With conference season in full force around the world, NetGalley France’s Astrid Pourbaix attended Livre Paris, or Paris Book Fair. In its 39th year, Livre Paris gives visitors a grasp on global book trends. 1,200 exhibitors from 45 countries displayed their services, products, and titles. The 160,000 attendees could sit in on one of 800 conference sessions or wait in line for an author signing from one of the 3,000 authors in attendance.
Whereas London Book Fair focused on the Indonesian book market, Livre Paris honored several different global regions. Primarily, the festival focused on Europe as a whole. Speakers including Livre Paris director Sébastien Fresneau discussed Europe’s rich and diverse cultural history as well as issues that affect the whole continent’s book market, such as the EU copyright directive legislation. Additionally, both Bratislava – the capital of Slovakia – and Oman were invited as special honorees.
A major takeaway from Livre Paris, like London Book Fair, was the growingchildren’s market. School visits to the fair have increased, and Livre Paris has responded by providing more programming designed for younger readers. Students, young influencers, and authors of children’s and YA books appeared on panels and in programs.
One challenge noted during the fair is that young readers’ attention is volatile. Publishing needs to do more to enliven young reading communities and keep them engaged.
Like the US market, we are seeing the power of self-publishing in France. Both Amazon Direct Publishing and Books on Demand presented at the fair, indicating that self-publishing is an established part of the French book industry. Attendees also saw the Gutenberg One robot, a print-on-demand solution that can print books in less than 5 minutes. A recent survey saw that 80% of French people enjoy writing and 53% already wrote or would like to write a book one day, indicating that self-publishing is likely to keep growing in the French market. Check out our coverage of London Book Fair, as well as recent events from BIGNY and the Future of Media. And, keep up with NetGalley Insights conference coverage by signing up for our weekly newsletter!
The revelation about how Facebook users’ data was used without their consent inspired Christa Angelios to put together a panel of publishing industry experts who deal in big data to reflect on how we as an industry use the data we are collecting. As publishing is becoming more data-driven, we need to ask ourselves how to balance the increasing pressure to reach out to readers in a crowded marketplace with concerns about privacy and tracking.
Moderator Jim Lichtenberg of Lightspeed LLC, who was writing about Big Data in publishing when it was just a trend on the horizon, asked the panelists questions about their own data strategies and how those strategies are changing with the rise of GDPR, consumer concerns about privacy, and more.
Erika Seyfried, Director of Content Services in Advertising and Promotion for Random House Publishing Group, described how data insights like the ones Miller provided earlier in the program are driving how she allocates marketing effort and dollars. Because backlist titles have been performing well, Seyfried has started to concentrate more on search marketing. If consumers are reading older titles, it’s likely because they are looking for a specific topic and aren’t too picky whether or not it came out in the past few months.
Christina Stanley, Associate Director of Client Training and Development at PRH Publishing Services also talked about search marketing. She advocated for a robust use of keywords, often found in consumer reviews. (We’re big fans of this approach! Check out our intro to metadata for some tips from our colleagues at Firebrand. Firebrand also provides an audience analysis and keyword generation service, Keywords. Read more about it, including case studies!) She advocated for a keyword strategy that is both broad and hyperspecific. By using broad (in her words, boring) keywords as well as specific ones, publishers can access consumers who are both casually browsing and looking for something very specific. And she noted that the way to get these keywords is to look at reader reviews. Readers are telling you what’s important about your books in these reviews. While it might be time-intensive to wade through the non-aggregated reviews, ultimately it will help your title stand out.
Seyfried told us that she is concentrating more of her social media influencer dollars on nano- and micro-influencers, rather than the mega-influencers. Influencers with smaller follower counts, but better engagement, have a higher ROI for her work. While getting your title on a major Instagram account will certainly give it a lot of eyeballs and likely some sales, Seyfried argued that followers of smaller accounts have a more personal relationship with the influencer and are more likely to take their recommendations.
After describing their current strategies based on the best data available to them, Seyfried and Stanley talked about some of the challenges publishing is facing with new data restrictions. Stanley said that while she and her team are acting as though GDPR is a global rule, it’s still a challenge to build a structure to better address security and privacy, rather than ad-hoc solutions as needed.
Seyfried told us that her targeting strategy has changed, not just because of legal rules but because of public perception. Consumers know that they are being targeted, and many are skeptical about how companies are using their information. So, with data privacy front-of-mind for consumers, she is focusing less on website cookies and more on search marketing.
Even with concerns about data usage and privacy, there was still plenty of data shared during the program. Michial Miller, account manager at the NPD Group (formerly Nielsen). He charted trends across the book market from 2018, drawing out themes that publishers should be paying attention to.
One of the most influential trends borne out in different data points is the increasing consolidation at the top of sales lists. This means that smaller numbers of books comprise larger numbers of sales. According to BookScan information, which covers 85% of retail sales, (but does not as of yet take into account audio or self-published titles) hardcover titles have overtaken ebooks in terms of unit sales. Miller noted that this might be due to the buzzy political nonfiction titles that dominated the year. Over the holidays, the top 100 titles saw a 23% increase in sales, while the midlist suffered. The kind of book buyers who are casual books-as-gifts buyers are most likely to buy the books that they’ve been hearing about all year. Surprisingly, backlist titles have been strong. In 2018, 61% of the market went to backlist titles.
Adult nonfiction and children’s titles also saw growth in 2018, with some surprising insights within each of those categories. Miller noted that adult nonfiction growth was due, in large part, to both political titles and to domestic titles about cooking and tidying. The data suggests to him that readers are both trying to keep up with the newest political revelations, and then trying to find some kind of domestic joy in the midst of political whiplash. For children’s titles, 1 in 4 books are branded licensing, meaning that smaller indie children’s books tend to have a harder time standing out.
The Book Industry Guild of New York is a member-operated professional organization composed of individuals from every aspect of the book publishing and book manufacturing industries. It sponsors educational seminars and trips, holds monthly informational programs, and helps raise money to support literacy programs. Check out their upcoming events.
The London Book Fair is one of the largest annual gatherings for the book industry, particularly for agents and publishers looking to trade in international rights. Between March 12 – March 14, attendees who were not sitting in the Rights Hall or dashing to meetings sat in on seminars, strolled the booths, and met colleagues from around the globe who also made the trip to Olympia London.
Where the Book World Comes to Meet
Each year, the London Book Fair focuses on a particular market from around the world. This year the spotlight was on Indonesia. Made up of thousands of islands and religiously diverse, Indonesia was able to showcase their books and culture to a global audience. The Indonesian book market is as diverse as its many thousands of islands, titles are produced in many different languages, and few are translated into English. Theirs is a growing market, with an increasing international presence. Fiction – short stories, in particular – are popular in Indonesia. Indonesian readers read across a broad number of topics, but myths, spirituality and beliefs seem to be at the forefront of Indonesian publishing.
Throughout the Fair, we found that the most prevalent theme was inclusivity. Genres and formats that are growing in the industry are the ones best able to connect with a diverse audience. By making the publishing industry more diverse, it takes steps to become more inclusive.
Diversity refers to the different kinds of people who are involved in an industry, or the different kinds of stories that are told. Inclusion refers to an overall atmosphere that is welcoming to different kinds of people, including those who have been traditionally marginalized within the industry.
One of the biggest aims of the publishing industry over the last few years has been that of creating books with more diverse characters, written by more diverse authors. Whilst the industry is heading towards having greater diversity, there is more that needs to be done. Actor, author, and TV presenter Cerrie Burnell highlighted, during the Diversity: Where’s the Issue panel, that diversity within books, children’s books in particular, needs to be more normalized. She said it should be as “normal as observing it when living and walking around London.” Author and illustrator Rose Robins took a similar stance, suggesting that neurodiverse characters should be included more in literature, rather than treated as plot devices. (That’s one of the reasons we loved The Kiss Quotient – check out our recent case study here!)
To connect with audiences from different backgrounds, the publishing industry needs to become more diverse as a profession, in addition to publishing more books with more diverse characters. Speakers from HarperCollins, SAGE Publishing, and EW Group touched on this in their panel on building a more diverse and inclusive industry. Efforts to make publishing houses more diverse need to start from the recruitment stage to keep the industry vibrant.
At LBF19, we saw that poetry is on the rise.Poetry sales in January 2019 were at an all-time high, growing by 12% according to Nielsen Bookscan. The recent success of poetry has been attributed to its being more inclusive and diverse than other book genres, with more young people than ever buying and engaging with poetry. The success of Rupi Kaur, writing about her experience as a woman and as a daughter of immigrants, as well as Charly Cox, indicates that there is a huge audience eager to see themselves reflected in the books that they read. And with platforms like Instagram, poets have new ways of reaching younger, digitally engaged audiences. More traditional forms have also found a new audience, with Robin Robertson’s The Long Take the first work of poetry to be nominated for the Man Booker Prize. Sales of poetry have been building for the past few years, and it looks like 2019 will continue to see an upsurge of interest in the popularity of poetry.
Unsurprisingly, of all the formats discussed at the London Book Fair audiobooks continues to be on everyone’s radar. According to Nielsen figures the sales of audiobooks have increased by 87% in the UK since 2014. The popularity of audiobooks has been linked to the trend of podcasts and engaging young men in particular with a different format of reading. But audiobooks have seen a rise overall and the boom seems set to continue for 2019 and onwards. (Check out some of our podcast coverage here.)
Nonfiction is also a hot topic, as both adult and children’s nonfiction sales have increased in the last year. For adult nonfiction, a large proportion of the success comes down to feminist titles and inspiring books such as Slay in Your Lane by Yomi Adegoke and Elizabeth Uviebenene, Bloody Brilliant Women by Cathy Newman and Dolly Alderton’s Everything I Know About Love. As nonfiction has become more diverse in its scope, it has drawn in new audiences.
We were encouraged to see the book industry slowly moving towards being more inclusive, with publishers and authors having great successes on more diverse books. Different formats and genres are reaching new audiences and encouraging a whole new generation of readers.Keep up with the rest of our conference season coverage by subscribing to NetGalley Insights!
Julie Yip Williams, author of The Unwinding of the Miracle, knew she would never see whether readers liked her book. The Unwinding of the Miracle shares Yip Williams’s experiences and thoughts as she approached her death from colon cancer. Through the book she wonders about what the lives of her husband and daughters will look like, and finds the miraculous in the most universal human experience — death. Published posthumously on Feb. 5 by Random House, The Unwinding of the Miracle is a New York Times bestseller.
The team at Random House helped raise the memoir’s profile through a unique audio strategy. Beyond typical plans to advertise on podcasts, they decided to take it a step further for the release of The Unwinding of the Miracle. In collaboration with Pineapple Street Media, Random House created a 4-episode companion podcast, Julie: The Unwinding of the Miracle.
The podcast featured audio interviews with Yip Williams as well as audio from some of the last visits her family had with her before her death. Listeners could hear Yip Williams talking about how she decorated her bedroom so that she’d have somewhere beautiful to die and making plans to haunt her family members. In the final episode, the surviving family members and friends talk about the ways that they feel Yip Williams’s presence after her death.
As of February 27, 2 weeks after the final episode was released, the podcast ranks number 51 for all Health podcasts on iTunes, with over 600 reviews and an average of 4.5 stars. The podcast was featured on Call Yr Girlfriend through a sponsorship from Pineapple Street Media and on All Things Considered.
Investing in a collaboration with expert podcasters resulted in a well-paced and compelling narrative with high production values. Pineapple Street Media is a well-established podcasting company. They produce, among other shows, Still Processing from the New York Timesand were behind the chart-topping Missing Richard Simmons. Julie: The Unwinding of the Miracle’s producer Eleanor Kagan comes from a well-established audio background, having worked previously for both NPR and Buzzfeed.
We chatted with Leigh Marchant, Director of Marketing & Business Development at Random House about Julie: The Unwinding of the Miracle and their companion audio strategy.
How did you decide to create a podcast for The Unwinding of the Miracle?
Our Random House Editor-in-Chief, Andy Ward, and I had been talking about doing a podcast with our mutual contact, Max Linsky, from Pineapple Street Media. As all great projects start, we pitched him a few ideas over lunch and decided that Julie’s story would make for an incredibly compelling podcast. We thought having Julie’s story told in both book form and via podcast would be a really interesting project—that instead of being restricted by only telling this story in one format, we could have them complement and inform each other.
What kinds of audiences were you hoping to access with the podcast?
We think that podcast listeners are readers, and readers are podcast listeners. We have seen some consumer insights reports that show media affinities for some of our authors and titles, and podcasts are definitely included in there. Of course, certain podcasts appear more frequently in our data than others but we do think there is listener/reader overlap.
So we were hoping to draw attention to the book through the podcast audience – and vice versa. The two projects – the podcast and the book – are meant to be complementary. In other words, if you read the book, you will want to hear more from Julie and her family and friends through the podcast. And if you listen to the podcast, you’ll want more in the book. Both the podcast and the reading experience deliver in such a strong way. The content of the two projects is actually different but together provides an incredible understanding of what Julie and those who are terminally ill are grappling with.
How is that audience different from — or the same as — the audience you were connecting with through other parts of the campaign?
We are always looking to reach readers through our campaigns and one of the ways we do that is actually via podcast advertising! So creating the podcast was a great way to reach some of our target audience. We were hoping to reach readers of books like When Breath Becomes Air, The Middle Place and The Bright Hour. Also we targeted readers of medical memoirs, followers of Julie’s blog, as well as parents.
But of course the goal for any book is to reach the right readers and we knew that if we could capture an expanded audience via the podcast, they would likely be interested in the book as well.
How did you balance creating a rich and emotionally resonant podcast with leaving enough unanswered for the listener so that they would want to read the memoir?
That was a main concern at the start of the project. We didn’t want to cannibalize either project so we were careful to keep the content different enough, yet complementary. In the podcast, you hear from Julie’s family and friends. The book is just Julie’s words and thoughts. The two forms work so well together though. Each project is so powerful, so moving, so compelling. But together they offer such a complete portrait of Julie’s incredible life and, later, her battle with cancer.
How does companion audio fit into your strategies for other titles?
We are always looking for new ways to reach readers – on whatever platform they are consuming content. Podcasts are a great way to do that and we will continue to explore opportunities in that space – when it makes sense. We have a number of other podcasts through our corporate group coming. But we’re also exploring other multi-media platforms, as well. We also just launched an Alexa Skill called Good Vibes. Our goal is to connect readers (and listeners) to great books via the platforms where they are already consuming content.
Data-driven discovery and trend predictions, plus what success looks like for books in 2019
On Thursday, March 7, NetGalley attended Centennial College’s Future of Media panel in Toronto. This mini conference features a larger discussion about the media landscape, with a specific panel to focus on publishing. With moderator Manu Vishwanath of Harlequin, the Future of Publishing panelists talked about how to incorporate data into decision-making and how to think about gaining the attention of an audience with limited time and budgets in an oversaturated media landscape. Here are some of the takeaways that we’re bringing with us into the future.
Cory Beatty, Senior Director of Marketing and Publicity at HarperCollins Canada
At NetGalley, discovery is one of our favorite words. Connecting readers with new books and new authors is the name of our game, and the panelists were just as passionate about this topic as we are.
While discovering the “next big thing” has always been a publisher’s dream, the reality of this actually happening seems to be getting slimmer every year. Not only are there more publishers who are publishing more books, there are hundreds of thousands of books being self published, and the global marketplace seems to promise that anyone with a talent for writing can make big on their own under the right circumstances. But publishers and authors need to work extra hard to retain a reader’s attention. The panelists discussed the pressing question: How?
Director of BookNet Canada Noah Genner opened up this conversation with data. He noted that leisure spending has not gone up and neither has the rate of leisure reading. This means that readers are struggling to prioritize enormous amounts of content without the time or money to spend on it.
To combat this, Genner told the audience that it’s more important than ever for publishers to have a voice and a brand that stands above the rest. Whether this means developing a niche, like Second Story Press, whose books with strong female leads and themes of social justice sets them apart, or running a smart and snappy Twitter account like Coach House Books, it’s your brand–not necessarily the next blockbuster book–that keeps readers returning for more.
Kristina Radke, VP of Business Growth and Development here at NetGalley, added that in order to make your book succeed, it’s crucial to not just look at a variety of KPI’s and early data, but to actually make time to understand it. There will always be multiple points of data that can be collected pre-publication–like the information on NetGalley’s Title Feedback Activity Page–but without taking the time to understand that data and change your plans based on what you learned, it’s never going to make an impact on the success of your book.
Focusing on the end users, Senior Director of Merchandising at Kobo Nathan Maharaj said that publishers should focus more clearly on appealing to readers who don’t have time to sit down for focused reading, through audio. Audiobooks can help rope in customers that don’t necessarily have the leisure time, but are still interested in the story format and do have the leisure money to spend on books.
The Future of Book Trends
On a panel predicting the future of publishing, it’s only natural that the conversation steered toward predicting future trends. Léonicka Valcius, Assistant Agent at the Transatlantic Agency, said that books are a cultural artifact that reflects society as a whole, and by reflecting on the events of today we can predict what trends will pop up in the next few years.
Take, for example, the dystopias of yesterday which became popular as the world experienced great political and economic upheaval. Now, we’re seeing a surge of “up-lit”, which emphasizes kindness, empathy, and happy endings. As consumers, we’re now looking for books that show us the light at the end of a long, dark tunnel.
Valcius also praised the data when trying to hone in on the trends of tomorrow. With all of the data that’s available to us digitally, finding what works is the challenge–but also the opportunity. While we may have a book that will only sell 200 copies throughout its lifecycle, with that data we can now predict what type of reader will buy those 200 copies and market accordingly.
The Future of Success
It is, of course, every publisher’s and author’s goal to see their books succeed. However, as Noah Genner was quick to point out, there are different kinds of success, and it’s important for anyone in the publishing industry to evaluate their standard for what success means.
Senior Director of Marketing and Publicity at HarperCollins Canada Cory Beatty said that he regularly needs to set expectations with the authors he works with. Sometimes authors may be frustrated that their books aren’t immediately being buzzed about in major newspapers, and yet the marketing team for said book has been celebrating for weeks at the successes it has seen, whether hitting modest sales goals or generating consumer interest on Goodreads.
Kristina Radke returned to the data conversation, piggy-backing on the ideas about anticipating trends. Modern capabilities are making it easier for new players to join the game. For instance, Wattpad Books is launching a new imprint that will use machine learning to help predict the next hit story and further develop content from their site.
Putting your titles in the hands of librarians is an important part of any book’s success story. Librarians build collections for their library branch, pick titles for their own reading groups, and were the original comp-title recommendation engines before the age of algorithms. Librarians are book advocates in their community and beyond!
In our Ask A Librarian series, we ask librarians on NetGalley about what makes their community special, what they read, and how they stay up to date with the best new titles for their patrons.
Ottawa Public Librarian Charmaine Atrooshi describes her community of patrons who visit North America’s largest English/French bilingual library and use its Homebound Services program. She also gives us an inside look at how she uses NetGalley, and which resources she uses to keep up with new titles that she can recommend to her patrons.
What resources do you use to find new books to recommend, or to add to your library’s collection?
I use NetGalley and BNC Catalist to find new books to recommend to customers, as well as the Loan Stars lists! I love that library staff all over Canada can vote for their favorite upcoming titles, and that these lists are released monthly! I also like to browse our catalogue (BiblioCommons) for items on order, and I try to browse some of the staff lists within for ideas.
In addition, NoveList and Books & Authors [formerly What Do I Read Next?] are great databases to use when looking for read-alikes, reviews, and recommendations.
*BNC Catalist is a NetGalley Partner. If a book is in both systems, the NetGalley link automatically appears in Catalist.
What’s your strategy for finding new books on NetGalley?
I have some favorite publishers and auto approvals so that is often a first place I check when quickly searching for new books. Depending on what mood I am in, or what area of readers’ advisory I am looking to strengthen, I will search by categories for a specific genre and browse the options available.
What catches your eye when you are on the hunt for new books?
The cover and title are certainly something that draw my initial interest. I admit, I am guilty of judging a book by its cover! If looks good I will read the description to see if it is something that would appeal to me or to library customers. The cover of The Smiling Man by Joseph Knox was one that really appealed to me, as well as The Silent Patient by Alex Michaelides. I read and really enjoyed both of those and can see why both have such strong appeal!
Even if I don’t end up requesting a title, reading blurbs and looking at covers helps to keep me abreast of trends in publishing, read-alikes, and new releases, which is always helpful!
Tell us about your library’s community, and the patrons who use your services:
My permanent position is in the Homebound Services department of the Ottawa Public Library. We select and deliver library materials to customers who have difficulty accessing a library branch on a regular basis. Our customer base consists primarily of older adults, and customers with disabilities.
Currently, I am working temporarily as the adult librarian at the Nepean Centrepointe (NC) branch. NC is the second largest branch of the Ottawa Public Library, and it is located in the Ben Franklin Complex, which is also home to Centrepointe Theatre, and a City of Ottawa Client Service Centre. It is also just down the street from Algonquin College.
On average, NC sees between 900 and 1,300 customers a day; a mixture of children, teens, adults, and older adults. Nepean Centrepointe offers a large range of programs from book clubs, to storytimes to Dungeons and Dragons evenings! It also houses materials in Arabic, Russian, Chinese, Hindi – in addition to –English and French, which is reflective of the languages of the community (world language collections are based upon census data).
What resources or programs make your library unique?
Homebound Services is unique in the sense that it literally brings the library into your home and provides a team of staff who are well-versed in readers’ advisory and spend the majority of their time in the realm of readers’ advisory and materials selection. One more unique fact is that we talk with the majority of our customers via telephone!
Nepean Centrepointe houses OPL’s Imagine Space where customers can come to create and collaborate using 3D printers, laser cutters, photo/video editing stations, green screens/video gear, as well as various hand and electronic tools. NC also houses the Sunlife Financial Musical Lending Library, along with our main branch. Customers can borrow instruments such as keyboards, guitars, banjos, mandolins, bongos, ukuleles, violins etc.
Fun fact about the Ottawa Public Library– it is the largest bilingual (English/French) library in North America!
Based on what they’re checking out, what kinds of books are your readers most interested in?
Popular areas of interest for Homebound customers are family sagas and mysteries, as well as biographies of ‘the average person’. We get many requests for Danielle Steel, James Patterson, Kristin Hannah, P.D. James and Anne Perry to name a few.
At the NC branch, nonfiction materials circulate the most (more than double general fiction and mysteries put together!). Staff have really great displays in the nonfiction section which make it hard to walk by without grabbing one (or two). Currently, my favorite displays are “Vintage Hollywood,” “Dropping Names,” “faerie tales are Grimm” and the new cookbook display that offers a quick pick option.
What percentage of your patrons check out digital books versus print?
In terms of Homebound customers, the majority are print material users. There is an increase, however, in questions about downloadable materials, with tablet devices such as iPads becoming more popular and customers starting to explore the possibilities within these devices. We have had an increase in requests for assistance in setting up their devices in order to borrow library e-materials.
The Ottawa Public Library offers various online resources for customer use such as Overdrive (e-books and audiobooks), CloudLibrary (express e-books) and RB Digital (magazines and audiobooks). We also offers appointments for customers looking for assistance with downloading library materials.
Based upon a snapshot from this past June at Nepean Centrepointe, approximately 20% of NC customers borrowed digital materials, 70% borrowed print, and 10% borrowed both.
Blockchain is on the rise in publishing and in the wider world, but it’s not yet clear exactly how it will be used to streamline the book publishing process or whose workflow it will most affect.
If you need a refresher on blockchain, read our recent introduction to blockchain to get a better sense of what blockchain is, plus some overall trends and predictions for how it might be used in the publishing industry. Some of the terms we use to describe these projects (like Ethereum, smart contracts, and blockchain itself) are explained in that introduction.
Below, check out some of the companies and collaborations who are already experimenting with using blockchain to make the publishing process smoother and more accessible.
While academic publishing might not have a reputation as the most technologically-inclined part of an already-traditional industry, they have already gotten into the blockchain game. In 2018, Springer Nature, Taylor & Francis Group, and Cambridge University Press teamed up with this pilot project. With Blockchain for Peer Review, they hope to find ways of making the peer review process more transparent and streamlined, ultimately leading to more high-quality and trustworthy published research. The project uses an Ethereum-compatible blockchain to execute smart contracts. In September 2018, they released their proof of concept.
Winner of Digital Book World’s award for “Best Use of Blockchain in Publishing Technology” in 2018, Publica uses blockchain to fund and distribute books. Specifically, authors can raise funds to publish their book using an Initial Coin Offering, or an ICO. Learn more about ICO’s here. These are like pre-orders which end up also being the advance for the author. Once the author has finished the book, the investors will immediately be able to access to the title through a smart contract. In August 2018, Publica announced a partnership with publisher Morgan James.
Security, Traceability, Attribution, and Distribution
Scenerex’s Bookchain project allows authors and publishers to publish and distribute ebooks using blockchain and smart contracts. They call it a Digital Book Enabler. Like Publica, publishers and authors upload their titles to Bookchain. Then, publishers and authors can use smart contracts to configure the exact security settings for their file, as well as coordinate buying, reselling, and lending the title, all while keeping every file traceable. As of October 2018, Bookchain was launched in beta to publishers and authors.
Po.et uses the the ledgers that are fundamental to blockchain to give creators and media organizations an overview of where content is and where it has been. The goal is to use the ledger to keep track of creative works to create a decentralized and trustworthy source for media. All pieces of content uploaded to Po.et would be time-stamped so that it’s clear how content is moving. For example, stock photos uploaded to Po.et would be traceable – everyone that uses them would be entered on the ledger, so the original creator could see where their photo ended up. Po.et is currently in the process of finding bugs, onboarding new users, and doing security checks. Keep up with their progress here.
Authorship seeks to provide authors, publishers, translators, and readers a single platform to offer and avail each other’s services, while ensuring better compensation margins than the traditional publishing industry. Authorship uses site-specific tokens to conduct these transactions, which can then be converted to Ethereum and used off-site. Authors can upload their books to Authorship, at which point publishers can bid to publish the book either in print or in digital form. Translators can choose works on the site to translate, and then build their professional portfolio and earn money when their translations are bought and read. The project launched officially in June 2018, and as of Dec. 2018, 25,000 authors have signed up to use the service.
wespr is an Ethereum-based platform that seeks to help content creators collaborate and then equitably distribute the profits from their work. Then, it will incentivize engagement with that content with an in-site cryptocurrency token. Each work on wespr (for example, a book) is considered a Decentralized Autonomous Organization (DAO), which makes it easier for creators to collaborate. Different creators (for example, multiple authors, a translator, and an illustrator) working together on a single project. Every time a reader shares, comments on, or likes the content, both the reader and the creators are paid in on-site cryptocurrency called an Echo Token. These tokens are parceled out to creators according to the percentage of the content that they own, per the rules of their DAO. Their Twitter notes that their website is under construction, but if they do re-emerge, we’ll be watching!
Gilgamesh hoped to be a social information-sharing platform, where creators and users were incentivized with an in-site cryptocurrency token, powered by Ethereum smart contracts. Information on Gilgamesh would be protected by the blockchain, which its founders hoped would make for a more open spread of information on the site. We’re perhaps most interested, though, in the ways that users would have been able to use the cryptocurrency tokens they accrued within the site. One of the ways that tokens were set up to be spent is by casting votes on questions of site governance. The most active members would have a more active say in the ways that Gilgamesh functions. In March 2018, Gilgamesh didn’t meet its ICO target and the original funders were refunded. But, the site notes that Gilgamesh is currently under development. We’re certainly keeping an eye out for their next move.
smoogs uses Bitcoin to facilitate consumers paying for the content the are consuming as they are consuming it. So, instead of a model whereby a monthly subscription offers unlimited access, or a book costs a particular price, a reader on smoogs would only pay for the pages they read or the minutes they watch. The goal is to compensate creators for their work while not relying on ad revenue or gatekeepers like publishers. smoogs currently has two texts in beta testing, including Revenge by Xavier Robinson.
INK hopes to create a decentralized community of global creators, including authors. Authors can upload content, claim ownership of it through the blockchain, and distribute it to readers without going through a publisher, while retaining the profits. Investors can fund authors through in-site tokens, giving authors access to funding at an earlier stage than in traditional publishing. Based in Singapore, INK’s focus is truly global. With money from venture capital firms like Fenbushi Capital, Node Capital, and SAIF Partners, INK looks to be a major Asian-based blockchain power.
Pando Network is trying to rethink, in the broadest terms, how to restructure our relationships to texts. Pando wants to decentralize literature – they want to take the major decisions that determine what gets published and what gets press out of the hands of the few tastemakers at the top (editors, awards committees, etc.) and bring it to the masses. Much of their work is still speculative, but according to their Medium post, “Decentralized Autonomous Literary Organization: a decentralization of literature,” they are interested in building new relationships between readers, writers, and the infrastructure (the publishing industry) that connects them. While most blockchain companies tackling publishing are looking to solve particular issues within publishing, Pando is looking at how to build a new, and more equitable infrastructure that’s different from the vertical structure of traditional publishing (author → agent → editor → marketing team → booksellers/librarians/media → reader) and the mind-bogglingly open field of Amazon. Right now, their only website presence outside of Medium & Twitter is Github, the software development platform.
With London Book Fair around the corner, here at NetGalley we’re gearing up for weeks of plane travel, convention centers, and branded pens. Conference season is a crucial time for us to see our clients across the country, to check in about their needs, and to continue building the kinds of rich personal relationships that make this industry vibrant.
In order to make the most out of any conference, it’s best to arrive with a plan. Here’s how we’re planning on getting the most out of conference season.
Identify your goals
What is it that you want to get out of a conference? Make your goals clear before you arrive, whether just to yourself or with your team. Then, with that in mind, you can plan how to best spend your time. Are you hoping to get an overall sense of industry trends at one of the big trade shows? Make sure to spend some time wandering through the booths to see what patterns you notice. Are you hoping to forge new connections? Make sure to take advantage of sponsored networking opportunities. If you are more junior at your company, use an event to demonstrate your value to your colleagues and learn more about the industry by offering to take notes in client meetings or by writing a conference recap for your team. Conferences can be overwhelming, but if you go in clear about what you are hoping to get out of the experience, you’ll be able to create some structure for yourself.
Set realistic expectations
It’s unlikely for an indie author to land a whirlwind movie deal for their debut novel at London Book Fair (although it does sound like a meet-cute in a book we’d probably read). London Book Fair has around 25,000 attendees every year, which is quite a crowd. If you hope to land your big break at a professional conference, you will likely end up disappointed. Instead, focus on smaller and more attainable goals, while remaining flexible enough for surprises. Consider each conference as a chance to grow your professional network by meeting new people who you will keep in touch with over the coming months and deepening your relationships with colleagues across the industry. Remember to do your research ahead of time, too–understanding the audience attending or exhibiting at each conference, and what the main focus of the event is goes a long way toward setting your own expectations and goals.
Go to the seminars and lectures
Take advantage of all the experts giving advice and talking about industry trends. Take a look at the schedule before you arrive at the conference to see which talks you’ll definitely want to attend, and schedule your other meetings around them. Seminars and lectures are perfect opportunities to get inspired by how other folks in publishing are handling the challenges of the industry in new and creative ways. Then, once you’re in the room with colleagues in your field, introduce yourself to the lecturers who you’d like to connect with and say hello to audience members who asked questions relevant to your work. Targeted seminars are great places to forge connections with people who might be working on similar projects. Last year at London Book Fair, there were over 220 programs to attend. This year looks to be just as jam-packed. There’s sure to be something tailored to your specific needs at any of the larger industry gatherings.
Put faces to names
One of the most important benefits of conferences, especially the huge ones, is that everyone will be there. Use these opportunities to meet people who you only communicate with via email or phone in person. A few weeks before the conference, start asking your colleagues and clients if they’ll be attending, and find the time to get together either for a formal meeting or a casual catch-up. And, even if they won’t be attending, they’ll certainly appreciate being asked. In-person meetings are one of the most important ways to strengthen your professional relationships.
You’ll likely leave any professional conference with a stack of business cards. Rather than letting them wither in a filing cabinet, send a quick email introduction after the conference. That way, you’ll still be fresh in each other’s memory, and now you’ve established some digital communication.
Record your impressions
When you’re on the conference floor or talking with colleagues, your mind is likely to be buzzing with new ideas or busy making connections between different aspects of the industry. We recommend writing down these thoughts while you’re still at the conference, or very quickly thereafter. When you return to your regular daily activities, you’ll be able to refer to the inspiration you felt or the trends you saw when you need to zoom out and look at the big picture of your work. It’s worthwhile to revisit these notes throughout the year, too! You may have learned something new since then that casts those earlier experiences in a new light.
Plan your 2020 budgets
After you return from your conferences, keep track of which events were the best fits for your previously-established goals. Which ones were most worth your while and which ones did you go to purely out of habit? Then, when you are planning how best to allocate your budget for next year, you’ll have documentation to refer back to when deciding whether to budget in those same conferences next year.
We’re packing our bags for the next few weeks on the road. Stay tuned for our recaps from some of the conferences we’ll be attending. See you at the convention centers!
As a Senior Agent at the Nancy Yost Literary Agency, I’ve read and reviewed thousands of queries. Yes, thousands,and possibly tens of thousands! Since my query inbox first opened, I’ve had the opportunity read some amazing queries, and some that could have benefitted from the following these tips on polishing and personalizing your query.
1. Send individualized queries
It will take more time, but this is an important relationship. You are hopefully going to be partnered with an agent for years, so just like with any other long term relationship you want to build strong foundations. This means at the very least addressing the agent by their name with the correct spelling and with the correct title if you choose to [address them by their] surname.
Additionally, if you happen to typo, that’s okay, it happens! Feel free to follow up with a quick correction after you hit send. Or if you’re querying via a portal, you should have the ability to withdraw your submission and then re-submit with the corrected form of address.
I promise you it will be worth it.
2. Read lots of query letters
To the Google!! Authors writing in all kinds of genres have shared their query letters, and agents have also shared sample query letters. Find them. Read them. The more you read the more you’ll be able to sort out what format would work best for your book and your genre.
Also note that while their are similarities between fiction and nonfiction queries, they are different.
3. Query letters are like the writer’s version of the middle school five-paragraph essay Here’s a quick cheat sheet of what each of those five paragraphs can contain. Remember, you can shorten as you see fit and [be sure] to personalize it.
Introductory Paragraph: This should introduce yourself and your work. Be sure to include genre and word count.
Three Body Paragraphs: You don’t have to have three, but I find it’s a solid set of paragraphs for you to talk about your book. Try to hone this “about section” think of it as similar to the text you can find on the back of a book’s cover or on the flap of a dust jacket.
Conclusion Paragraph: This closing paragraph is where you can share a bit about yourself. Think of it as your bio. Feel free to include any accolades for your writing that you might have, any professional writing organizations, or fun facts. Also include how you can be contacted if you haven’t included that info in a signature block, or some submission form.
4. Less is more
I know it may be tempting to share as much as possible about your work, but I always say that if an author could share everything they wanted in a pitch about their book then why would they then write an 80,000 word novel? So, know that we want to get to your book and your pages. Don’t keep us hostage in your query letter! Instead, use your query letter as a springboard for us to dive into your book and/or submission materials. Your pitch should pique interest and lead the reader (agent or editor) to you pages! Ultimately your book, your work, your story is what’s most important.
5. Have a friend, family member, or colleague read your query
Be open to editorial feedback. It is helpful to have someone familiar with the querying process to proofread your query letter. But, no matter what, another set of eyes will help catch the small things like the typos that our brains like to gloss over. And then, thoughtfully consider their feedback. Ultimately, you have to make the final decision on what you are going to send out, but most of the people you ask for help aren’t making suggestions just for the sake of it. Really consider their edits, and be sure to appreciate and value the time they’ve taken out of their day to spend on reviewing your query letter.
6. Ask a critique partner to help you draft a query letter
Oftentimes it’s difficult for an author to synthesize their work into a one-page pitch. If you have a trusted critique partner, they can sometimes help draft a few paragraphs to get you started. Of course, you might then owe them chocolate or whatever delicious treat they might desire. But this is an option I’ve had several of my authors mention they used when querying me! Seeing how others frame your work after reading and working on it with you might be helpful. You should never pressure or guilt critique partners or beta readers into helping you draft your query. Ask. And if they decline, that’s okay!
There are also freelance editors out in the world that might also offer these services, and you can totally pursue those options as well. But when money is involved and exchanging hands that’s a personal choice. And always make sure you vet any freelancers you might choose to work with. Do your research, folks!
7. Make sure that when you’re submitting to an agent that they do indeed work with the type of projects that you’re sending
While an agent might seem really cool in interviews or on social media, you’ll be wasting their time and your time by querying them with a project that they do not work on. Save yourself!
Sarah E. Younger, Senior Agent, at the Nancy Yost Literary Agency began her career in publishing at Press53 in Winston Salem, N.C. after receiving her undergraduate degree from UNC-Chapel Hill. She later attended the University of Denver’s graduate publishing program where upon completion she moved to New York City. Sarah joined the Nancy Yost Literary Agency in the fall of 2011 and has since cultivated a diverse and talented list of authors including a variety of commercial fiction and select non-fiction titles. She is specifically interested in representing all varieties of romance, women’s fiction including chicklit and romantic comedies, adult science fiction and fantasy, and very select non-fiction. You can find her on her personal Twitter @seyitsme. Learn more about the Nancy Yost Literary Agency including how to query Sarah by visiting the NYLA website.
How Anyta Sunday incorporated NetGalley into her post-pub strategy to give her astrological romance a longer tail
On NetGalley Insights, we highlight the successes of NetGalley publishers and authors, and share some of their strategies. Today, we’re talking with Anyta Sunday about her 2018 MM romance Pisces Hooks Taurus, currently available on NetGalley.
Learn why Anyta Sunday lists her titles on NetGalley after they publish, how she generates keywords for her books, and why it’s important to tell romance readers exactly what kinds of tropes they can expect in one of her books.
Our audience of publishers and authors is always eager to learn more about how others are planning their publicity and marketing efforts on NetGalley. Your current title listed on NetGalley, Pisces Hooks Taurus, began its lifecycle on NetGalley at its pub date. Tell us how you came to use NetGalley as a post-pub strategy and why it works for you.
I work with a PR agency to organize blog tours around the release of my books, also handling distribution of ARC copies to interested bloggers and reviewers. These bloggers typically already know me from previous books, while NetGalley allows me reach new audiences.
Which segments of the NetGalley community have been most important to you and why? How do you go about reaching them?
Most requests for my books come from Reviewers. I post about new titles available on NetGalley via social media and in my newsletter. [You can see an example of this] for my older release, Scorpio Hates Virgoand on my website.
On your Title Details page for Pisces Hooks Taurus, you list the tropes (friends-to-lovers, slow burn, will-they-or-won’t-they) and genres (new adult, light-hearted contemporary gay romance). It’s a great way to give prospective readers a quick snapshot into what the can expect from the book. Describe your strategies for your Title Details page to drive requests and reviews.
I try to optimize the NetGalley Title Details page in the same way as the sales page for my book on retail channels like Amazon; a snappy blurb in the same style and voice as the book, followed by a clear description of what the reader will get. This is particularly important in the romance genre where readers are often looking for specific tropes (and trying to avoid others). Romance is a big genre with many new publications, so communicating clearly what readers can expect helps a book to stand out. Also, if the book is part of a series, I mention whether you need to know the previous books or if it can be read as a standalone.
How did you engage with members who requested access? Did you follow up with them viaemail?
I make use of the Approval Email feature on NetGalley to engage with members who requested access. In this mail, I thank the reader and encourage them to crosspost their reviews. If the book is part of a series, I also offer the other books for review.
Tell us more about how you leverage your NetGalley listing outside the site.
I mention the availability of the NetGalley listing in my release publicity, and feature it on the book’s detail page on my website.
Your Signs of Love series, of which Pisces Hooks Taurus, is the fourth installment, taps into the current spike in public fascination with astrology. How do you use this to your advantage when finding new audiences?
I use astrology-related keywords in the advertising around the Signs of Love series to reach new audiences. I focus on Facebook and Amazon ads at the moment, and for both the targeting is key. Besides reaching fans of gay and MM romance by using related keywords, I do the same for astrology-related keywords.
What is your top tip for authors listing an individual title on NetGalley?
I find that customizing the approval email is a powerful way of following up with members requesting a book, so I would encourage using this to maximum effect: trying to connect with the reader, thanking them for requesting your book, and potentially offering other ARCs. For Pisces Hooks Taurus, I let readers that request the ARC know that there are three more books in the series and have received multiple requests for these older books as well.
Anyta Sunday is a BIG fan of slow-burn romances. She reads and writes characters who slowly fall in love. Some of her favorite tropes to read and write are: Enemies to Lovers, Friends to Lovers, Clueless Guys, Bisexual, Pansexual, Demisexual, Oblivious MCs, Everyone (Else) Can See It, Slow Burn, Love Has No Boundaries. She writes a variety of stories: Contemporary MM romances with a good dollop of angst, contemporary lighthearted MM romances, and even a splash of fantasy. Her books have been translated into German, Italian, French, Spanish, and Thai.