Chip MacGregor .com

More Wisdom from a Fiction Publisher

So long as I'm talking with fiction types, I figured I should contact the guy who bought my first book (lo, these many years ago). Dave Horton is one of the good guys in the industry, and a longtime voice for quality Christian fiction. He has successfully discovered and published numerous authors, and now he's going to be stepping into a new role at Bethany House Publishers. We exchanged emails recently to talk about the industry and the changes going on...

Dave, what do you see that is working (and not working) in fiction for Bethany House?

"I'm often asked why historical fiction works so well at BHP. Part of the reason for its ongoing demand is that so many reader got into the habit when Christian fiction offered little else. And habits, once formed, aren't easily broken. In addition, while other publishers have been in and out of historial fiction, we've never waved inour commitment to it. Retailers and readers know who to call (and what to expect) when they want historicals.

"Even though historical fiction has succeeded marvelously at Bethany House for nearly three decades, we're experiencing sales success with contemporary titles, too. In fact, the latter group figures among our bestsellers every year. There are growing numbers of readers who didn't come of age in the glory years of Janette Oke and Bode Thoene, or who simply have other preferences, and we're working hard to offer them options. Do those options work as well as historical fiction for us? Not all, but some certainly do. Actually, it's probably an unfair comparison, even in the general market. Historical fiction is a broad category, and we often try to compare it to categories that are quite narrow by definition. In any case, we're making some encouraging headway in suspense, women's fiction, books geared for men, and others, and we are committed to maintaining breadth in our fiction line."

You've been in the industry since, um, the Harding Administration, I think. What changes do you see going on in Christian fiction these days? And is there anything about the future you can tell us about?

"Yeah,  me and Warren G go way back. One change I've noticed is that the Christian fiction 'box' has expanded a great deal, especially in the past ten years. Make no mistake about it, we're not generally 'outside the box' yet, but in terms of genres (or sub-genres), time periods, settings, character types, subject matter in general, and writing quality, things have changed considerably. Christian fiction is harder to define (or completely dismiss), its realitic intended audience is broader, and the number of writers being published successfully has increased dramatically. Recent encouraging signs: Fantasy fiction has a small but growing audience, historical fiction no longer has to be deadly serious, and wildly imaginative work is making inroads where once it was completely marginalized.

"Another change I've seen over the last few years is an increasingly cinematic orientation in the author community. Movies are more talked about than books, or so it seems. There is a big push to write 'cinematically,' and the cultural validation that presumably comes with having a novel adapted for the big screen or DVD  seems more and more to be the brass ring. But we may be losing sight of the fact that the novel is its own art form. It's not a movie. It need not -- in fact, cannot -- replicate a movie. Of course, novels can be adapted into movies, but a screenplay is never the same as a novel. Among the so-called 'faith- based' movies, the screen adaptations seem significantly inferior to the novels, in terms of the faith element, as well as in terms of the story itself. Hopefully the situation will improve, but writing a novel with a movie in mind, or writing a novel based on a movie concept, doesn't seem to me to be the best way to serve readers.

"We seem to go through phases of expansion and consolidation in publishing. Success in ficton (or with a particular genre) incites others to jump on the bandwagon. There is an ensuing flurry of publishing activity, followed by a few successes and more failures. Changes are made. Companies are sold. Editors are laid off or reassigned. Authors are displaced. Novels are orphaned and fade into oblivion.

"Nobody is perfectly able to forecase the future, and who can blame someone for wanting to pursue a publishing model that seems successful? But the ramifications for authors of this 'now-we're-in/now-we're-out' industry see-saw are particularly difficult. I worry that writing careers may get off on the wrong track, or get sidetracked altogether, because some publishing executives mistakenly think fiction publishing is easy money. "

Though it has had a track record of big success, your own company, Bethany House, was sold a couple years ago to the Baker Group. Can you tell us what is happening with your role during all these changes?

"You've probably heard that Gary and Carol Johnson will be transitioning to part-time roles here at Bethany House in March '08. I've been asked to step into Carol's current role (Vice President, Fiction Editiorial) at that time. Following in her footsteps would seem daunting to anyone, I'm sure, but it helps a great deal that I've worked with our gifted, experienced editorial staff for nearly a decade already. Given the strong foundation Carol and Gary have established here, I thnk we have a lot to which we can look forward. "

My thanks to Dave for stopping in to join us. Interesting stuff on the "cinematization" if fiction, as well as his thoughts on career-building for authors. Let me know what you think.

Chip

And Some Other Novel Journey-ites

The response to the interview with Gina Holmes of the popular Novel Journey website has been fabulous -- it's nice to bring on somebody smart once in a while, just to balance out the usual stuff. So with that in mind, I went to some of Gina's sidekicks at their site (www.noveljourney.blogspot.com) to ask some follow-up questions...

First, I asked Ane Mulligan,"As you look at the authors and books that have come in to Novel Journey over the past couple of years, what have been the biggest changes you've seen?"

Ane: "In the CBA, more and more authors are writing about real life and not avoiding the taboo subjects. No question in my mind -- that's the biggest change. Real Christians, including people in ministry and in pastors' families, tell lies, get pregnant outside of marriage, struggle with addictions -- in other words, they SIN. One of the reasons we as Christians write is to touch lives. And I believe that readers let down their guard when they think they are being entertained. So by offering a good story, by using the senses, by relying on strong craft, a good writer draws the reader into the book. Then, when they least expect it, the reader is confronted by truth. A good story touches, teaches, and transforms people."

I then tracked down Jessica Dotta, who formerly worked as a marketing account manager before becoming a fiction publicist, and is another one of the people who help create the site. My question to her: "What marketing and promotional trends are you seeing with fiction?"

Jessica: "The internet continues to be an amazing portal for authors to gain exposure. And not just with readers who happen to pass by a particular site, but with industry professionals. Unlike other forms of media, there's a pretty good chance authors can have direct contact with the editor or the producer, as well as the target audience. That's a huge advantage to a writer."

I then asked if she had anything specific that she could point to regarding internet marketing:

"I keep my eye on book trailers because they reveal a lot of information. Studies have shown that most people only retain about 20% of what they see, 30% of what they hear, but 70% of what they hear and see. So I think one of the directions we're going is to see more faces and more voices pushing books on the internet. But they've got to be promoting the book specifically -- If you're doing an online book trailer, beware of words just flashing across the screen with a music score behind it. In my opinion, that lessens the impact because it's too similar to the way we perceive background noise -- we filter out the message. Bland instrumental music doesn't add the 'hearing' aspect you're looking for. It's got to be more interactive."

There's an interesting idea. I've long wondered why Christian publishers don't mimic ABA houses by creating short radio spots that feature a quick set-up or a five-second scene from the novel, then push the title and author. General market publishers have been doing that for years -- a deep voice will begin by saying, "He lurked in the shadows for years, thinking about killing...and now, he's about to take action. KILLER, the new novel of suspense by Melvin P. Hickenlooper, at bookstores now." It costs almost nothing to produce -- one voice in a studio for ten minutes and another twenty minutes to add the right music. You can use the same ad over and over again. And radio ads are cheap -- pennies compared to television or print ads. A publisher could even do this locally, to try and build up some hometown or regional success for an author. But I can't remember ever hearing of a CBA house doing this.

It's just one idea, of course. I'm trying to get authors to thnk out of the box a bit, so that they don't assume the only fiction marketing that works is a full-page ad in USA Today. I still think a novelist needs to consider doing more writing -- creating articles or doing interviews that reflect the "news" factor in their novels. And too many novelists have given up on speaking because they think it's the domain of nonfiction types. The fact is, everybody running a radio or television talk show is attempting to feed a monster -- there are houses of programming that have to be filled up, and they have to be filled every day. If you have something to say, can say it well, and have a unique approach, you should explore how speaking can help market your novels. Randy Ingermanson over at Mad Genius Writer has blogged on these same ideas -- using writing and speaking to promote your fiction. Check out his thoughts at advancedfictionwriting.com.

I've got a backlog of questions about books and publishing -- I'll get to them right away. Promise! My thanks to the NJ ladies for helping me this week.

chip

The Experts at Novel Journey

Since I've been talking to people in the industry about the state of fiction, I thought I should ask a few questions of Gina Holmes and her crew at the popular ficiton website "Novel Journey." NJ is a great spot to find author interviews, book reviews, writing wisdom, and everything else helpful to fiction writers. This past week they've had an interview with bestselling author Francine Rivers, a report on the Southern Book Festival, a conversation with African-American novelist Stephanie Perry Moore, an interesting reflection from unpublished writer Janet Rubin, and a podcast with Nicholas Sparks. THAT'S moving around. You can find them at www.noveljourney.blogspot.com, and I highly recommend their site.

The founder/creator/mom of the site is Gina Holmes, who agreed to escape her own blogging empire in order to come talk with me...

Gina, what writing trends are you seeing in fiction at Novel Journey?

"We're seeing more fantasy, less science fiction, chick-lit is moving into sub-genres like Camy Tang's Asian chick-lit,  and we have mom lit, hen lit, and historicals are coming back into favor. Above all, more and more readers are being turned on by what we'd consider 'literary' writing -- A Thousand Splendid Suns, The Memory Keeper's Daughter, etc.

"In CBA, more literary writers (like Charles Martin and Lisa Samson) are the names we hear most discussed as writers 'you just have to read.' And for good reason -- you JUST HAVE TO read them. Novelists are taking chances, and the payoff has been big. It's nice to see publishers get ahead of the curve instead of chasing what hit the NYT bestseller list last month. Robert Liparulo's Comes a Horseman and TL Hines' Waking Lazarus were different from what CBA houses traditionally have published, and they were very well received. So are M.L. Tyndall's pirate romances, Tosca Lee's Demon: A Memoir, and everything that Claudia Mair Burney writes.

"In the ABA, unusual stories like The Lovely Bones, Dean Koontz's Odd Thomas novels, The Curious Incident of the Dog in the Nighttime, The Time Traveler's Wife -- these are what have been getting the most buzz. All of these novels have been out for a while, but we're pleased to see the trend continue. Another thing we're thrilled about is the improved quality of CBA deput novels. Liparulo's novel was amazing. So was Claudia Mair Burney's first novel, Murder, Mayhem, and a Fine Man."

What marketing or promotional trends are you seeing in fiction?

"Blogging is still the hottest thing around. The power of the internet is huge and everyone's scrambling to figure out how to best capitalize on it. Most writers now keep blogs, and blog tours have become a staple in marketing plans. Newsletters are big right now, with writers trying to capture as many names and emails of potential readers as possible by offering contests to get people to sign up. Some are offering everything from IPods to autographed books.

"For a while we were seeing big names with big platforms writing not-to-great books, but now we're seeing people with strong platforms actually writing good books -- Jars of Clay's Matt Bronleewe's Illuminated is one example. But things have definitely changed. Cross country book-signing tours are less popular as the web has proven more effective at reaching people without the fast food and traffic. And costly magazine ads and expensive book launch parties are less popular as publishers look for ways to get more bang for their buck."

Your site has become an influencer in fiction. What would you like writers to know regarding how they can best influence the influencers?

"One of the most valuable things we've learned by running Novel Journey is how best to approach media. And I think the first lesson is simple: Write a great book. We LOVE to push talented writers. If Charles Martin has a new book coming out, I want to personally review it because I know it's going to be good. Even if we're booked solid for months, if Lisa Samson comes to us and says, 'I've got a novel coming out, can you fit in some space for me?' our answer will be, 'Heck yeah!' Our goal is to promote great writing, great writers, and great books. So we'll bend over backwards to fit her in.

"The second lesson is probably don't approach us like you're doing us a favor. Listen, we know it goes both ways. We know an author is essentially doing us a favor by answering our questions. We know by having Nicholas Sparks and Dean Koontz do interviews on our website, they're helping our platform more than their own. They don't needs us -- they've already arrived. Both authors recently gave us interviews (Koontz's interview hasn't been published yet as of this writing), and by participating they were doing us a favor. But did they approach it that way? Nope. They thanked us. That's how you do it.

"Third, make me look good. You want to be featured on Novel Journey or some other popular website? Great. We want to have you. But it's much less likely to happen if you send me an interview that showed up on blogs everywhere two months ago, or you send me an article that's nothing more than an infomercial for your book. Don't make it about you. Make it about my readership. How can you serve them? Trust me, this will serve you. I've noticed that the best writers tend to give the best interviews. They tend to do everything above and beyond. Dean Koontz's interview is amazing -- he didn't give sound-bite answers. He gave thoughtful, helpful, entertaining answers. Our best interviewees are always among the best writers. So make me look good, and it will make you look even better.

"Fourth, make my job easier. This goes for all media, not just websites. You want to be featured in a local magazine? (Don't we all?) If we're both novelists hoping to get into The Roanoker, and I send them my press release hoping they'll write a story about me, but you actually write the article, make it relevant to their audience, and include photos, who do you think will get featured? Editors and media types are busy people. Make our jobs easier and we'll use you again and again. You'll become our go-to guy.

"Fifth, don't be a diva. Don't send me an interview and ask me to edit it twelve times before it goes up, or chew me out because it went up a few days later than I said it would. Sometimes we have to make decisions you know nothing about. Just follow up, thank me for my time and all I'm doing to help you, politely ask when I think your interview will get posted. The media don't owe you a spot -- it's a privilege to have people feature you, not an entitlement. Afterward, a thank-you card, an email, or an autographed copy of your book goes a long way.

"Sixth, don't be penny wise and pound foolish. I once had a first-time author tell me that she hoped I would buy her book and write a review of it. Excuse me? BUY her book? I already run a website that generates no revenue, take my time to feature authors so that readers will buy their books, and that earns the author income...and she wants me to spend my own money and buy a copy at retail price so that I can help her do that? Does that seem like a good deal for me? Nope, it's not. I get more free books than I could ever read. Sometimes I review one. That's the way it works.

"Finally, be gracious. I wrote a review of a novel I was lukewarm about -- I thought the author had grand potential, but didn't quite pull it off in that book. I said so. She came back with a glowingly warm thank you note. She called me insightful and correct, and thanked me for helping her grow. Wow. You think I'm not a big fan now? You think I won't want to do everything I can to promote her in the future? Follow her example. Don't argue with the reviewers -- thank them. They're probably right, and like a good critique you might learn something from them. But even if they're dead wrong, showing kindness to them might just help them be kinder to you in the future."

Hey, thanks for all the wisdom, Gina!

My pleasure, Chip. We'll see you at Novel Journey.

Is the Future Scary?

Staying with the theme of "publishing's future..."

Barb wrote to ask, "What will happen to CBA once all the Christian publishers are absorbed into big ABA houses? Has this been a good thing in general? And what is the ABA's position at books aimed at Christians?"

The last question is easy to answer: ABA's position is basically, "If this is going to sell, and we're going to make money, we think this is a wonderful idea." And since we're in a season where faith-based books are selling like never before, it's a good time to be in Christian publishing. (Let's face it: the reason New York houses are buying up CBA houses is because those CBA houses are making money.) So, yes, in general I would say this has been a very good thing. Authors have found wider acceptance, a bigger market, and a greater slice of the overall publishing pie. In addition, though some conservatives have argued this will all lead to a watering down of truth, I haven't found that to be the case. In fact, while I was a publisher at Time-Warner, I never found I needed to apologize to my New York brethren for Christian content in the books I helped create. It's what they hired me to do, so they expected the books to be clearly Christian.

Your first question suggests Christian publishing could disappear if it becomes unprofitable. It could, but I doubt that. The rise of desktop publishing has meant the birth of numerous small publishing houses, and I expect small houses to fill the gaps. For example, there have been fewer commentaries being produced by major houses...but smaller houses, seeing an opportunity, are stepping in to create those types of products. I believe in the theory of supply & demand in a free-market economy, so I expect to see more of this in the future. And no, I don't find the future scary.

Jessica wrote to ask, "I've been reading your blog for a couple months now, and it seems like you represent explicitly Christian books. Do you also represent authors who write books that are not explicitly religious?"

Excellent question, Jessica. If you were to go back through the last year of blogs, you'd probably find that I used to talk about the industry in much more general terms. But questions I've been sent (and, doubtless the audience who sends them) have caused me to focus more on CBA than I used to. However, my enthusiastic answer is YES! I don't just represent conservative Christian books -- I represent a range of books, from a fairly diverse group of writers. In the first six months of this year, I was doing all sorts of deals with New York houses. That's shifted in recent months, so that the majority of deals I've been doing recently are with CBA houses. But my goal isn't just to represent CBA books -- my goal is to represent redemptive books. We don't have to agree on every point of theology. In fact,  your book may not have anything to do with theology. I've done health books, finance books, how-to books, biographies, business books, relationship books, humor, pop culture, sports, memoir, parenting, lifestyle, and current affairs. (I stay away from cookbooks, art books, children's books, crafts, poetry, short stories, all things science, and most reference. Haven't done true crime yet, and I stay away from porn.) And, of course, I do a ton of fiction. But the goal is to represent well-written books that feature great ideas and are, somehow, redemptive. I believe in the power of words to change people, and I'd like to leave the world a better place.

And, um...can I brag for a moment? Publisher's Marketplace (the online Bible for those of us who work in the biz) just started a new feature entitled "Dealmakers." They examine the couple of thousand literary agents in the country, and rank the top 200. I was hoping just to make the first list somewhere. Then it came out last week, and...I was ranked #8. In the country. :o)  Sure, it's an imperfect system. It requires agents to send in the basic information on the deals they've done, so it's not necessarily a list of "who is best" (for example, they don't list Rick Christian, who was my mentor and is a star agent; and they've got me listed in front of Robert Gottlieb, for crying out loud). But it's still nice to be recognized for getting a lot of work done on behalf of the authors I represent. Okay -- bragging is over.

Back to questions...Jim wrote to ask,"If an agent has an impressive list of authors he represents, when does he decide it's not in his best interest (or the best interest of his current clients) to represent more writers?"

Well, the basic answer is probably "when he feels as though his plate is full," I suppose. But the answer will be different for each agent, Jim. One agent might feel he can juggle 200 authors; another feels maxed out with 20. It can also depend on the type of work the agent does -- some agents get very involved in the lives of their writers; others are there to take care of numbers and stay out of everything else. But a lot of agents divide their author list into thirds... At any one time, one-third of their authors are writing a contracted book (so they basically need to be left alone), one-third are trying to find a new book contract (so the agent is selling their current work), and one-third are doing something else (marketing their new release, taking time off, thinking up ideas, etc). It's why you find so many agents, when asked, will tell you the represent "about 40 authors" -- it's because they are currently working with 30 to 40 projects.

This points out why I think authors need to research agents before they actually sign with one. Some agents are personal, others are businesslike. Some agents are good with editing, others rarely read. Some agents are great at contracts and negotiations, others focus more on career planning or idea development. Decide what sort of agent you need, then figure out who might be a fit.

Feel free to check out who I represent on my corporate web site -- www.macgregorliterary.com. I've got the best job in the world. -chip

What the Future Holds in Publishing

So after talking about what's hot and what's not in publishing, several people asked about what's coming -- what does the future hold in publishing. Some random thoughts from a guy who does NOT have the gift of prophecy...

1. More Agents. In ABA, publishers have long insisted all projects be represented by an agent. In CBA that's becoming the norm as well. It professionalizes the relationship. It used to be you could get your book published with a CBA house without an agent. These days, that's tough to do.

2. New Distribution Patterns. The biggest change happening in publishing is the move away from independent bookstores to big box stores. Mega-stores used to not carry Christian books -- now you're apt to find them at Wal-Mart, Costco, and Target...in addition to the extended selection at Borders and Barnes & Noble. Last year online bo0k sales equaled the sales at independent stores. Expect that to grow.

3. Interior Design. No more pages of simple text. Now we live with boxes, call-outs, and doo-dads. We'll see more of that in the future, and more of an emphasis on short sentences and short paragraphs. Consider it the curse of USA Today.

4. Postmodernism. Actually, I HATE even using the term, since it seems like most people don't know what it means, but throw it out anyway in hopes of impressing their friends. But take a look at the philosophical framework that upholds the writings of younger authors, and you'll see their way of perceiving the world is completely different from writers of ten years ago. This is a sea-change in the way people view the world, science, history, politics, and religion.

5. A Social Conscience. Remember when "the social gospel" was considered to be a compromise, participated in only by liberal Lutherans and Episcopal congregations? No more. Part of the emerging church is an understanding that people of faith are called to have a redemptive effect on the world. This is leading to a rise in volunteerism. Will it mean Americans will finally recognize and show concern for the rest of the world? Naaaah. But we can hope. 

6. The Influence of ABA. HarperCollins owns Zondervan. Random House owns Waterbrook and Multnomah. Simon & Schuster owns Howard. Hachette owns FaithWords. Penguin started Praise. Harlequin started Steeple Hill. And every old-line CBA publisher still in business is focused on selling books into the general market. The business of publishing Christian books has completely changed in the past ten years. That's a trend that will continue.

7. Delivery Systems. I won't read an entire book on a computer screen...but my kids will. And my grandkids will be asking, "You mean books weren't always electronic images?" Think about the changes that will bring to the publishing industry. 

8. Changes in Readership. Christian books used to be aimed at nice church people, who were all white, all basically middle-class and climbing, and all staunchly evangelical (charismatics, mainline denominational types, and people of color need not apply). No more. Nobody cares about denominatons any more -- we're seeing a worldwide explosion of unaffiliated mega-churches, house churches, and new groupings. We're also seeing Christians who view their faith as something much more fluid and relational, more grace-based, and considerably more concerned with social justice. What we're NOT seeing are people who accept the "check the right boxes on this questionnaire and you can be a Christian" approach.

9. More Speed and Specialization. We're seeing more speed with books, with words, with due dates, with deliveries. And we're seeing more specialized publishing decisions, as the internet makes it possible for a publisher to sell you exactly the type of books you like.

10. Christianity Lite. Less than a year ago, I made a joke that we would one day see Paris Hilton offering her deep thoughts on spirituality. Um...last month, that was no longer a joke. Yikes. Maybe I do have the gift of prophecy.

Of course, the one thing that's not on my list, and that I wish was on my list: That Christian bookstores would once more become Christian bookstores, instead of Christian Gift Centers and Religious Junk Bazaars. Say it with me: No more cutesy Christian crap! No more Jesus Soap-on-a-Rope! No more framed Thomas Kinkade prints!  Death to Precious Moments Statuettes!

I have seen the light...

What a Fiction Publisher is Thinking...

I heard from a number of publishers and editors regarding my last couple of posts. (Some of them are still speaking to me.) Mike Hyatt, the Top Gun at Thomas Nelson (see -- I TOLD you he reads my blog), wrote to note one thing: John Eldredge's book Wild at Heart released in 2001, not the late 90's, so there is at least one bestselling nonfiction men's book that has come out in recent years and is selling well. And Rebecca Germany, the lead fiction editor at Barbour, wrote to inform me that Barbour Publishing derives nearly half of its income from fiction "with intentions to continue to grow our fiction strength." It's nice to hear that. With Christian fiction growing so rapidly, I hope we'll see several traditional CBA houses develop vibrant fiction programs.

And that leads to the big conundrum of my posts: On the one hand, I argued that Christian fiction is the fastest growing segment of all publishing three years running. On the other hand, I argued that CBA publishers are struggling with figuring out how to effectively market fiction. Those two ideas may not be logically consistent. As several readers pointed out, if it's a growing category, surely the publishers are doing SOMETHING right. In fact, bestselling novelist Colleen Coble wrote to say, "I have great marketing at my house, and they actually DO what they've said they would do for me!" That's wonderful news...and I'm expecting we're going to see more of that in the future, as traditional CBA houses figure out how to effectively market their novels to both hardcore fans of religious fiction and general market readers.

To help me get some perspective on this, I asked Allen Arnold, a Senior Vice President and the Publisher of Fiction at Thomas Nelson, if CBA houses rely on old-style thinking when it comes to marketing fition, and if that's why it's been slower for effective marketing to take hold. He wrote back to say:

"I believe both mainstream New York houses and CBA publishing houses are often equal offenders when it comes to marketing fiction effectively. The core mistake is creating a campaign that settles for selling a 'book' instead of 'selling the story.' People don't lie awake at night dreaming of buying a book -- they dream about being lost in a story. And Hollywood has done a much better job at selling their stories through very emotive movie trailers and powerful celebrity interviews. They make sure we first fall in love with a story. They campture our hearts, emotions, and desire for adventure... knowing we'll then line up to see the movie. In publishing, so often the marketing team forgets this simple lesson. Selling a widget never works. Don't hold up a book or have the focus of the ad campaign be a picture of a book (even John Grisham's publisher settles for this at times). With fiction, as with movies, you're not just selling a book...you're selling an epic story of love and adventure. "

Allen then said to me that he "loves that Thomas Nelson tries to always keep the story front and center with its marketing campaigns," and listed some of the successes they have had: Creating memorable author brands, expansive ARG's [alternative reality games], innovative second-life author signings, the Chevy Car Treasure Hunt giveaway, original graphic novel samplers and the novel intro books, movie-like consumer trailers (at least one has been shown at theaters), interactive e-blasts, geo-tracking contests, story discussions with the author and readers across the country, and story-driven efforts that pull people into the world of their novels. "That," says Allen, "is how fiction marketing should be done -- by focusing on the story, not just holding up another book."

That led me to ask him if he thinks the emphasis on trade-size novels makes any difference when it comes to selling CBA fiction. His response:

"The assumption that CBA retailers and readers only buy fiction in cheaper trade paper editions is, I believe, dated and flawed. It's imsulting to the degree that it implies fiction retail consumers either have less money or value fiction less than shoppers at general market bookstores. Stated another way, the majority of consumers who shop at CBA stores are the same folks who pay market price for their meals, their travel, and their clothes. They'll do the same for fiction if given excellent stories in compelling format choices. A channel shouldn't limit their choices based on preconceived notions. The more diversity CBA offers consumers in terms of fiction content, pricing, and format, the more diverse the shoppers will be. Just as more men will shop CBA stores for fiction if they carry a rich assortment of stories that men love to read."

When I asked Allen to speak specifically about the use of trade size novels, he said, "Look at it this way: Fiction lovers across the country buy novels in all formats -- harcover, trade paper, and mass market -- based on a wide variety of factors from 'price sensitivity' to 'personal preference' to 'gift decisions' to those who want a first edition in a prestige format. The story, the genre, and the author should help dictate the format -- not a dated stereotype about a particular channel or a 'one size fits all' reader."

He then noted that "Thomas Nelson has been a clear leader in offering the widest variety of fiction formats. While we debut many of our novels in trade paper, we also have (to the best of my knowledge), the most original hardcovers as a percentage of new releases, and the most mass market size conversions of our novels. Thomas Nelson proudly offers variety and diversity in format, content, and price...and this strategy has met with success across all retail channels."

I mentioned that most ABA publishers release their novels in hardcover, then move to mass market size, while the majority of CBA houses release their fiction only in trade paper. Then I asked Allen if he believed that has hindered the movement of some historically CBA authors into the general market.

Allen's response: "Trade paper as a format is something that more and more general market publishers are moving to -- as a mid-release between hardcover and mass. So trade paper never hinders or signals a 'CBA mode.' It's a strategic additional option that makes a lot of sense. Why go from a $25 hardcover straight to an $8 mass without first allowing folks a $15 trade paper?"

When I told him that I'd heard Thomas Nelson is planning to do more mass market novels in the future, he replied, "We've been releasing twenty-plus mass editions of our novels the past two years, and continue to expand the program. This has resulted in several older titles hitting the bestseller lists again -- and in some cases has doubled and tripled prior unit sales. No surprise, since this is the general market model as well."

I found this an educational discussion, since Thomas Nelson (along with Bethany House and Barbour) all seem to be succeeding at doing different kinds of fiction. All three houses have taken big strides in terms of making their fiction marketing work, and it has shown in the variety of titles and formats they're producing -- as well as showing through expanded sales of fiction.

Great responses. My thanks to Allen Arnold of Thomas Nelson Publishers for his time and attention to my questions.

The Changes We're Facing

Yikes. I upset some folks with that last post... Apparently not everyone agrees with me on the success of men's books or the efficacy of the Bush White House. On the former, let me clarify... When I say that "men's books aren't working," I mean that men's books are struggling in the market -- NOT that the men's books being produced are bad. I happen to represent two authors who write fiction aimed primarily at men (Brandt Dodson and John Robinson). They are both fine writers, but I think it's been tough for them in the market. That's not an indictment of the authors or their publishers -- it's just a marketplace reality.

And when I noted that CBA houses seem to be having trouble marketing fiction, that's not meant as an indictment -- it's merely a statement of fact as I see it. When I was a publisher for Time-Warner, I discovered that more than half the company's revenues were derived from fiction. The same is true at Random House, Simon & Schuster, HarperCollins, and Penguin. But aside from Bethany House, I don't think any CBA publisher is seeing anything close to half their revenue coming from fiction. My point isn't to criticize, only to note that the houses don't seem to have figured out how to maximize their fiction.

I think part of the problem stems from the shift in readers. For years CBA houses focused on nonfiction, and they created systems for promoting and selling nonfiction titles. When fiction started selling in CBA, they attempted to use those same methods for marketing novels, and discovered it doesn't work. I"m not sure the marketing of fiction has caught up yet to the greatly improved quality of craft we're now seeing in Christian fiction -- it's an entirely new audience of readers than those who focused on nonfiction titles, and the new readers don't know where to find out about the fiction. So it's a problem that has yet to be completely solved.

Another part of the problem is the delivery mechanism. An Ed McBain hardboiled novel or a Tom Clancy techno-thriller (two writers who focus on men's fiction) will release in hardcover, then within a year come out in mass market. You don't see many trade-sized novels in the general market. Yet CBA continues to push trade paperbacks, while at the same time purposefully steering away from mass market size books. (A trade size book uses the same size paper block as a hardcover book, but with a glued-on paper cover instead of a board-and-dust-jacket cover. It's bigger than a mass market, but cheaper to produce than a hardcover book.) I think that choice makes it tougher to reach the general market reader -- because detective readers and technothriller readers and police procedural readers simply aren't used to seeing their favorite authors in trade paper.

So no, I don't think men's books are working in CBA right now. I'd love for them to work, but to this point, I don't see it. Ted Dekker sells, but I don't think he's really a men's writer. And it's funny, but several people sent me emails to tell me how wrong I was about CBA men's nonfiction, noting that John Eldredge's Wild at Heart and Steve Arterburn's Every Man's Battle are both doing well in the market...and thereby proving my point. Both of those books came out in the late 90's! [Correction: Eldredge's book came out in 2001. -chip] Evidence there's not exactly a lot of strong men's books currently selling on store shelves.

I got a handful of "why do you hate Bush" emails, but not enough to matter. (For the record, I voted for the guy twice. I wasn't terribly excited either time, but I wanted nothing to do with Al Gore, and John Kerry's candidacy was further evidence that the Northeast liberals are completely out of touch with the rest of the country.) The fact is, I expected a stronger reaction...making me think that there are a lot of other Republicans who feel the same way I do: Enough American soldiers have died. Sadaam is out of power. Declare victory and leave. Trust the Iraqi people to pick their own leaders. Let's stop being the world's policeman. And for goodness' sake, let's take a trillion or so dollars that are currently being used for bullets, and invest it into something that makes life better for Americans -- job training programs, education, health care, road and bridge improvements...something besides armor and bombs.

Just so we're clear, I'm not advocating my list of "things that are working." I'm just pointing things out as I see them. Certainly this would be a terrible method for career planning -- on a par with using Wikipedia to research your book. I had a handful of people ask questions as though they needed to shape their writing careers around my lists. Um...no. You need to write what you know you can write; what you feel gifted and qualified to write. Besides, by the time you can spot a trend, it's too late -- the publishers will have already contracted several books in that genre.

What's Working, What's Not

Devin wrote to ask me, "What's working in publishing these days? And what's not working?"

As you know, I love questions where I get to (A) make lists, and (B) act like an expert on everything. So here goes...

What's Working in Publishing

1. Christian Fiction. Working big time. There are all sorts of new sub-categories in bookstores, we're seeing new authors all the time, and there are new opportunities. The fastest growing segment of publishing three years running.

2. Agents. Yeah, so I realize this can appear self-serving. But it's true -- most publishers now require an agent to represent your work. That's led to a plethora of new agents.

3. Creative Nonfiction. We're seeing fiction techniques used to tell compelling nonfiction stories. Jon Krakauer and Sebastian Junger have completely renewed this genre.

4. Health and Wealth. It might sound like the same-old, same-old, but publishers continue to produce a bunch of books that tell you how to lose weight and manage your money. In an affluent society, these are the two evergreens. (Followed by "how not to screw up all your relationships.")

5. Multi-media. Several publishers are trying to find ways to creatively get their projects noticed. They're relying on blogs, videos, interactive events, and trying to tie things to music and movies and games. It's still a growing area, and not everybody has figured out how to make this work yet, but it's the future.

6. Celebrity. More than ever, celebrity status is driving book sales. Blockbusters are making all the money for publishers.

7. Spritual Memoir. I don't know if this genre has legs, but we've seen a number of successful books offering a fluid re-telling of the life-shaping events an author has experienced, in addition to the principles for living that arise from them. It's a fact: everybody is looking for peace with God.

8. Online Sales. Last year the major publishers saw online book sales match the sales through smaller, independent brick-and-mortar stores. That's a huge shift. The big box stores (Wal-Mart, Costco) and the major chains (Borders, Barnes & Noble) still provide big selections and move a ton of books, but the online sellers have figured out their niche.

And, since I know Devin was particularly interested in CBA publishing, let me offer two thoughts directed solely at "things that are working in CBA"...

9. Charismatic Messages. Ten years ago the major Christian bookstores wouldn't even carry books written by charismatic pastors. Today most CBA stores couldn't stay in business without selling books by charismatics. Joyce Meyer, Joel Osteen, Tommy Tenney, Paula White -- these are the folks paying the bills for Christian bookstores.

10. Improved Craft. I'd be remiss if I didn't mention the improved writing we're seeing in Christian books, especially in Christian fiction. The training and resources available, the growth of good writing conferences, and the availability of online groups that foster talent have helped create a wave of better writers.

What's Not Working in Publishing

1. Gift Books. Don't send them to me. The days of Thomas Kinkade paintings are over.

2. Men's Books. Quick! Name the one that's selling! Um...right.

3. Children's Books. It's a tough market right now. And if you do religious kids books, you'll find it extraordinarily tough. Except for Tommy Nelson and Zonderkidz, everybody seems to have backed out of this market.

4. Homeschooling Books. Popular though this choice may be, the publishing side has devolved into an ultra-small niche.

5. Holiday-themed Books. Yeah, a few will sell. But the overall feeling is that Christmas has been over-published, so we're looking at a couple years of seeing few new titles.

6. Bibles. No growth, slow sales, and stores complaining that customers have too many options.

7. The Bush White House. It ain't working. Hey, I'm a Republican who voted for the guy, but I was promised shrinking government and a sliced federal budget. Instead we get record deficits and more American servicemen getting killed in what amounts to a civil war. So there aren't exactly a plethora of pro-Bush books on the market, in case you haven't noticed.

And again, to focus specifically on CBA...

8. Fiction Marketing. While Christian fiction is a growing category, it's become clear that CBA houses are still struggling with finding an approach to marketing fiction that will actually work.

9. Pastors. For years CBA shelves were filled with books from pastors and speakers turning their sermons and series into books. It was the meat and potatoes of every CBA store. Um...when was the last time you purchased a book like that?

10. CBA. As an entity, this one is struggling. Stores are closing. People are trying to figure out the focus of the association. This year was apparently the last winter convention. Next year may be the last summer convention (since book publishers are planning their own alternative convention). Ouch.

The Good and the Bad

Just so you can get a quick glimpse into the exciting life I live as a literary agent, I'm going to show you the wording from an email I received yesterday. It's from a guy who certainly pulled out all the stops in hopes of landing me as his agent. He writes: "If you do not take me as a client you are guilty of discrimination. My novels are great open your mind. I have an IQ of 182. My novels are great stop discriminating you can't see the forest for the trees."

This was all said in CAPS, by the way. And though the author has a high IQ, it apparently wasn't high enough to get him through junior high grammar class. This is a different guy than the one who told me I must represent him or "be responsible for [his] death." Nice. Color me the insensitive type, but I've found a way to say "no thanks" to both of them.

Speaking of crazy ideas, Paulette wrote to ask about a literary agent: "I received an advertisement through one of my sites for a literary agent. I went to the agent's web site, which is interesting, but I wasn't sure if I could trust it. You have to contract with them for a year and pay them an up-front fee of $195, though it's not clear if that is per project or for all your work. Do you know anything about e-literary agents?"

Yikes. Several thoughts come to mind... First, you don't want to sign up with an agent you know nothing about. I can claim anything I want on my web site (that I'm the best agent in history, that I'll make you a million dollars, that I look exactly like Tom Cruise...), but if we don't know each other, if we've never met, HOW IN THE WORLD DO YOU KNOW WHAT TO BELIEVE? (For the record, I look exactly like Tom Cruise. Especially if you stand far away. And squint. And are blind.) Second, be wary of agents trolling for business like this. It's one thing to meet someone at a conference, or to begin a dialogue over a submission you've sent in, but I don't know of any reputable agent who does this sort of thing. It's akin to a lawyer chasing ambulances. Third, you never want to pay an up-front fee to a literary agent. That screams rip-off. I don't know of any credible literary agent who asks you to send him or her a check right off the bat. Stay away from fee-based agents, Paulette. If you're interested in this topic, I highly recommend the book Ten Percent of Nothing, which offers a fine expose' of scam agents.

Camiille wrote to say, "I have heard the best way to contact agents is to attend conferences. I've also heard it is possible to schedule a meeting in order to have the agent look at your material at a conference. Is that true? And if so, how does an author find out about conferences? And how does one go about scheduling an appointment with an agent at a conference?"

It's true, Camille. There are few venues left for getting a face-to-face meeting with an agent any more, but a writers' conference is one of the best. And many will simply post meeting schedules, where you can sign up with an agent either before the conference or on the first day of the conference. Usually you'll come in with your one-sheet or proposal, make a quick pitch, and have about 15 minutes to talk. You can't totally "sell" them in such a short time, but you can certainly start a conversation and make a good impression. To find writing conferences in your area, just google "writers' conference" or talk to your local bookseller. You can also check out an online writing group like The Writers View, or join a writing association such as Romance Writers of America, American Christian Fiction Writers, Mystery Writers, and the like. I'm a big fan of writing conferences because it puts writers and agents in touch with each other.

Dale wrote and noted, "A publisher requested my manuscript at a conference. They later sent me an evaluative memo with some editor notes and a request that I rewrite it and send it back. Is this worth mentioning in an agent query?"

Sure it is. Understand that many editors will request a proposal at a writers' conference. Unfortunately, most aren't really "requests." They are more "resigns" -- as in, "The editors was resigned to saying yes to every author who showed them a proposal." That's because the bulk of editors, while exceptionally nice people, are also big weenies. They hate looking you in the eye and saying "no, that doesn't fit us" or "this isn't ready" or "did you stop taking your medication?" Consequently, I often hear authors tell me an editor requested a proposal, when in actuality the editor did nothing more than agree to see it so as to reject it later, by letter, thus saving himself from having to tell the author "no" personally. However, if the editor has taken the time to review your work and make notes, then has suggested you do some revising and re-submit, that shows genuine interest. So yes, I'd tell a prospective agent that bit of news. And by the way, I think it's great that you wrote to me, since it allows me to throw in a "Chip and Dale" reference.

Cindy wrote to ask, "What do you think of writers who promote their project online prior to representation? Does web promotion help a writer find the perfect agent?"

I'll admit I may not be the best person to answer this question. I'm not a huge fan of this practice -- in fact, I don't think I've ever picked up an author because I saw his or her web site and thought, "Good grief! I need to represent that project!" I think often times it's overdone, with too much hype and not enough editorial control. And I'm a guy who has a tendency to get turned off by somebody who looks to be over-promising. On the other hand, I've often said that an author should do everything he or she can do in order to promote their work. So...it's your call. I've asked agent friends about this practice, and few of the experienced agents are fans. But to balance that, several of the newer agents represent authors who have tried this, so it might work for you. (Sorry to waffle, but I want you to have the full picture.) I AM a big fan of author and speaker web sites, so you should definitely consider putting together a great site in order to market yourself. But as to having a site dedicated to one unpublished book, I'm not sure there is great value in that. (And I'm open to hearing dissenting voices on this topic.)

Great questions! If you've got a publishing question, feel free to send it my way.