for it.

Building a fanbase takes time. Sanderson has been publishing for almost twenty years, if you count how long the process took for Elantris. He’s been writing for twenty-five years. No one likes to hear that something they want right now takes time, but it’s the truth. Building a consistent fanbase takes time, and it does tend to take more time for indie authors than traditionally published ones.

I've worked with a lot of competitive write-to-market indie authors. I know exactly how unpopular this opinion is. But for all the authors wanting to really understand the writing craft and find the path that helps them build their own consistent career of putting out good stories, this post is for you. If you're asking “Why is Sanderson so popular that his Kickstarter reached twenty million in three days?” and wanting to know what you can learn from it . . .

This is why. And this is what you can learn.

[the960writers]

What is an elevator pitch? It’s a proposal that can be delivered in about 60 seconds verbally or in a single written page of text. The term is standard in marketing. A great elevator pitch novel writers can use to sell their novels should have at least the following 5 features: