Showing posts with label bookscan. Show all posts
Showing posts with label bookscan. Show all posts

Wednesday, June 8, 2011

Market Update

It's been awhile since I've talked about what seems to be selling, mes auteurs, so below are the five categories I've noticed particular growth in over the past few months.

Keep in mind that (1) these are based on a healthy mix of data and anecdotal evidence, and (2) these are my thoughts on what seems to be selling now, not what will necessarily be popular in a year (the earliest your book would come out, assuming it's acquired in short order).

Graphic novels. It's likely these are seeing a bump because summer is superhero movie season, but it's pretty clear that this category is up from earlier this year. And (according to BookScan) it's not just properties with movies out/forthcoming, such as Thor or Green Lantern, so if you happen to be a graphic novel type of guy or gal, this is good news for you.

YA apocalyptic fiction. This (to my mind, anyway) was probably touched off by Suzanne Collins' The Hunger Games in the same way vampire mania was touched off by Stephenie Meyer's Twilight series, but I feel like I'm seeing an awful lot of end-of-the-world scenarios (Harold Camping's failed Rapture prediction and the New Age folks' Mayan 2012 nonsense notwithstanding).

Weird diet books. I've seen everything from "only eat raw foods and if you eat a cooked vegetable you will die" to "feel free to eat your weight in bacon." Some of this is probably seasonal—while a ton of diet books come out in January, I figure there's always a beach season bump—but I feel like I've been getting an earful about Paleolithic diets, raw food diets, Mediterranean diets, and no- or low-carb diets for months.

Thrillers/horror novels. While I still firmly believe the mass market paperback is on its way out, sales appear to be holding steady in this format for thrillers and horror novels (not so much straight mysteries, for some reason). Again, it's beach season, and I imagine anyone without a Kindle is buying a stack of inexpensive paperbacks for the beach or pool.

Romance. A perennial favorite, romance is probably doing well for the same reasons as the aforementioned thrillers—it's generally inexpensive and great for beach or poolside reading. Romance readers also tend to buy repeatedly and generally buy more books per purchase than other readers, so the effect may be amplified by those kinds of consumer habits.

That's all I've got for today, cats & kittens. What books have you been hearing about/reading about/seeing everywhere lately?

Thursday, December 9, 2010

Genre Sales 2: Romance (Part 8 of 8)

Finally, mes auteurs, part 8 of 8: romance. Not that romance is the least important genre—far from it! As near as I can tell (based on the usual caveats of "I determined this via BookScan, personal experience, and anecdote, and if you lose money doing something you thought I told you to do, it's not my fault"), the romance genre is either flat or a little up year-on-year. Hooray!

It looks like paranormal romance is still leading the pack, though historical romance (particularly the ever-popular regency) and contemporary romance are still going strong. While there are sci-fi/fantasy-romance-type cross-genre titles making some money these days, they appear to be in the minority. We can't all be time travelers and/or their wives, cats & kittens.

Why is romance currently doing well? As usual, I have some ideas.

Romance does well in economic recessions. We all love happy endings, dear readers, and most romance titles end up well. The guy gets the girl (or the other guy); the girl gets the guy (or the other girl); we can relate to the emotions involved and the crazy lives the protagonists lead, and we want to end up as happy as they end up. It's human nature.

Escapism also does well in recessions. As I've mentioned before, fantastical stories of magic and wonder do well when the alternative is looking at the stark reality of your stock portfolio. This translates into increased romance title sales as paranormal romance continues to draw market share within the larger romance genre.

Ladies love romance, and most reader are ladies. A little stereotypical, but generally true—see yesterday's post.

Therefore, meine Autoren, in all's-well-that-ends-well Bullet-O-Vision™:

• Romance is doing all right. All right!

• Paranormal romance seems to be doing the all right-est, but don't get your vampire on just yet: historical and contemporary romance are also doing well.

• This is probably because happy endings (general romance) and overall escapism (general romance and fantasy) are attractive genres during economic downturns.

• I hadn't mentioned this previously, but if you're worried about e-book sales, despair not! Romance titles seem to be doing particularly well (chiefly, à mon avis, due to the brand loyalty exhibited especially strongly by romance readers), and there's no reason to think this trend won't continue into the future.

That's the end of our two-week-long genre sales breakdown extravaganza, mes auteurs. Praise, vitriol, and theories (conspiracy or otherwise) are welcome in the comments!

Wednesday, December 8, 2010

Genre Sales 2: Women's Literature (Part 7 of 8)

So here's the deal with chick lit/women's literature, cats & kittens: first, there's the somewhat viable argument that general fiction is women's fiction (and vice versa), and second, this category isn't well broken out in BookScan, so the numbers are more than a little fuzzy.

That said, it seems like the general market is a pretty good barometer for the state of chick lit/women's fiction, which is to say: flat or a little down, but since the market as a whole is flat or a little down (down chiefly in hardcover), it's not really that bad. This genre still comprises a sizable component of all adult fiction sold in the United States, so if you're writing it, you're probably in decent shape.

Reasons and theories, you ask? Why, certainly:

Most book readers are women. In one sense or another, most books published in this country are marketed toward and sold to women (especially fiction). For this reason, whatever the overall fiction market is doing is a decent proxy for how women's fiction is doing.

Most general fiction débuts in hardcover. While this is changing somewhat (trade paper originals are becoming more commonplace), the fact that most fiction (and most women's fiction) starts out in the hardcover $20-ish price range means that, in this economic climate, initial orders are smaller, gross sales are smaller, and the amount of cash flowing back to the publisher is—you guessed it—smaller.

That said, the market is large—and growing. If you're writing fiction for women, you're already writing for the largest reading demographic in the country. General women's fiction has broad appeal, relatively high breakout potential, and offers a very wide range of subject matter in which to find one's niche. While there's no guarantee of bestsellerdom (there never is), you're more likely to achieve it writing women's fiction than, say, science fiction or literary fiction.

Finally, as the e-book market continues to grow and e-reader prices continue to come down, look out for sustained major growth in electronic sales for mainstream genres like this.

Therefore, mes auteurs, in mainstream, commercial Bullet-O-Vision™:

• Women's fiction/chick lit sales are flat or down, but only because the overall market is flat or down.

• The market is a large one, so while it will be harder to get your individual voice heard or to really break out in a major way, it won't be as hard as with other genres to establish yourself as a midlist presence.

• As e-books go more and more mainstream, expect electronic sales of women's fiction to go right along with the overall market. Again, my guess is that e-books will comprise 50% of the market by late 2013 or 2014.

Tomorrow—last, but certainly not least—romance!

Tuesday, December 7, 2010

Genre Sales 2: Science Fiction (Part 6 of 8)

In the not-too-distant future, an intrepid young sales commander voyages into the unknown realms of... GENRE WARS BREAKDOWNS

Yes, science fiction, mes auteurs. Whether it's gritty military sci-fi, space opera, futuristic cyber punkdom/crimery (I'm being a little inventive with the jargon here), or something a little loonier (think The Hitchhiker's Guide to the Galaxy), science fiction asks The Big Questions™ in the politically distanced, freer, and generally, more technologically advanced arena of the future (or occasionally a long time ago in a galaxy far, far away). Fantastic things happen, dear readers, but unlike in fantasy, they're things that could maybe happen someday! It's no magic, all science, all the time.

Keeping all the usual caveats in mind, it seems to me (again, based on the data available to me and anecdotal evidence from the folks selling these titles) that science fiction is either flat or a little down compared to 2009. As usual, I have a couple of theories as to why.

The genre has been pretty quiet this year and last. Without any phenomenally huge blow-out titles, the sales numbers probably more or less accurately reflect the general state of midlist fiction in this country, which (sadly) appears to be down year-on-year.

Americans apparently find science, fictional or not, scary. Back when we were trying to build colossal ocean liners or kill Nazis or beat the Russians or conquer space, science was cool and science fiction served as a method of exploring humanity's potential. I can't help but wonder whether our current dismal attitude toward science (made no better by our overly administrative, under-funded, and overwhelmingly lukewarm space program) has contributed to the decline of the genre since the Golden Age of Science Fiction (which ended in the late '50s) and the later New Wave Science Fiction ('60s, '70s, and first couple years of the '80s).

Maybe the Large Hadron Collider will help. Dr. Higgs and the Boson of Doom, anyone?

A lot of the cool science fiction crossovers are getting poached by other genres. I can't tell you how many times I created a kit for what I thought was a sci-fi title, only to discover it was being sold in as (futuristic) romance. Or fantasy (fantasy, as we have seen, sells). Or mystery/thriller (something like Minority Report could very well be sold today to the thriller buyer at a book store). With less and less hardcore science fiction available and, apparently, a smaller market for it, it's no surprise the numbers are going down.

The bright spot is, mes auteurs, that writers and readers of science fiction were the first to adopt the e-book (in the late '90s, before it was cool), and thus Our Coming Electronic Overlords may be the best thing to happen to science fiction since Asimov. For the time being, anyway—e-books are already surprisingly mainstream, and once they reach parity with physical books in the market, I don't think the genre will retain much of an edge.

So in that time-honored format that has, in fact, returned from the distant future to save all bulletkind:

• Sci-fi sales seem to be down. Frak.

• This is probably due to Americans not being super amped about science. Now that I think of it, it's also possible—though to a lesser extent—that some of it is due to women making up the majority of book buyers, while making up a minority of sci-fi readers.

• E-book sales are, I think, good for now and potentially still on the up-and-up, but I expect this to level out over time.

That's all for today, Borg and Klingons. Next up: Women's fiction! Tomorrow!

Monday, December 6, 2010

Genre Sales 2: Literary Fiction (Part 5 of 8)

Alack! Alas! Alas and alack, mes auteurs: despite the ubiquitous Franzenfreude of this past year, literary fiction (as a genre) still appears to be down numbers-wise (read: gross dollars) on an annual basis.

This probably doesn't come as a big surprise to most of you. John and Jane Q. Public, percentage-wise, don't read a lot of literary fiction; the lion's share of fiction seems to go to children's/YA, fantasy, and romance (chiefly of the paranormal variety), though thrillers and "general fiction" (mostly women's fiction) are also larger wedges of the pie.

I'm not sure I can give you a whole lot in terms of specific theories about why literary fiction is down; it's probably for the same reasons people never watch movies that won prestigious awards but have seen Air Bud like thirty times. Most people watch non-cerebral television shows, go to see non-cerebral movies, and read non-cerebral books. Even the cerebral among us have been known to watch Jersey Shore or read Twilight.

If you're writing literary fiction, you probably already realize it's more a labor of love than a serious commercial enterprise (though I wish it weren't, and that you could command a six-figure advance and sell tens of thousands of copies). Your advance will be lower than average, your sales figures will be lower than average, and unless you're both phenomenally talented and phenomenally lucky (a rare combination), you won't be the next Michael Chabon or Zadie Smith.

Literary fiction is also hard to write. Like, really hard, bros and she-bros. Everything hinges on your ability, and not so much on your killer (or not-so-killer) plot. I have seen successful self-help books and middle grade novels written by people who cannot, in my estimation, write their way out of a paper bag. I have yet to see a decent literary novel guilty of the same.

Therefore, in Ye Olde Starvinge Artiste's Bullet-O-Vision™:

· Literary fiction sales (gross dollars) appear to be down year-on-year. As Shakespeare once said: O snappe.

· While sad, this is probably not super surprising, and probably does not reflect a decreasing trend in American interest as regards fine literature.

· Americans have largely been uninterested in fine literature for about 240 years, although I suppose books were more important before there were radio shows and television and the Internet and Xboxes.

· Sorry, I seem to be channeling Kurt Vonnegut here.

· If you're curious about e-books, the 10% rule (see previous posts in this series) seems to hold firm, although it may be impacted by electronic sales of Franzen's Freedom.

Tomorrow: Science fiction!

Friday, December 3, 2010

Genre Sales 2: Mystery/Thriller (Part 4 of 8)

You knew it was coming, mes auteurs: bad news. Not colossal bad news! Not doom! I'm not dropping Mordor on your party! However, it does look like (based on sales data and a sprinkle of anecdotal evidence) that the mystery/thriller genre is flat or down in terms of sales this year.

While it doesn't look like there's a downward trend within 2010 (that is, each month doesn't appear to be getting progressively worse), sales for mystery and thriller titles do seem to be significantly down year-on-year, and this trend seems more pronounced for mysteries than thrillers (the latter category is basically flat to 2009).

Why is this? Well, as usual, I have some theories.

Mysteries and thrillers are psychologically taxing. As I mentioned yesterday, part of the reason fantasy titles (ditto romance—tune in next week!) do well during economic downturns is because they provide escapism, happy endings, &c. While mysteries and thrillers may turn out well, they tend to be darker, stressful for the reader ("suspenseful," "riveting," &c), and don't guarantee happy endings of any sort. Who wants to be terrified by a book when you can be terrified for free by your stock portfolio?

Mysteries and thrillers usually start out as expensive hardcovers. Don't get me wrong: genre fiction in general is conducive to the cheaper mass market format (see yesterday's post on fantasy), and many fantasy titles do start out as hardcovers, but it seems to me that mysteries and thrillers show up as hardcovers slightly more often. Additionally, the shorter average page count (compared to fantasy) means that reincarnated mysteries and thrillers appear to be sold slightly more often as trade papers rather than mass markets, and trade paperbacks tend to run $12 – $16 (compared to $4 – $9 for mass markets).

Two words: Dan Brown. Complete honesty: I have no idea exactly how many copies Dr. B sold of The Lost Symbol, and I can't share the proprietary BookScan information with you. Suffice it to say: when you're comparing mysteries/thrillers in 2010 to 2009—a year in which one title in said genre sold millions of copies—it's going to skew the numbers a little bit. That said, I'm certain the Dan Brown numbers do not account for the entirety of the disparity, and fairly certain they don't account for the majority of it.

Finally, if you're worried about e-books: don't be. At least, not any moreso than you already are. The standard 10% rule (i.e. 10% of all sales are electronic) for adult trade seems to be holding here.

Therefore, meine Autoren, in Noble and Most Ancient Bullet-O-Vision™:

· Mystery/thriller sales in 2010 are down compared to 2009. Womp womp.

· This is probably due to the psychologically taxing nature of the genre, the fact that mysteries and thrillers tend to début in pricey hardcovers, and the fact that 2009 was a slightly unusual (read: Dan Brown) year.

· Electronic sales for this genre are more or less in line with the rest of the market.

All questions, comments, vitriol, praise, &c in the comments section, dear readers, and when we return on Monday: Jonathan Franzen literary fiction!

Thursday, December 2, 2010

Genre Sales 2: Fantasy (Part 3 of 8)

Fantasy is a complicated genre, cats & kittens. You've got your Tolkien-style epic fantasy, your hip urban fantasy, your fantasy with sci-fi elements, and your romantic fantasy (which is completely different from your paranormal romance!), just to name a few. There are vampires and demons (sometimes daemons!), witches and wizards, fairies, faeries, and phaeyries (I made that last one up), and all varieties of magic(k)s.

Simply put: summarizing fantasy title sales is hard.

That said, it looks like (once again) the genre is doing well, either flat or a little up to last year. Although the effects of the recession are wearing off, there are a few key reasons (à mon avis) why fantasy sales are still doing well. Again, all the usual caveats (see parts 1 and 2) apply:

Escapism. Who doesn't want to live in an enchanted land where you can wield arcane magic(k)s against a host of undeniably evil foes? (Especially when the alternative is looking at your year-to-date return on your 401(k).) While I don't expect fantasy sales to suddenly tank when the economy truly turns bullish again, I do think our lingering economic woes contribute to our desires to seek out escapist fantasy, which in turn convert to sales.

The mass market format. The fantasy genre in particular lends itself to the mass market format, and frankly, you can't beat $5 – $9 for a book. Almost every other form of entertainment is more expensive, and while I do expect e-sales to eat away at the mass market's dominance over the next couple of years (we're already starting to see it), the low price point attracts a lot of consumers. (See below for more notes on the fantasy genre and e-books.)

The series effect. Fantasy books also lend themselves well to serialization, and once you hook a reader on a series, you're golden. Who's going to read the first book in the EverMagicks War Chronicles and not read the subsequent eight books, assuming they liked the first? Especially if those subsequent books are, say, $6.99 apiece? That's what I thought.

Now, unlike children's fantasy (see yesterday's post), adult trade fantasy titles are far from immune to the specter (or, worse yet, spectre) of e-books. If you're writing in this genre, be prepared to discuss e-book rights with your agent, as well as blog, tweet, and participate in all varieties of social media. The Kindle, nook, and iPad are now your friends.

Numbers-wise, it looks like fantasy title sales are more or less in line with the rest of the market in terms of the ratio of e-books to physical books sold (e-books probably comprise about 10% of sales in terms of units). Depending on the average price of e-books, this could be a little higher or lower in terms of dollars. My guess is it's not that different, though this may change if and when e-book prices come way down.

So, mes auteurs, for your bullet-reading pleasure:

• Fantasy is doing well as a genre. Hooray!

• The nature of the content, preferred format, and predisposition toward series probably contribute to its continued good health. Crossover between children's/YA and adult (Deathly Hallows, anyone?) also probably helps. I can't think of another genre in which adult and kids' literature sees so much overlap.

• Adult trade fantasy sales are, like the rest of adult trade fiction, favoring the electronic formats more and more. It is, in fact, entirely possible that your book will only be sold as an e-book by the time you find representation.

That's all the news that's fit to blog, meine Autoren. Tomorrow: mysteries! Thrillers!

Wednesday, December 1, 2010

Genre Sales 2: Children's/YA (Part 2 of 8)

Technical problems delayed today's post—sorry, everyone! — E

As we forage into the domain of children's and young adult literature, mes auteurs, keep in mind that this isn't exactly my forte. Therefore! In addition to my usual caveats (this is not legal advice, if you lose money because you did something you thought I told you to do it's not my fault, &c), also: my background in and biases toward adult trade will likely show through here, so please don't hesitate to call me out in the comments if you find me a bit afield.

Now then!

Based on my experience, some numbers, some intuition, and some anecdotal evidence, it looks like children's/YA is flat or slightly up compared to last year. As I've mentioned before, this/these genre(s) weren't as badly hit by the last couple of years' recession because 1.) children's books tend to be less expensive on a per-unit basis than adult books, and 2.) people may cut back on spending for themselves when times are lean, but they're much less likely to cut back on stuff for their kids. Especially if stuff = books.

It also appears that children's/YA literature is remarkably resistant to the electronic format, especially as regards titles for younger children (age six and under). This shouldn't really come as a surprise; picture books, pop-up books, &c are still very much reliant on the vehicle of the physical book. I'm not sure kids this age actually prefer physical books to e-books, but parents are less likely to trust the little ones with iPhones than, say, durable board books, and it seems that parents also prefer to read to children from physical media. For now.

For older kids (middle grade and young adult), sales of physical books still seem to dominate those of e-books, though not to the same extent. I imagine that as e-reader prices come down and teenagers (who are already super comfortable with electronic media) start to get these as gifts from tech-savvy family members, we'll start to see that change.

In terms of sub-genre breakouts, the numbers get a little dodgy. Sales do seem to be pretty solid in the YA fantasy area, so while vampires are a bit tired, you're probably in good company if you've got demons, daemons, witches, &c floating around.

Thus, in high-quality, twenty-four karat Bullet-O-Vision™:

• If you're writing children's/YA, you're in luck! Sales are pretty solid and you actually have a shot at making money. Not J.K. Rowling money, but you're better off than most writers of adult fiction. (More to come on this front as this week unfolds! Also next week.)

• The encroachment of e-book sales isn't occurring as extensively or as rapidly in children's/YA as in adult trade, so you don't have to worry about making your ms look good on the iPad. (Yet.) You'll still probably want to talk to your agent about how e-rights will be handled. Yes, even for the un-e-bookable.

• Within the larger realm of children's/YA, fantasy (of all stripes) continues to sell well. What can I say? Kids love magic.

And that's all I've got for you today, meine Autoren. You know where to go for comments, and next up: fantasy! For grown-ups!

Tuesday, November 30, 2010

Genre Sales 2: Mash-Up (Part 1 of 8)

Your votes are in, mes auteurs, and after taking careful tally I've decided to cover the following genres over the next eight days:

Tuesday, November 30th: Mash-Up
Wednesday, December 1st: Children's/YA
Thursday, December 2nd: Fantasy
Friday, December 3rd: Mystery/Thriller

Monday, December 6th: Literary Fiction
Tuesday, December 7th: Science Fiction
Wednesday, December 8th: Chick Lit/Women's Fiction
Thursday, December 9th: Romance

And we'll have the usual round-up from Laura on Friday, December 10th.

The usual disclaimer: this is all my opinion, I'm not responsible for any lost time or money you might suffer due to taking my opinion as cold hard fact, this post is not for ophthalmic use, &c &c.

Without further ado—mash-ups!

For those not familiar, the mash-up (in this sense) is a novel that combines a pre-existing text with new material; while the concept isn't new, the literary mash-up of today was more or less created a couple of years ago by Seth Grahame-Smith in his Pride and Prejudice and Zombies. After the enormous success of the book, a number of "resurrected" classics (e.g. Sense and Sensibility and Sea Monsters, Little Women and Werewolves) arose, creating a sort of independent genre at the intersection of literary classics and humor.

Funny? You bet. The first time, anyway.

If any of you are currently writing mash-ups, my advice is: cut it out. My sense of the market (based on experience in-house, sales numbers through services like BookScan, and anecdote) is that it's Pride and Prejudice and Zombies in the lead with a number of imitations (many of which are pretty middling) tied for a very, very distant second. My opinion (opinion! not fact) is that this trend has pretty much run its course, and if you're jumping on the bandwagon now (in the hopes of publishing in 2011, 2012, or later), you're probably too late, regardless of how sweet your title/concept was.

This, by the way, goes for 99% of the trends you're seeing in publishing these days: whether it's vampires, zombies, Vikings, or mash-ups, the flavor of the day is exactly that: temporary. Just like in the stock market, if enough people are doing something for you to notice a trend, it's probably too late for you to capitalize on it. That ship has sailed; keep on doing what you do and don't worry about what everyone else is doing.

Unless, of course, your book is coming out at a time when your genre or topic is a hot commodity, in which case: go even more nuts promoting yourself and separating yourself from the pack than you otherwise would. But this isn't something you can predict or have any control over.

So, my advice for writing mash-ups is:

1. Don't.
2. If you're dead-set on it, at least pick an interesting classic that hasn't been done yet.
3. Make sure the text you're working with is in the public domain. If it isn't, you're going to have to get permission from the author/his or her estate/his or her publisher, and you're going to have to split any profits you derive.
4. You probably won't see (m)any profits.

Tomorrow, dear readers: children's/young adult literature!

Thursday, February 18, 2010

Rerun Thursday: More on Comp Titles

I'm particularly swamped this week, mes auteurs, so I'm running an oldie-but-goodie from last October. Enjoy! — E

Episode: "More on Comp Titles"
Originally aired: Tuesday, October 6th, 2009

I've posted about comp titles before—those magical, previously sold books (sometimes yours!) that are used to ballpark the future sales of new books. And yes, I've said that you don't have a huge amount of control over what title(s) your book will be comped to when it's sold in to buyers at the major accounts, which remains true.

However.

I've treated you all to a fair amount of doom over the past few weeks, so I feel I owe you a bit of sunshine every now and again. The truth is, you can (and should!) exercise a small amount of influence over the comp titles chosen for your book, and it begins relatively early in the process. That is, with (drumroll, please): the query letter.

If you read Nathan's blog (and who am I kidding? 99.9% of you are here because you do), you may know that when writing a nonfiction book proposal, you're expected to do market research, which partly entails (you guessed it) coming up with a list of previously published books that are similar to, but not quite just like, your book. Necessary for nonfiction, and, à mon avis, a great idea for fiction as well.

Caveat (there's always a caveat): if you choose to do this, be smart about it. Do not compare yourself to Dan Brown or any other mega-bestselling author. While it may be true that your new paranormal thriller has secret societies and child wizards in it, who's going to take you seriously if you write "Lost Symbol meets Harry Potter" in your query? No one, that's who. So do a lot of research, pick a couple of books that have been published in the last few years that are similar to your own, and only devote a small portion of the query to said books (remember, you're selling you, not somebody else. Vende te ipsum*, and all that). Of course, if your book is nonfiction, you can (and should) spend more time talking about potential comp titles and the similarities/differences between them and your book, as that's supposed to be part of the package.

And another thing: please, please, please resist the temptation to say (or even think, if you can help it) that your book is 100% unique and original, and nothing like it has ever been published in the history of publishing, because this is almost assuredly untrue. Yes, your book should stand out in some way from the crowd, but it's probably similar to a lot of other books already out there, and (counter-intuitive though it may seem) you actually stand a better chance of demonstrating the unique qualities of your book by explaining how it's similar to, but ultimately different from, the existing books in the genre, rather than coming off as ignorant/arrogant/what have you by insisting you've written something totally unlike anything that's ever been published.

Now, after all that, the upshot of including a well-chosen comp or two in your query is this: if and when you get an offer of representation, said comp(s) will already be floating around in your agent's brain when (s)he starts shopping your manuscript to editors. It's likely (s)he will mention said comp(s) when doing so (you can always ask him or her to do so if you feel strongly about it, though you may want to check the BookScan numbers beforehand). Now those comps are floating around in the editors' heads, meaning that if one of said editors acquires your book, those comps are already being talked about long before the book is ever sold in. With a little luck, those might be the very books the sales team uses as comps when they sell your book to the major account buyers.

So, in trademark Bullet-O-Vision™:

• Admittedly, you don't have a lot of direct influence over those pesky comp titles, but there are some things you can do: namely, include a couple of well-chosen comps in your query and spend the appropriate amount of time discussing them (less for fiction than for non-).
• Be smart about the comps you choose—don't go crazy comping yourself to mega-bestsellers and don't go around telling everyone you've got nothing to compare yourself to because your book is that groundbreaking.
• Don't be disappointed if they don't stick, but if they do, talk with your agent (once you've got one) about mentioning them to the editors they're shopping your MS to. Consider checking the BookScan numbers (your agent may be able to do this for you) to make sure you're not inadvertently shooting yourself in the foot.
• Whether or not the comps you prefer are used, it can't hurt to have your agent ask the publisher what titles are actually being used as comps. If you're sufficiently hands-on/neurotic, feel free to read these books, check their BookScan numbers, &c to get an idea of to what and to whom you're being compared.
• At the end of the day, your writing is your writing, and you're selling yourself and your book, not the guy next to you clutching his. Write well, work hard, and take advantage of any opportunities that come your way. And good luck!





*Not bad for a guy who never took Latin, no?

Tuesday, October 6, 2009

More On Comp Titles

I've posted about comp titles before—those magical, previously sold books (sometimes yours!) that are used to ballpark the future sales of new books. And yes, I've said that you don't have a huge amount of control over what title(s) your book will be comped to when it's sold in to buyers at the major accounts, which remains true.

However.

I've treated you all to a fair amount of doom over the past few weeks, so I feel I owe you a bit of sunshine every now and again. The truth is, you can (and should!) exercise a small amount of influence over the comp titles chosen for your book, and it begins relatively early in the process. That is, with (drumroll, please): the query letter.

If you read Nathan's blog (and who am I kidding? 99.9% of you are here because you do), you may know that when writing a nonfiction book proposal, you're expected to do market research, which partly entails (you guessed it) coming up with a list of previously published books that are similar to, but not quite just like, your book. Necessary for nonfiction, and, à mon avis, a great idea for fiction as well.

Caveat (there's always a caveat): if you choose to do this, be smart about it. Do not compare yourself to Dan Brown or any other mega-bestselling author. While it may be true that your new paranormal thriller has secret societies and child wizards in it, who's going to take you seriously if you write "Lost Symbol meets Harry Potter" in your query? No one, that's who. So do a lot of research, pick a couple of books that have been published in the last few years that are similar to your own, and only devote a small portion of the query to said books (remember, you're selling you, not somebody else. Vende te ipsum*, and all that). Of course, if your book is nonfiction, you can (and should) spend more time talking about potential comp titles and the similarities/differences between them and your book, as that's supposed to be part of the package.

And another thing: please, please, please resist the temptation to say (or even think, if you can help it) that your book is 100% unique and original, and nothing like it has ever been published in the history of publishing, because this is almost assuredly untrue. Yes, your book should stand out in some way from the crowd, but it's probably similar to a lot of other books already out there, and (counter-intuitive though it may seem) you actually stand a better chance of demonstrating the unique qualities of your book by explaining how it's similar to, but ultimately different from, the existing books in the genre, rather than coming off as ignorant/arrogant/what have you by insisting you've written something totally unlike anything that's ever been published.

Now, after all that, the upshot of including a well-chosen comp or two in your query is this: if and when you get an offer of representation, said comp(s) will already be floating around in your agent's brain when (s)he starts shopping your manuscript to editors. It's likely (s)he will mention said comp(s) when doing so (you can always ask him or her to do so if you feel strongly about it, though you may want to check the BookScan numbers beforehand). Now those comps are floating around in the editors' heads, meaning that if one of said editors acquires your book, those comps are already being talked about long before the book is ever sold in. With a little luck, those might be the very books the sales team uses as comps when they sell your book to the major account buyers.

So, in trademark Bullet-O-Vision™:

• Admittedly, you don't have a lot of direct influence over those pesky comp titles, but there are some things you can do: namely, include a couple of well-chosen comps in your query and spend the appropriate amount of time discussing them (less for fiction than for non-).
• Be smart about the comps you choose—don't go crazy comping yourself to mega-bestsellers and don't go around telling everyone you've got nothing to compare yourself to because your book is that groundbreaking.
• Don't be disappointed if they don't stick, but if they do, talk with your agent (once you've got one) about mentioning them to the editors they're shopping your MS to. Consider checking the BookScan numbers (your agent may be able to do this for you) to make sure you're not inadvertently shooting yourself in the foot.
• Whether or not the comps you prefer are used, it can't hurt to have your agent ask the publisher what titles are actually being used as comps. If you're sufficiently hands-on/neurotic, feel free to read these books, check their BookScan numbers, &c to get an idea of to what and to whom you're being compared.
• At the end of the day, your writing is your writing, and you're selling yourself and your book, not the guy next to you clutching his. Write well, work hard, and take advantage of any opportunities that come your way. And good luck!





*Not bad for a guy who never took Latin, no?

Tuesday, July 14, 2009

A Load of B.S.

"B.S.," of course, stands for "BookScan," as in Nielsen BookScan. BookScan is the best and worst thing that's ever happened to you. Why?

Well, a quick history. The Nielsen company enjoyed considerable success throughout the 1990s with Nielsen SoundScan, a service that aggregated and reported POS (point-of-sale, i.e. scanned through the register) data from a wide variety of retailers. For the first time, it was possible for the industry to really see how it was doing; sales from thousands of record labels could be tracked on a weekly basis at dozens of major stores. So, in 2001, Nielsen figured they'd try their hand at books.

There's a .pdf you can download from the BookScan site to tell you exactly which retailers provide POS data to Nielsen, but for your convenience, I've listed them below:

Retailers
B. Dalton • Barbara's Bookstores • Barnes & Noble • Books-A-Million • Borders • Deseret Book Co • Follett Stores • Hastings • Hudson Group • Independents • Walden Books (owned by Borders)

Discount & Others
Amazon.com • B&N.com • BooksAMillion.com • Borders.com • Buy.com • CatholicCompany.com • CNI • CEORead.com • Cornerstone • Costco • Fatbrain.com • K-Mart • NBC.com • One World Enterprises • Powells.com • Stretch the Skies • Target

Non-Traditional (New for 2008)
H.E.B. • Kroger • Stop & Shop • Shopko • Toys "R" Us • Babies "R" Us • Starbucks

What's as important as the retailers listed here, however, is the retailers that aren't; specifically, Wal-Mart, Sam's Club, and BJ's Wholesale Club. Because they (and several other, much smaller) outlets don't report their sales figures to BookScan, BookScan's numbers aren't complete. As I've said before, on a good day, they probably capture only about 75% of the overall marketplace.

The Good

For the most part, BookScan generates an accurate picture of any given title's overall sales. Moreover, it's the only tool the publisher has to analyze sales of books that aren't theirs, so even if it weren't as accurate as it is, it's still all they've got. (Publishing houses do solicit POS data from their accounts, so they have separate, often more accurate sales figures for their own titles.) If Chester A. Author published his first book with House A and is now at House B for his second, House B will use BookScan to analyze sales for his first book. These numbers, combined with comp title information, will factor significantly into the initial buys for his second book. The theory goes that the aggregate POS data will provide an accurate picture of previous sales, thus providing the foundation for reasonable expectations on future sales.

The Bad

You'll notice I said "for the most part." Since major retailers like Wal-Mart don't report to BookScan, a title that rocked out at said major retailers but failed to perform on-line or in the national chains (it's rare, but it happens) will have artificially depressed sales figures. (If you're the author of this unfortunate book, you'll be depressed as well. Ba-dum chh.) Seriously, though, if your book sold 10,000 copies, but 5,000 were at Wal-Mart, Sam's Club, and BJ's, your BookScan numbers will be off by a whopping 100%.

The Ugly

As agent Andrew Zack notes in his own post about BookScan, there are some publishers who, despite knowing full well that BookScan only provides a partial picture of overall POS transactions, treat it as if it were the be-all and end-all of book sales. Not only that, but in one case, BookScan reported numbers as low as ten percent of a book's actual sales, and editors at the (undisclosed) house had to be convinced of this by the author's actual royalty statements. (Zack doesn't say what said publisher actually decided concerning his client's new book, although he does follow up on his initial post here and here.) And, in case you were wondering, BookScan never changes its numbers—ever—so you can't complain to the Men Upstairs to adjust your reported sales if you think they're wrong.

Which brings us to the question: What can you do if you think you're getting B.S.ed by B.S.?

First, do your homework. As noted in Alan Rinzler's excellent primer on BookScan, you can subscribe to Nielsen's service for $5,000 per year (pricey!) or just $85 per year if you only want to track a single ISBN. Know thy sales. Like Alan says in his post, an author's BookScan numbers are like a credit rating, and are just as (if not more) important.

If you think there's a problem, approach your agent. Have him or her go over your royalty statements with you. This can help you figure out whether there's a major discrepancy between the publisher's numbers (which will be more accurate) and BookScan's.

If you and your agent believe there's a serious problem, contact your publisher. Let them know you're afraid artificially low sales reports from BookScan may impact sales on your future books. If possible, ask them to review their sales numbers and let you know if there's a problem. (The publishing house I work with maintains huge Excel files of market share data, which is beginning to include data from previously reticent retailers like Wal-Mart.)

Of course, this all only applies to non-debut authors; for those of you whose next book will be your first, your numbers may depend in large part on the BookScan numbers for your comp title, which you can't really control. If that's the case, just keep on keepin' on—promote yourself, promote your book, and do whatever you can to get your name and your story out there.