Things I Wish in Publishing, Part 1

What I Wish Kidlit Publishers Would Do

This is a 2-part post (part 2, on what I wish you authors would do, next week) on my current wish-list for the children’s book world. I’d love to know what you think.

I do think there are some changes publishers could make that would help us sell books. I also know there are things you can do, whether you are published or not, to help sell books. In the first part of this series, I’m going to focus on the publishing industry.

This morning I was listening to an episode on NPR about how record companies have found ways to boost sales of records – even long after they’ve been out.

And I thought, “publishers could take a page from that book” (pun intended).

So Let’s Discuss.

Publishing kidlit right now is incredibly difficult. The market appears to be all over the place and it’s very tough to sell your book. There’s lots of speculation out there as to why, but honestly, no one knows for certain. Could it be a hangover result of Covid loss of education? Could it be a saturation of the market and inundation of submissions? Could it be a lack of financial resources to cover all the bases, and especially editors’ and publicists’ salaries?

Are we all just in a fright over the economy? (Of course we are.)

No question that the agents and editors I know are saying they are overwhelmed by book submissions. And in general the quality, thanks in part to the many talented book coaches I know, is high. So, competition for the debut author is fierce.

I’m lucky that I started my career long enough ago, and have a decent enough track record, and have a wonderful agent – who doesn’t try to sell everything I send her but gives me feedback and does submit what’s worthy – so that I’m still selling books. It is way harder for those of you starting out today.

But not impossible!

What I Wish Publishers of Children’s Books Would Do

So many things.

But I digress.

Be honest with writers about marketing and publicity.

When my first book came out, I was so thrilled to get a marketing and publicity strategic plan. Wow, I thought, this is awesome! Look at all the things they’re going to do for my wee book! Now, 12 books in and counting, I’m a lot more jaded. Every single book gets basically the same plan. “Send notices to booksellers. Distribute ARCs through Netgalley.” And so on.

Publicists, marketing folks, and editors need to be up front honest with their writers. No, honey, we’re not sending you on tour. No, we’re not submitting your book to every reviewer, newspaper, TV show, or contest. Here’s what you are getting, honestly.

And, by the way, here’s what you should be doing to help your book have the best chance.

Because unless your book is a lead title (rare) or springs out of the gate as a surprise Times bestseller (rarer), you will likely not even know the name of your publisher’s publicist.

The more you authors know and understand the industry, the better you’ll be able to position your book for success (more on that in Part 2).

Maintain the backlist.

I’ve said this before, but I think publishers are making a mistake when they put a book out of print when it’s still selling reasonably well. After all, we can now produce print on demand books ourselves – why not publishers? Why not keep it in the cycle so that authors don’t have to re-publish those books with new covers and frustrating attempts to understand Amazon KDP vs Ingram vs everything else, all after struggling to get back rights? There must be a reason, and I’d love to hear it, but it is intensely frustrating to authors who then must become publishers, too.

The backlist supports the frontlist. When young readers especially discover a writer’s newest book, discover that writer for the first time, they want more – and they’ll turn to the backlist. And also be eager for that writer’s next book. Publishers need to help with that springboard, in both directions.

Bring out paperbacks much, much sooner.

How long has it been since the industry decided that print runs had to initially be in hardcover for one entire year before paperback release? Especially for middle grade books, which kids still want to read in print but who can’t afford those hardcovers, can’t publishers bring out paperbacks in, say, three months after release?

If not, why not? Barnes and Noble won’t even shelve hardcover MG any longer. Why do publishers want to lose those sales?

Yes, I understand the need for those library sales in hardcover. And absolutely picture books that get rough handling are best in hardcover. But, and particularly in middle grade, can we not limit initial hardcover print runs, bring out paperbacks earlier, and reprint either as needed?

I really, really want to know.

Encourage Lower Advances in Favor of Higher Royalties

High advances are lovely – until authors realize that (a) if they don’t earn out, they may lose the next sale and (b) once they do earn out their royalty payments are…miniscule. And, oh by the way, the book may, shortly after earning out, go out of print.

Personally, I’d much rather take a low advance but only if my royalty payments compensated for that loss of income. And if the book stayed in print in some fashion. You can see some math and further discussion on this royalty subject here.

I’m Not an Industry Expert

I don’t know the behind-the-scenes financial decisions that go into book-making, which is what I assume is the reason for the way things run, but I’d sure like to open up a discussion on this topic. So much of the publishing industry is hidden in arcane systems that date back to the beginning of books.

The more we all understand about publishing, the better we will be as creators.

Stayed tuned next week for the things I wish you authors knew and did.

And please keep writing - the world really needs your books, now more than ever.