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When they’re illustrated to better explain, such as showing you how to knit a stitch or make a candle or a piece of jewelry, wouldn’t a video be a better option most of the time?

Books are illustrated for two reasons: beauty or explanatory purpose, more the latter than the former.

But the illustrated books are in the single-digit percentages most of the time, with some of the more successful categories in the very low double-digits.

the nine independent publishers who finally took a stand: Abrams Books, Chronicle Books, Grove/Atlantic Inc. Chicago Review Press, Inc, New Directions Publishing Corp., W.W. Norton & Company, Perseus Books Group (where I work), the Rowman & Littlefield Publishing Group, and Workman Publishing.

the independent publishers asserted that, “in aggregate, according to market data published by Nielsen BookScan the independents accounted for approximately 49 percent of total trade book sales nationwide in 2011.” A significant portion of those sales were through Amazon, which is why their decision to challenge the settlement and incur the possible wrath of this retailing giant is cou rageous.

If the agency model is effectively banned, Amazon will have the ability to price whole categories of e-books below cost in a way that is likely to drive out competition from other less deep-pocketed booksellers as well as brick and mortar booksellers.

Unless bookstores can not only acknowledge their role as beacons of culture, but really embrace that role and market themselves as such—as long as they try in vain to compete with one of the world’s largest retailers at its own game—they will slowly lose ground as they steadily morph into increasingly bizarre hybrids of book-music stores, bookstore-cafes, and bookstore–tapas restaurants, until they simply become businesses that sell the latest quirky breakout novel on the side to customers who’d rather pay $15 for a sandwich and a cup of coffee than for a book.

Here in the Boston area, two bookstores have managed to not only survive but thrive: the Harvard Bookstore (not affiliated with Harvard University) in Cambridge and Brookline Booksmith in Brookline.

they also sell a great selection of used titles at lower prices.

But if the book is as good as critics are now saying it is, why didn’t it sell more copies before, especially since the rise of online publishing has supposedly made it easier than ever for first-time authors?

Given how difficult it is for first-time fiction authors, especially in a crowded genre like mystery, to find both an agent and publisher, it’s not clear “The Cuckoo’s Calling” would have made it off the slush piles.

An editor there told The Telegraph in London that the book “didn’t stand out.”

publishing is like Hollywood — nobody ever does the marketing they promise.

Mr. Mamet is taking advantage of a new service being offered by his literary agency, ICM Partners, as a way to assume more control over the way his book is promoted.

New Publisher Authors Trust: Themselves

EBooks accounted for 6.4% of all publishing in 2010, according to the American Association of Publishers, and 114 million electronic books were sold last year.

EBook lending is growing at a fast pace at the New York Public Library. The number of downloads of electronic books on the library's website grew by 81% in the last 12 months

why would someone pay for an eBook if they can download it free from a library's website?

There’s a final dilemma. Publishers are now paying lower advances, releasing fewer titles and selling digital content at lower prices than print content (which in turn affects royalty payments to both agent and author). Assuming this is the new reality, there will be less money to go around for the number of agents now in business. Plus, will it be worth an agent’s time and energy to sell a project that doesn’t pay more than $1,500 upfront? Probably not. One agency has quietly come out with a new model that requires authors to pay a minimum commission—i.e., the agent must earn a minimum amount on a sale no matter what advance the publisher pays, which means authors would “share” a larger part of the advance upfront (or even pay out of pocket in the case of very low advances). Undoubtedly, there’s no shortage of aspiring writers who would be ecstatic to pay more to an agent if it meant securing a publishing deal. But such a model is sure to raise ethical concerns. Agents may take projects knowing they will ultimately be paid by authors rather than by publishers. Is the industry (that includes the author!) ready to accept such a shift in how agents profit?

double digit sales growth month by month over the last year.

Imagine for a moment what it would feel like if people walked into your company and used the lobby to call your competitors and buy their products. That’s standard consumer behavior in a bookstore.

To truly compete, he would also have to solve consumer’s expectations for instant gratification and delivery.

Book publishers have long attested that short story collections don’t sell; Wolf would respond they’re not trying hard enough. “Traditional publishers don’t do a lot of marketing for the midlist authors today,” he said. “I don’t know if it’s that they’re too busy trying to survive or they don’t have the budget.”

“I’m organizing and coordinating all the different authors and having them all communicate to their specific niches and audiences. I’m driving them to a common landing page and we created a book blog. We’re leveraging social media and talking to the press.”

it’s true that, with limited marketing budgets, publishers often have to focus on the big titles, and smaller authors must pick up a lot of the marketing work themselves for a shot at success.

The industry has long suffered the irony that effective publishing is most evident when invisible; it is only when standards are less than felicitous that we realise how well what we read is managed most of the time.

Gone is our confidence that publishers and agents know exactly what everyone wants to (or should) read

The copy editor, a traditionally marginalised figure, is now in strong demand.

Yet the first chapter remains basically what it was when they began—before they fell into the rhythm, before the text fully took shape.

This is where the right freelance editor will help your manuscript grab readers’ and agents’ attention and put it in balance.

Once they’ve seen the whole manuscript—or at least a detailed synopsis (which I often ask for, and is worth doing anyway, since it is often requested by agents), editors can see what is relevant to readers and what will overwhelm readers before they’ve fully committed to reading your book.