Saturday, September 27, 2014

Fixing the Publishing Industry is No Mystery

by L.J. Sellers

Jean asked if I was worried about the downturn in the publishing industry and what I think can be done about it. The fix isn’t a mystery at all. Three basic steps would change the industry’s business model to improve sales and cut costs.

1. Move away from the hardback fiction book. Publishers could simply not print hardbacks and let libraries and collectors laminate their own copies of trade paperbacks, or they could print very limited hardback runs with the bulk of the first printing done in trade or mass market paperback. Then the first run of each novel could be bigger and priced to reach the whole market. Publishers win by reducing their print costs and minimizing the number of returns. Readers win by getting a book they can afford when it first comes out, and writers win by reaching as wide a market as they can on the first publication. And if publishers produced an e-book version at the same time, it would open the market even further. And writers who didn’t hit the big numbers would never be stuck with a book that is only available in hardback—which is a spendy version that’s hard to sell at book fairs and special events, and limits sales even further.

2. Change distribution to a nonreturnable basis. This seems like such a no brainer. Approximately, 25 % of all books printed are returned and shredded. This is an unsustainable waste of time and resources. Once the new policy was in place, bookstores would have to be conservative about how many books they ordered at one time, but it would simplify the bookkeeping for everyone involved—especially authors who often have their royalties held back against returns.

3. Print only as many copies as are necessary to fill orders. Yes, there is a discount in volume, but if, in the long run, the model isn’t making money, it only makes sense to pay a slightly higher per-unit printing cost and have fewer returns. Money (and trees) would be saved from not printing, shipping, processing, and shredding books that never sale.

If all that happened, bookstores would have fewer returns to process and they could make money by remaindering books on their own premises. They could offer discounts and buy one/get one free deals to keep product moving. Publishers could cut their printing (and shredding) costs and spend more money on promotion for more authors, not just the bestsellers. This would take the pressure off each novel to perform to a certain standard and allow more novels to come to the market through traditional publishers.

Of course, this advice is aimed at the major publishers, which still control the bulk of the market. Many smaller publishers have employed these ideas. But they can’t work on a large scale unless they’re widely adopted. As long as the hardback book carries a certain prestige, publishers (and authors) who are in paper versions only will remain at a disadvantage.

(Reprinted from an earlier post, but still relevant.)

Bestselling author L.J. Sellers writes the Detective Jackson mystery/thriller series, which has twice won the Readers Favorite Award, as well as the Agent Dallas series and standalone thrillers. Her novels have received high praise, and she's one of the highest-rated crime fiction authors on Amazon.
L.J. resides in Eugene, Oregon, the setting for many of her novels. She's also a Grand Neal Award-winning journalist who founded Housing Help, a charity dedicated to preventing families from becoming homeless. L.J. enjoys standup comedy, cycling, social networking, and attending mystery conferences. To learn more about her, visit her website:

Friday, September 19, 2014

Hallie Ephron Revisited

Bestselling author Hallie Ephron not only writes suspense novels, but how-to-books, including Writing and Selling Your Mystery Novel: How to Knock 'Em Dead with Style, nominated for Edgar and Anthony awards. She was also the recipient of the Salt Lake Libraries Readers Choice and David awards and is the Ellen Nehr Award winning crime fiction reviewer for the Boston Globe.

Hallie, how did your early environment influence your career as a journalist and novelist?

I grew up in family of writers (my parents wrote plays and movies; my sisters Nora, Delia, and Amy are all well published) in a house that was wall to wall books. The pressure to become a writer was tough to resist. I tried for three decades and then succumbed.

Did you ever consider following in your parent's careers as a screenwriter?

Dialogue isn't my strong suit, and that's what screenplays are. So it was not the natural place for me to begin.

Where did you work as a journalist and did the experience serve you well when you began writing novels?

I never thought of myself as a journalist. I wrote essays and feature articles for magazines and now I review crime fiction for the Boston Globe. Reviewing books--and more importantly reading lots of them--has helped me see why some books work and others don't. So it's really helped me as a teacher, and also as a critic of my own work.

Tell us about your psychological suspense novel, Never Tell a Lie. How did the story come about?

I got the idea when I was at a yard sale near my house. It was a big Victorian house, one where my daughter used to play with the children of a former owner. I was dying to find out how the interior had been transformed. I drilled the poor homeowner with questions until finally she said, “Why don’t you go inside and have a look around?” I didn't wait for her to change her mind. As I wandered on, through the upstairs, I thought: What if a woman goes to a yard sale. Somehow she manages to talk her way into the house. She goes inside and…she never comes out.

The idea made the hair on my neck stand up. I knew right away that my next novel would start with that yard sale. I knew that the woman running the yard sale would be nine months pregnant, and the woman who comes to the yard sale and disappears would be nine months pregnant, too.

When did you decide to write how-to writing books and what do they encompass?

I didn't actually decide... I was teaching a class for writers and the acquiring editor for Writer Digest Books sat in on a bit of my class. Afterward, she asked if I'd like to write a book about mystery writing. I jumped at the opportunity. I started my career as a teacher, and this gave me a chance to combine teaching and writing.

How do you select books to review for the Boston Globe? And do you always try to find something good to write in each review or do you just cut to the chase?

I pick from the 80 or so titles sent to me each month. Yes, I try to find books I like. If I don't like a book I stop reading and go on to the next one in the pile. But if I review I book I don't like, I say so--but I try not to be flip or clever about it, just as specific as I can.

What’s the best way to acquire an agent and are they necessary to sell fledgling books?

Yes, they are essential if you want to be published by a mainstream press. Agents have become the arbiters of taste. The process is well documented--in Writers Digest Guide to Literary Agents it's all laid out plus detailed information about each agent and how to contact them. Just follow the rules about querying. And be patient. And revise, revise, revise if you are fortunate to get comments back.

Advice to aspiring writers?

Keep at it. Perseverance pays. Grow a rhinoceros hide so you don't take criticism personally, but hear it and use it to make the work better.

What do you stress most in your fiction courses at writers’ conferences?

Not to send a work out too early--I see so many authors jump the gun and send out manuscripts that still need work.

Which writer, past or present, would you like to have lunch with?

P. D. James. That's easy.

Thanks for taking part in the series.

Hallie Ephron's website:
Her blog: