Discussing Main Publishing Trends of 2018

booksIt is always good to be aware of the dynamics of the industry you represent, so I try not to miss the annual emails on main publishing trends that come with my subscriptions to various online resources for authors. In 2018, the major authors’ resource authorspublish.com has been discussing the following tendencies in the publishing industry:

1. The euphoria of self-publishing is wearing off ;

2. Independent publishers are becoming more likely to be closed to unsolicited submissions;

3. There are fewer eBook-only publishers (According to authorspublish.com, “A number of eBook-only publishers have closed this year. Others that have focused on eBooks only are now publishing print versions as well.”);

4. More literary journals are charging reading fees;

5. More prestigious literary journals are charging reading fees;

6. More literary journals are having free submission options;

7. Presses have no time to send rejections;

8. Print journals are becoming rarer and rarer;

9. Publishers are consolidating;

10. More small manuscript presses are using Submittable. 

These trends were kind of anticipated by experts, but now we have an ‘official’ confirmation that the changes are rue, which allows every author to make better conclusions about their personal writing and publishing strategies for 2019.

These facts, however, cannot provide a full and objective picture of the industry dynamics without another piece of information–on  international bestsellers lists for fiction books, published in a few European countries (France, Germany, Italy, and Spain) in English. After studying the lists provided in Nina Sabak’s article at publishingtrends.com and a few other similar resources, outlining current publishing trends in Russia, Poland and Germany, I came up with some interesting conclusions:

  1. There is an internationally developing tendency to print and sell mainly the books of certain genres: mainly mysteries, thrillers, then some fantasy books and a bit of speculative prose, while other popular genres (like romance) are not printed in large quantities in Europe;
  2. It is possible that the major publishers are taking steps toward printing mainly the bestsellers that can be regarded as ‘universally’ accepted pieces of reading and will more certainly be purchased as gifts (to be placed on a bookshelf and read again and again) rather than as pocket editions. This fact confirms that, due to the  quickly developing attitude to printed books as souvenirs rather than information (knowledge) carriers, the publishers all over the world tend to print a limited variety of the most popular bestsellers (innthe most popular genres), while the rest of the books tend to be distributed as e-books.

I also believe that in the nearest years, a new tendency to write shorter fiction books will continue to develop. This conclusion does not follow from the above mentioned articles, but the general tendencies listed here indirectly confirm such possibility.

Any way, the changes are coming tha they are inevitable. Let us see what changes the coming year is going to bring to the publishing industry. And now, just look at the beautiful picture below — very probably, for the last time, because as of now, more and more people prefer to have a kindle device or a phone in their hands while reading.

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Writing a One-Sentence Novel Summary

Every author of fiction is familiar with the torture of putting together a one-sentence summary of every story they write: the sentence that serves a few purposes at a time. It is supposed to do a few things–

  • define the so-called “story question”;
  • help readers decide whether they want to read this book;
  • be the writer’s navigation tool that shows him/her the direction of writing;
  • become a very effective marketing tool, etc.

Writing a one-sentence description is always a big burden for the author, because every story contains numerous ideas, suggestions and messages, dozens of which can be precious for the readers, but the author must choose only one message: the one that will serve as a solid carcas supporting the whole structure of the future book.

Which message is it? How can the author identify it? What is the best way to put it together into that magical one-sentence statement? Many authors spend weeks trying to answer these questions, learning from each other, looking for a ‘universal’ algorithm, which would satisfy everyone: the author, the reader, and the publisher of the book.

The only constant in the book writing process is the triple alliance of the author, the reader, and the publisher. To understand what each party is expecting to see in our one-centence summary, it is necessary to look at their goals.

The author’s initial goal in writing a book is to impress a large number of people (what else can make a person voluntarily spend years of her life working like a dog without any guarantee of future rewards or benefits?) To impress a large number of people one needs to say something witty in that sentence: something new and revealing, something that others do not normally see the way the author can see it;

The reader’s goal is to obtain memorable experiences (emotional, intellectual, ethical, aesthetic, etc.) Obtaining memorable experiences is always associated with suffering (not physical, but emotional): every reader wants to experience a new level of it with every next book they take from a shelf, which means that our one-sentence statement must contain an emotionally disturbing idea or image; in other words, it should produce an effect of a needle prick.

The publisher’s goal is pragmatic: to hit the best possible sales and thus, to make the best possible profit, which means that the publisher is expecting to see a couple of amazingly precise and effective keywords which will capture the minds of millions.

Now, let us see what we can get from this. Summing up the above paragraphs, our magical one-sentence novel description must meet the three abovementionned basic conditions, which means that the author should make sure to include the following elements into the description:

one-sent-novel-summary-elements1

After we have given it a lot of thinking and put a few words opposite each of the three above items, we can move on to building the structure of our sentence. Again, how can we satisfy everyone who is going to read it?

Many publications on the topic suggest a variety of one-sentence summary structures which have worked well for the bestselling authors. We certainly cannot ignore them. Having studied a dozen of such publications, we can see that the proposed examples of one-sentence summaries usually have simple and easy to read structure, so that everyone could grasp all information contained in the sentence right away: literally, at a glance. Majority of sample one-sentence descriptions had the structures similar to this one:

one-sent-novel-summary-scheme1 I provided an example below the scheme, which illustrates the elements of the sentence structure. This example can also show us that the sample one-sentence description–

“In a care home for the elderly, a woman draws strength from a mysterious friendship in an attempt to recall past secrets and prove her sanity” (Three Things About Elsie by Joanna Cannon review)

is not only built in accordance with the ‘Where-Who-How-What for’ scheme, but it also meets the three conditions which we discussed above:

(1) it contains a new, revealing look at a common, quite failiar and socially important topic (elderly woman draws strength… from friendship; … to prove her sanity);

(2) it is emotionally touching and grabs the reader’s attention right away (elderly woman;  friendship; prove sanity – these words produce expectation of a touching, possibly sentimental, maybe even dramatic, but definitely emotionally intense story);

(3) it has the ‘magical’ keywords, which immediately attract attention of the target audience (the words mysterious, secret draw our attention to the genre and style of writing: as we read them, we expect a great degree of suspense in the story; also, the phrases draws strength, an attempt to recall, and prove her sanity immediately evoke imagess of a dynamic and captivating plot, where the characters must take tremendous  efforts to achieve their goals).

As you can see, our ten-minute study of the ‘secrets’ of successful one-sentence summary writing has already revealed a lot of valuable information; I am sure we can get more if we study more examples of such summaries. I am going to continue my research and write another post about successful one-sentence novel summaries in this blog soon.

You are very welcome to paste your comments, suggestions and — maybe — your examples of one-sentence summaries below this post. Let us analyse them together.

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ALEX MARKOVICH

Author, scriptwriter, theater director