Archive for the ‘publishing’ Category

Read Between the Lines

Sunday, July 26th, 2009

There’s been a lot of discussion about Justine Larbalestier’s Liar. For those of you who don’t know, the cover of her book depicts a big-eyed white (some think Asian) girl with long hair, when the main character of her book is black with short hair. Naturally, she was upset. But I’ve seen several people say that if Larbalestier was so upset about the cover of Liar, she shouldn’t have said she liked it first.

I’m a teacher, so I’ve written letters of recommendation.  For some students, I have no difficulty writing good things.  But 66% of the people who have asked me for letters of recommendation have been in the bottom half of the class I’ve taught.  Some never came to office hours or asked a question in class.  “I’ll write you a letter,” I would say dubiously, “but is there anyone who could write you a more enthusiastic letter?” (sidenote: Every single one of those people said, “No, there isn’t. I need you to do it.” That sound you hear is my heart breaking.)

I have also read literally hundreds, if not thousands, of letters of recommendations. I have read only one letter that ever contained bad things about a student.  (“John,” this extremely famous person wrote, “is a whiny baby. He makes appointments and never shows up to them. I told him I wouldn’t recommend him, but he listed me on a form and now career services keeps badgering me. I wish him ill.”)

The rest of them, though, are not necessarily helpful to the student. I know this, because I have written those letters. I am entirely positive.  I am also entirely truthful. I tell people in advance that if they have other options, they should use them, and I will do my best… The letter may say good things, but when the good things it highlights are trivial (“I love Lisa’s hair ribbons! They brighten my class!”), it doesn’t do much to recommend the person’s intellectual capacity.

Authors, talking publicly about their covers, are the same way.  An author cannot honestly say, “I hate my cover” in part because she doesn’t want to hurt sales and marketing’s feelings, and also in part because even if she hates her cover, she doesn’t want to point out the flaws in it to anyone who might otherwise buy the book. Saying “hate my cover” is akin to saying “Don’t buy my book.”  So what an author does instead of voicing her discontent, if she is honest, is praise the hair ribbons. And that’s a significant tell.

Here is an enthusiastic recommendation of a cover: Justine Larbalestier talking about her Australian cover. Here is what Justine says about her Australian cover for Liar:

I love it more than I can say. It captures the book so perfectly. I asked for something spare, iconic, cool and dark. Possibly a typographical treatment. Bruno exceeded my expectations by miles. I keep staring at it cause it makes me so very happy.

Notice how three of those six sentences start with “I.”  “I love it more than I can say.”  “I keep staring at it cause it makes me so very happy.”  The rest all talk about her feelings about the cover as well: “It captures the book so perfectly.”  “Bruno exceeded my expectations.”  This is a real, positive recommendation from an author.  She loves it.  She keeps staring at it.

Now let’s take Justine’s post on the U.S. cover. It’s a little longer, and needs a little more decoding, but notice what Justine never mentions:

This cover was so well received by sales and marketing at Bloomsbury that for the first time in my career a cover for one of my books became the image used for the front of the catalogue. Front of the catalogue! One of my books! Pretty cool, huh?

Translation: Sales likes it.

Apparently all the big booksellers went crazy for it. My agent says it was a huge hit in Bologna. And at TLA many librarians and teenagers told me they adore this cover. In fact one girl said she thinks the US cover of Liar is the best cover she’s ever seen! Wasn’t that sweet of her?

Translation: Other people besides sales like it.

It was designed by Danielle Delaney the genius responsible for the paperback cover of How To Ditch Your Fairy. Have I mentioned that’s my fave cover I’ve ever had?

Translation: I’ve liked other covers that this artist has done.

Here’s hoping this cover helps Liar fly off the shelves in North America!

Translation: I at least hope we get hair ribbons, because if this cover doesn’t sell books, it’s doing nothing for me.

Nowhere in this post does Justine say she likes the cover.  What she says is very careful weasel-wording, disguised as an endorsement, when in fact she very carefully doesn’t say a word in support of the cover.  Not one sentence begins with “I.” Instead, she mentions a lot of other people who like it.  Next time an author talks about her cover, pay attention to what she doesn’t say.  If she doesn’t say “I love it!” she probably doesn’t love it.

For the record: I love the covers for both my novella and my debut novel. This is not intended as self-referential in the slightest. I love my covers. When my publisher sent my cover for Proof, I printed it off and wrapped it around another book just to see what it would look like (Elizabeth Hoyt’s To Beguile A Beast, by the way, for good luck.) And it looked fabulous. I wanted to buy it right then and there.

Automagic Multiple buy links

Friday, May 22nd, 2009

Apropos this lovely wordpress plugin, which generates multiple purchase links for blogs in a pop-up format, I am reminded that I came up with a somewhat similar implementation for my website.  You can see it in action on my bookshelf page, right under the heading for “This Wicked Gift.”

Goal: Have links to a number of different websites so that users can purchase books from the vendor of their choice, instead of funneling them into one or two options.

Here’s how you can use the same thing on your website.  Caveats: You need a website that runs PHP.  (If your website can run wordpress, it can run PHP.  These days, almost everything can.)

Here’s what you need to do (after the jump).

(more…)

DRM hurts publishing

Friday, May 15th, 2009

It was easy to give away copies of Tessa Dare’s Legend of the Werestag.

  1. I bought three copies from My Bookstore and More.
  2. I asked the winners what file format they wanted.
  3. They told me. I downloaded the file from Samhain Publishing in the requested format, and sent it on to them.

Why could I do this? No DRM.  If Samhain had used DRM on their files, I would not have been able to host a giveaway on my website.  Samhain would have lost three sales, and a tiny portion of my itty-bitty spotlight.  DRM doesn’t prevent piracy; pirates can crack any form of DRM in about five seconds, and they have no compunction doing so, because hello, they are pirates. They eat DRM for breakfast. There isn’t an e-book format out there that can’t be cracked, and once it’s cracked once, the now DRM-free format can be served up on pirate sites.

So what does DRM do?  It makes it impossible for law-abiding people to make legitimate use of files that we purchase (one legitimate use: creating buzz about a title by hosting a giveaway).  DRM doesn’t stop piracy. It stops legitimate purchases.

DRM is the equivalent of trying to prevent teen pregnancy by teaching kids the rhythm method: Not only does it not work, but teaching it is counter-productive.

A quick reminder: It is still “Love your DRM-free Werestag” Week!

Special squeetastic edition!

Friday, May 8th, 2009

I’ve voiced this theory before: all my friends really can get published.  I know it sounds insane, for those of you who are trying to get published.  You know that there are only so many slots in publishing, and a multitude of eager authors slavering at the bit for every one of those places.  It’s a hard, hard world we live in as authors, and reality is grim.  And it may appear to you at first glance to be a harshly competitive world, one in which authors are secretly at each other’s throats wanting to tear the competition down while there’s still a chance.

But reading–and book-selling–doesn’t work that way.  There aren’t enough slots available for everyone to get published, but there are more slots available than you have friends–many more slots.  So you, and your friends, can all get published.  Now everyone, and everyone’s friends, cannot.  But there’s no reason to think that your friends are your competition.

Case in point: Two years ago, Avon ran a contest.  I entered that contest because I heard about it on Eloisa James’s bulletin board; I continued to enter that contest because of the fun and camaraderie that I found from the participants on that bulletin board.  There were 14 of us, and we banded together to critique each other’s entries, to give out virtual hugs when mean comments were made, and to celebrate each other’s successes.  We ended up calling ourselves the Chocolate Mafia.  Not all of those 14 women went on to try and write full-length romance with the hopes of publication.  By my count, I think only 9 of them did.  (I think.)  Of those nine, five now have publishing contracts: Tessa Dare, Sara Lindsey, me, and — as of a handful of days ago, Maggie Robinson and Tiffany Chalmers.

Here’s the deal announcement for Tiffany’s debut, HIDDEN BEAUTY:

Tiffany Chalmer’s debut historical romance HIDDEN BEAUTY, in which a gently raised Victorian English beauty is sold by her debtridden husband into a harem, then purchased by the Marquess she’s always loved but now must reject for the safety of her young son, to Monique Patterson at St. Martin’s, in a pre-empt, in a three-book deal, by Helen Breitwieser at Cornerstone Literary (World).

And here’s Maggie Robinson’s PARADISE:

Maggie Robinson’s PARADISE, in which an honorable man in the market for a virtuous wife must address the complication of his late Uncle’s ward, who he discovers was also his late Uncle’s mistress, the subject of an erotic book called The Education of a Young Lady of Doubtful Virtue and the woman who makes him forget all his good intentions, to Kate Seaver at Berkley Heat, in a nice deal, in a two-book deal, for publication in Summer 2010, by Laura Bradford at Bradford Literary Agency.

Congratulations, ladies!  And squee!!!! I cannot wait to see these books on the shelves.  Remember, all your friends really can get published.  It’s not a competition.

Dear Amazon: WTF?

Sunday, April 12th, 2009

This last weekend, Amazon removed sales rankings from a number of products, namely erotic romances and basically anything that had to do with gay people, and made many of those books damn near impossible to search for, too.

What the rationale was for this, I can’t say.  But it makes me sad and angry.

Thing that makes me angry #1: The books that have been censored by Amazon include Annie Proulx’s Brokeback Mountain, Radclyffe Hall’s The Well of Loneliness, and Alex Beecroft’s False Colors–none of which could be considered even remotely pornographic or obscene.  These are books about gay people, not books about gay sex, and censoring these books contributes to, and is indicative of, one of the worst and most invidious forms of discrimination against gays: the sexualization of gays, treating everything that has to do with gay people as if it has to do with sex.  It doesn’t, and this makes me so angry that I could spit.

Thing that makes me angry #2: Censoring books just because they happen to be about sex.  The books I write would not fall under Amazon’s censorship ban–today–but if I fall silent about it now, might they one day?  Perhaps.  But even if nothing will ever happen to me, things are happening now to people I consider friends.  My good friend Jackie Barbosa–who writes lovely, sensual, emotional romances which happen to also be erotic–whose first print book, Behind the Red Door, is scheduled for release on June 1–used to show up on Amazon when you searched for her name, “Jackie Barbosa.”  Now she doesn’t.  Do a search for her name, and you get “product not found.”  And she’s not alone.  Hundreds of books have lost their sales rankings and have simply ceased to exist when you do an Amazon search.

It’s as if these people don’t exist, as if they are no longer persons or authors to Amazon.  You wouldn’t type in the name “Jackie Barbosa” if you weren’t looking for Jackie Barbosa–who or what is this censorship trying to serve?  If you know who Jackie is, it’s not “family friendly” for Amazon to pretend she doesn’t exist.  And I’ve seen Jackie work so hard for her print release, and I know that this book is good–so what is it going to mean if people can’t find it?  Its sales, for her, are crucial in determining what happens for her future career.

This is barbaric.  It’s dehumanizing.  It makes me feel sick to my stomach.  Amazon, WTF?

EDITED SOMEWHAT LATER TO ADD:

Lady Chatterley’s Lover has been deranked.  Fanny Hill has been deranked.  Books about lesbian parenting have been deranked.  Mein Kampf has not been deranked.  Books about training dogs to fight have not been deranked.

I do not think that Mein Kampf should be deranked, or that books about dog-fighting should be either.  I think this demonstrates the dangers of going down the dark path of censorship.  Even if you don’t care about erotic romance or GLBT books, this should make you feel sick.  What if Amazon had decided that they didn’t want to offend Jews by offering them books about Christianity, and they deranked the King James Version of the Holy Bible, or Pope John Paul II’s In My Own Words?  What if they didn’t want to offend Obama supporters and deranked Bill O’Reilly?  What if they deranked the Koran so as not to make children think about terrorism, and deranked all holocaust books because some people think it didn’t happen, and deranked The Origin of Species because people don’t agree on evolution?

Part of being a free society means that we are sometimes going to see things we do not agree with.  It is a blessing, not a weakness.  And it’s not okay just because it happens to someone else.

I am strongly, firmly, against all content-based restrictions imposed on book browsing, purchasing, and buying.

The Market

Thursday, April 9th, 2009

Over on Diana Peterfreund’s blog she calls me out on the definition of “marketability” that I employed in my guest-post of a few days ago.

She says, basically, no, you idiot (okay, she does not call me an idiot, but what she says is so patently true that when I read it I felt like one!), you weren’t making your book less marketable.  You were making it more compelling, and compelling is marketable.  What you were really doing was making contest judges tell you your book was not marketable.

I have to admit when I read what she said it felt like someone had given me a not-so-gentle tap upside the head, and I suddenly realized I’d been looking at the world sideways.  Because, of course, she is completely right and I was wrong.

(Diana Peterfreund, incidentally, is a fabulous writer–if you haven’t read her Secret Society Girl series, you really should do so.  They’re absolutely fantastic, and I can’t wait for Tap & Gown.)

But in thinking about it since, I’ve come to this conclusion.  The “market” is a vague and amorphous thing, which writers would dearly love to dissect and quantify.  It seems mostly inexplicable, and so the parts that can be explicated get an undue share of attention.  And so when I was thinking about the “market” for books, I tended to focus on the parts that are easiest to specify.  So, for instance, someone might say that vampires and werewolves are doing well in the market.  Today, actually, they might say something like, the market for vampires and werewolves is saturated, and people are moving into fae and angels.  I hear people talk about “writing to market,” as in, young adults are selling, maybe I will write a young adult.  When I first started writing historical romance, all I heard was that the “market” for historicals was dead and that paranormals were the big thing.

This sort of scatter-shot description of what is selling and what is not is certainly part of what makes up the “market”: It’s a big picture of what is being bought.  But the mistake I made was  because it’s so big picture, it doesn’t necessarily tell you if your particular book is marketable.  It’s not a description of the “market” by itself; it’s market prognostication.  For instance, there is a market for paranormal romance.  There is a market for historicals.  There is a market for vampire stories that involve teenage boys.  Readers are hungry for a particular type of story, and let us face it is easier to sell those stories.  People will even break that down, and tell you that there is a large market for historicals involving dukes that are set in England, but there is a very tiny market for historicals involving cowhands set in 18th century Mexico.  One hears second-hand stories, even, about New York Times bestselling authors who want to write certain books, but are not allowed to do so by their editors on the theory that the time period or character in question is not marketable enough.

But the other thing you hear is the frustratingly vague answer you get from agents and editors when they are asked what they’re looking for.  Because while sometimes they will say, “Gosh, I’d really love to find a great story about a werestag,” most of the time, the answers they give look something like this:  I’m looking for compelling books.  Books you can’t put down.  Good books.  Books with a strong voice.  And of course, that seems like it’s no help, because nobody sets out to spend a year of their life writing a bad book that is not compelling, written in a grating, painful style, which readers must set down every other page just to prevent eye-bleed.  Nobody sits down and says, “yes, I am going to produce a book that cannot be saved.”

The market for compelling books is always strong, but it’s harder to talk about than the market for the former, and so when people talk about “market” it tends to focus on the stuff that’s easy.  Vampires.  Weredeer.  That kind of thing.  So the portion of the market that is easy to prognosticate over will overshadow the “compelling” part in discourse.  Which is why I was shocked to discover that “compelling” trumps market prognostication.

(And to be fair, I am not writing a story about cowhands set in 18th century Mexico, and so while I don’t think that my hook was as marketable as some other hooks I’ve seen, I wasn’t starting at ground zero.)

I suspect the two complement each other.  If your compelling book fits into an identifiable marketing niche that is selling well–for instance, if it fits into the “teenage vampire” category–that will help it sell.  The harder it is to place your book in a section of a bookstore, or within a genre niche, the more compelling it will have to be to sell.  But I suspect there’s a sweet spot–because I think it would be very difficult to write a truly compelling book that was written only with market prognostication in mind.

RWA Conference

Wednesday, April 8th, 2009

I’m still immersed in my book, but I just wanted to give you all a brief heads up: RWA has finally posted panel information for the 2009 Conference Workshops, and I’m in it!

Here’s the blurb:

It’s Not the Hottest Genre, So How Do Debut Historical Romance Authors Get Six-Figure Deals? (PUBLISHING)
Speakers: Helen Breitwieser, Courtney Milan, Kristin Nelson, Sherry Thomas, Tracy Anne Warren, and Tessa Dare
Two agents and their debut historical romance clients, who were initially bought for six figures, discuss the how and the why behind these big deals.

There are a lot of other exciting workshops that I can see on the list, too.

Author Photos

Friday, February 20th, 2009

They are up now.  Check them out!

(If you’re wondering what happened to the other one–I had it taken at Glamourshots in a panic, the day before the deadline for the Golden Heart deadline for photos.  The person who took it told me, “sure, you can use it anywhere; it’s yours now.” No idea who this was.  And I doubt whoever he was, that he had permission to give me permission, since it was probably work for hire done for Glamourshots.  Besides, you can’t verbally assign copyright.

This is not the kind of assurance you want to have in hand for a photo that you hand to a publisher. Particularly if your contract places liability for copyright infringement, for articles that you provided, squarely on you.)

Open Letter to Borders

Thursday, February 5th, 2009

Dear Borders, I’m really rooting for you to stay in business.  I love browsing your shelves, and although there are a number of independent bookstores near where I live, none of them carry romance.  I’ve spent a ton of money on books in the last five years.  And I know that some Borders stores are better than others–perhaps I’ve been spoiled since the Borders I knew and best loved was in Ann Arbor, and you don’t get much better than Borders #1.

But the store near my house right now radically sucks.  It seems to me that if you want to stay in business, you have to sell books, and in order to do that, you have to have books and make them easy to buy.  If I walk into a store looking for Madeline Hunter’s The Sins of Lord Easterbrook, or Connie Brockway’s So Enchanting, I want to buy them.  I do not want to go over to the new paperback release table and find that all of the books on the table are Christmas books that came out in October.  That is ridiculous.  I do not want to head back to the romance section, only to find that the only Connie Brockway book you have is Skinny Dipping, and you have 10 copies of Lessons of Desire but not a single copy of The Sins of Lord Easterbrook.  If I’m looking for a copy of Hotel on the Corner of Bitter and Sweet, I want to find it out in the new fiction hardback section–you might consider moving your copies of Santa Clawed from the front of the store, now that it’s February–and not secreted way back in the wrong section, filed in non-alphabetical order.

Someone should make sure that if Inkheart comes out as a movie, copies appear on the shelves.  One shouldn’t find a bookshelf entirely devoid in the Funke department.  And when I ask where Inkheart is–hoping, madly, that you’ve set up a special display somewhere because it is a movie–the employee should not tell me that you are out, and that over the last two weeks (!!) they’ve had twenty people ask for the book.  How can you get twenty requests for a book and yet not make an effort to stock it?

And–oh pain, pain, pain–why oh why are you not carrying Bujold’s latest?  Are you mad?  It’s Bujold that will bring me into a bookstore on the release date, and I never walk out with just one book.

Local Borders, you were not always this bad.  Even a year ago, you had books I wanted to buy on the shelf when I wanted to buy them.  I spend a lot of money on books–close to $100 a month–and you are the reason why I am slowly moving entirely to purchases made from my Kindle.  I hate to do it.  I love books.  I love browsing books.  I love going to a random section of the store and picking something totally off the wall, and you can’t just browse with a Kindle, not the same way you can in a bookstore.

Borders, I feel like you are the friend that I want to see succeed–but I can’t do anything for you if you just sit in your mother’s basement and mope and play sad, solitary chords on your guitar.  So get off your ass and start selling books.

Love,

Courtney

New Agent in Town….

Wednesday, January 28th, 2009

If you don’t get Kristin Nelson’s newsletter, you might not know that there’s a new agent in town!  Sara Megibow, who has been Kristin’s literary assistant for several years, is going to start acquiring projects.  Sara has this to say about what she’s looking for:

I love super sexy and intelligent romances. In the sf/fantasy world, I am looking for the story and characters to be as compelling as the world. In terms of YA and MG, I am excited to see more projects set in the real world (as opposed to vampires or werewolves, although, of course, those are still okay). Finally, I am itching for some fabulous historical fiction (like MISTRESS OF THE ART OF DEATH) or multicultural fiction both for younger readers and the adult market.

If Sara is half the agent Kristin is, she is going to be absolutely superb at agenting–and knowing how intelligent and competent she is, I fully expect that she’ll be every bit as good as Kristin.  I can’t wait to see the first sales on Publisher’s Marketplace with Sara’s name attached.  I’m sure it won’t be long.


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