Amish vampire novel, anyone?
Seriously, the following is a recent article from Publishers Weekly. I found it quite interesting, and thought you might too. Obviously trends in what readers are buying have a big impact on the books publishers contract, and ultimately what writers write. Just like other publishers we’re also thinking about what we need to do to adjust to what’s happening in the marketplace. I’m looking forward to your feedback, so jump in and share your opinion!
Agents Help Christian Novelists Succeed in Soft Market
Christian fiction remains a highly successful brand, but gone are the days when any debut novelist with a faith element and a dream could sell a story to a major publishing house. Nowadays it’s all about brands, niche marketing, and the content of the moment: if you are pitching an upbeat romance set in a community of Amish vampires, say, your literary ship may well have come in. If not, you’ll want to listen to what some top agents have to say.
“Publishers are very risk averse right now,” says Sara Fortenberry, whose eponymous literary agency represents novelists Liz Curtis Higgs and Melody Carlson. “They want a sure thing and have a bit less room for the first-time novelist who has no track record.” As the economy has forced some publishers to contract their lists, they have relied on the tried and true. What’s gotten squeezed out are fresh voices and, sometimes, edgier stories.
Although CBA readers have embraced historical fiction, romance, and “Amish anything,” agent Lee Hough of Alive Communications is “seeing publishers beginning to pull back, particularly in the area of suspense, because they’re afraid of the consistent low sell-through.” And although some of Hough’s clients who are already successful suspense writers (Terri Blackstock, Tim Downs, Randy Singer) may not have to worry, it’s harder than ever for a new novelist to get started in the thrills-and-chills category, especially without a strong romantic element in the story. Also out, according to agents: chick lit, westerns, cozy mysteries, and military stories.
So what is working? “I’m hearing from most Christian publishers that every plot needs to highlight the romantic element,” reports agent Janet Kobobel Grant, who represents Robin Jones Gunn, Dale Cramer, and Rene Gutteridge. “That’s caused consternation from my more established clients who in the past might have had a tinge of romance to a novel, but now [are] being told to push the romance to the forefront.” Fortenberry agrees that publishers are looking for hopeful, upbeat stories. “The refrain seems to be: uplifting, not somber,” she says.
And in any category, author platform is critical. “We’d prefer to say that a novelist simply has to be a good writer, with great craft and a big story,” says Chip MacGregor of MacGregor Literary, who represents Lisa Samson and Susan Meissner. “But that’s not the case. An author’s platform is now an essential part of any good novel proposal, so what you hope for is a novelist who can demonstrate a large number of potential readers.”
An author’s lack of platform can be a deal breaker, according to Dan Raines of Creative Trust Inc., who represents bestselling novelists Ted Dekker and Deborah Bedford. “A major publisher is not going to entertain publishing a novel that they do not feel has a very good chance of selling at least 25,000 units in the first edition,” he says. “Building and mobilizing a fan base before a book hits the shelves is more important than ever,” especially since many publishers’ marketing budgets are contracting.
Agents report that even as authors are expected to shoulder more-if not most-of the burden for publicity, they’re often getting paid somewhat less. Hough reports that advances have been “cut in half” compared to five years ago, and a new formula for calculating them is apparent: halve the first year’s sales projection just to be on the safe side, and figure from there. “For example, if a publisher thinks it can sell 20,000 copies in the first year, instead of making a traditional advance offer of, say, $25,000-$30,000, we’re getting $7,500.”
Fortenberry says that while advances for established authors are holding steady, “new writers seem to be taking the biggest hit.” Agents cited a range for new authors of $1,500 to $4,000 at a small Christian house and $7,500 to $20,000 at a major one, with $20,000 being highly unusual for a newbie.
So is there a silver lining amid all the gloom? MacGregor says that although Christian fiction is not booming as rapidly as it did in the 2000s when it was the fastest-growing segment in Christian publishing, “there are more readers than ever” today, and market share is strong. Also, Grant sees a burgeoning business in Hollywood. “I’ve found regular interest in film rights over the past four to five years, but after the recent success of The Blind Side, I’m finding considerably more interest.” —Jana Riess
Seriously, the following is a recent article from Publishers Weekly. I found it quite interesting, and thought you might too. Obviously trends in what readers are buying have a big impact on the books publishers contract, and ultimately what writers write. Just like other publishers we’re also thinking about what we need to do to adjust to what’s happening in the marketplace. I’m looking forward to your feedback, so jump in and share your opinion!
Agents Help Christian Novelists Succeed in Soft MarketChristian fiction remains a highly successful brand, but gone are the days when any debut novelist with a faith element and a dream could sell a story to a major publishing house. Nowadays it’s all about brands, niche marketing, and the content of the moment: if you are pitching an upbeat romance set in a community of Amish vampires, say, your literary ship may well have come in. If not, you’ll want to listen to what some top agents have to say.
“Publishers are very risk averse right now,” says Sara Fortenberry, whose eponymous literary agency represents novelists Liz Curtis Higgs and Melody Carlson. “They want a sure thing and have a bit less room for the first-time novelist who has no track record.” As the economy has forced some publishers to contract their lists, they have relied on the tried and true. What’s gotten squeezed out are fresh voices and, sometimes, edgier stories.
Although CBA readers have embraced historical fiction, romance, and “Amish anything,” agent Lee Hough of Alive Communications is “seeing publishers beginning to pull back, particularly in the area of suspense, because they’re afraid of the consistent low sell-through.” And although some of Hough’s clients who are already successful suspense writers (Terri Blackstock, Tim Downs, Randy Singer) may not have to worry, it’s harder than ever for a new novelist to get started in the thrills-and-chills category, especially without a strong romantic element in the story. Also out, according to agents: chick lit, westerns, cozy mysteries, and military stories.
So what is working? “I’m hearing from most Christian publishers that every plot needs to highlight the romantic element,” reports agent Janet Kobobel Grant, who represents Robin Jones Gunn, Dale Cramer, and Rene Gutteridge. “That’s caused consternation from my more established clients who in the past might have had a tinge of romance to a novel, but now [are] being told to push the romance to the forefront.” Fortenberry agrees that publishers are looking for hopeful, upbeat stories. “The refrain seems to be: uplifting, not somber,” she says.
And in any category, author platform is critical. “We’d prefer to say that a novelist simply has to be a good writer, with great craft and a big story,” says Chip MacGregor of MacGregor Literary, who represents Lisa Samson and Susan Meissner. “But that’s not the case. An author’s platform is now an essential part of any good novel proposal, so what you hope for is a novelist who can demonstrate a large number of potential readers.”
An author’s lack of platform can be a deal breaker, according to Dan Raines of Creative Trust Inc., who represents bestselling novelists Ted Dekker and Deborah Bedford. “A major publisher is not going to entertain publishing a novel that they do not feel has a very good chance of selling at least 25,000 units in the first edition,” he says. “Building and mobilizing a fan base before a book hits the shelves is more important than ever,” especially since many publishers’ marketing budgets are contracting.
Agents report that even as authors are expected to shoulder more-if not most-of the burden for publicity, they’re often getting paid somewhat less. Hough reports that advances have been “cut in half” compared to five years ago, and a new formula for calculating them is apparent: halve the first year’s sales projection just to be on the safe side, and figure from there. “For example, if a publisher thinks it can sell 20,000 copies in the first year, instead of making a traditional advance offer of, say, $25,000-$30,000, we’re getting $7,500.”
Fortenberry says that while advances for established authors are holding steady, “new writers seem to be taking the biggest hit.” Agents cited a range for new authors of $1,500 to $4,000 at a small Christian house and $7,500 to $20,000 at a major one, with $20,000 being highly unusual for a newbie.
So is there a silver lining amid all the gloom? MacGregor says that although Christian fiction is not booming as rapidly as it did in the 2000s when it was the fastest-growing segment in Christian publishing, “there are more readers than ever” today, and market share is strong. Also, Grant sees a burgeoning business in Hollywood. “I’ve found regular interest in film rights over the past four to five years, but after the recent success of The Blind Side, I’m finding considerably more interest.” —Jana Riess
4 comments:
Joan, this is very enlightening. In THE CONSUMMATE TRAITOR, I have increased the romance element and the Christian message is uplifting, but getting to that outlook we pass through some hard tragic times. I still believe readers learn how to cope with their own lives by carrying them through the unseemly to upliftment.
I'm very surprised that suspense is suffering a downturn. Aren't you?
It is a brave new world, isn't it?
I just wrote to my protege: "No one can know exactly what will work in the publishing industry. They can tell you what the current trends seem to be, or what has worked well in the immediate past, but they have no crystal ball and cannot tell the future."
It's that lack of crystal ball that makes publishing so iffy.
As I'm working on my current novel, I find myself looking at it from a cinematic viewpoint. I visualize what scenes would look like on screen.
The "burgeoning business in Hollywood" comment is a great comfort.
Thanks for the update.
Whoa. As a newbie who barely has her big toe over the publishing line, this scares the snot out of me. (Mixed metaphors much?) But good to know and keep in mind. It certainly affects which of my WIPs I'll need to focus on in the future. *sigh*
Bonnie, it does surprise me that suspense is down, but I suppose it's a reaction to readers' uncertain economic situations right now. They may be looking for some certainties in life and that rosy glow romance provides. So I think you're wise to beef that element up some.
Judith, that is so true! All we can be certain of in this business is that there are no guarantees. I do the same thing with my stories--visualize them as a movie. I think that helps you make the action more vivid for readers too.
Hey, Diane, it scares the snot out of me too. lol! And I suspect most of us writers will be reassessing our wips until things change.
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