Publishing in the Digital Age

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.

Before I write a scene, I envision a stage and my characters upon it. Who would want to go to a play and watch the actors meander around the stage talking to themselves or reflecting on problems while eating, getting ready, shopping, driving in the car, talking on the phone, etc.?

A big part of that control stems from Amazon’s ownership of the Kindle, the leading e-book reader, and that books bought for the device have DRM built in. Stross argues that this effectively locks many e-book buyers into the device, since it’s virtually impossible to read Kindle books on other devices

Publishers — and some authors, especially those who control the Authors Guild, which has fought every attempt by Google and others to open up the book market — have been so obsessed with piracy and locking down their products that they have allowed Amazon to take control of their fate

even if you take advantage of Amazon’s self-publishing options to avoid having to get a traditional publishing deal, you’ve really just exchanged one corporate overlord for another.

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.

Many editors of literary journals don’t want work that has been published anywhere—even online. Even on a blog. Even on Facebook.

lit mag editors will likely refuse to consider the individual works for publication, citing the fact that they were previously published.

authors have to realize that sometimes the efforts they make to promote their books…well…simply don’t have the hoped for impact. Why? Because these days readers spend most of their time in Cyberspace searching out information on their interests and seeking out the advice of experts and opinions of others. In the process, they may—or may not—discover you and your book.

why authors might need to stop focusing so much attention on marketing and rely more on discovery

“I don’t want to be Amazon’s Bitch.” Who would?

The skill is copywriting.

A query letter is not a straightforward description of your work. It’s a sales letter. It should be persuasive and seduce the agent into requesting your work.

And this is why writers struggle with queries, because they can’t bridge the gap between writing to entertain (or inform or inspire) and writing to persuade. It’s a different mindset, and it requires an ability to look at one’s work as a product that has a selling point.

"This is a business which has always been driven very much by supply rather than demand factors. Consumer taste doesn't actually change all that much but what does change is the availability of books in different channels. "It is tougher to predict how we will be 12 months from now, as an industry, than pretty much any time that I can remember."