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Re: A Thought
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From: janeyolen_at_aol.com
Date: Fri, 28 Feb 2014 13:44:10 -0500 (EST)
Christine--not to negate your negative experiences, they sound horrendous and hurtful. But the whole book-not-in catalog, the author not told when a book is going out of stock or OP and oops we have no more; going to a conference where no one has information about your book; kindling before a print run that is going well has been exhausted, etc. has become endemic in an industry that no longer values its midlist, only its frontlist and its mega bestsellers. It's not a color barrier there, for it hits us all, but I can't fault any "minority" for feeling especially slighted as it seems all of a piece with the way they've been treated before. Marketing budgets are slashed except for special books. More and more authors are taking themselves to regional conferences, ALA, IRA, NCTE, Bologna because they aren't invited, or are invited for a single day, no hotel allotted for, wham-bam-thank-you-ma'am.
We have to become our own best resource and force behind our books. Which, I might add, you do magnificently and I am too old, alas, to learn!
Jane
-----Original Message----- From: Christine Taylor-Butler <kansascitymom_at_earthlink.net> To: CCBC-Net Network <ccbc-net_at_lists.wisc.edu> Sent: Fri, Feb 28, 2014 1:31 pm Subject: Re: [ccbc-net] A Thought
I hope this explains WHY the numbers aren't often as "black and white" as we make them.
Two examples from my own publishing experience: 1. I have a book in print that has so far sold 102,000 copies. So imagine my surprise when my "large" NY publisher made it impossible to buy even on its own website - without telling me. Yes - it's still being sold through school channels but only if teachers know where to look and happen to have the right ISBN number (which is also not listed on their site). I discovered that when a large bookstore handling requests for an annual literary festival (out of state) wrote me to ask for help acquiring titles. "Large publisher" is now sending copies to the festival but has not yet explain why they starved off the retail conduit even as demand is growing. Instead they produced a "kindle" version to keep it "in print" even though the majority of school children don't have access to that technology. Interestingly enough, the characters in the book - and early reader - are all African American. The problem and even the setting however, has nothing to do with their race. Many of my best sales (and requests for personal appearances) are in white suburban and rural communities.
2. I was asked to appear on a university panel to discuss diversity in New York. My publisher (a different one) sent books along and marketing materials for other authors who were not speaking or even attending the conference. The only materials for my book were the ones I printed at my own expense. Four color glossy I might add, which a bit pricey to produce since I prefer to use local printers so I can proof the press runs.
In talking to my colleagues I am not alone in my experiences. I have paid my own way to speak on ALA panels and noted that several of my publishers don't display books or even offer book signing opportunities even if the subject of my lecture is ABOUT those books.
So even when the opportunity is available, how does a consumer (or even an institutional buyer) obtain a title they can't get their hands on? I do know this is not limited to authors of color - but have seen the same trend happen for white authors with an ethnic protagonist. One glaring example was attending an ALAN conference where a colleague was invited to speak about her novel featuring an African American girl (a book I loved, by the way) but the publisher sent only copies of her book and marketing materials about a white suburban boy.
At some point you have to know what is really happening before you can conclude there is no commercial demand. Many of those children who are not counted are indeed reading and buying books or checking them out at the library. Locally, the library is filled with students who are reading on site. They just want what everyone else wants - books that seem to have captured the media's attention or that friends recommend.
Hence I said - less Precious and Blind Side and Martin Luther King and Rosa Parks. How about a few more Harry Potters and Hunger Games where we aren't stuck in the background and/or destined to die after saving a white heroine. How about books where we get to be center stage not the add on diversity for marketing purposes.
Before deciding there is no commercial demand, perhaps consider that publishers have done a good job over the last decade of killing it by leading people to conclude that books featuring someone of a specific race are going to be an angst based book about it.
Just saying'…………..Christine
On Feb 28, 2014, at 11:42 AM, Charles Bayless wrote:
As has been mentioned, everything is ultimately driven by commercial demand
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Date: Fri, 28 Feb 2014 13:44:10 -0500 (EST)
Christine--not to negate your negative experiences, they sound horrendous and hurtful. But the whole book-not-in catalog, the author not told when a book is going out of stock or OP and oops we have no more; going to a conference where no one has information about your book; kindling before a print run that is going well has been exhausted, etc. has become endemic in an industry that no longer values its midlist, only its frontlist and its mega bestsellers. It's not a color barrier there, for it hits us all, but I can't fault any "minority" for feeling especially slighted as it seems all of a piece with the way they've been treated before. Marketing budgets are slashed except for special books. More and more authors are taking themselves to regional conferences, ALA, IRA, NCTE, Bologna because they aren't invited, or are invited for a single day, no hotel allotted for, wham-bam-thank-you-ma'am.
We have to become our own best resource and force behind our books. Which, I might add, you do magnificently and I am too old, alas, to learn!
Jane
-----Original Message----- From: Christine Taylor-Butler <kansascitymom_at_earthlink.net> To: CCBC-Net Network <ccbc-net_at_lists.wisc.edu> Sent: Fri, Feb 28, 2014 1:31 pm Subject: Re: [ccbc-net] A Thought
I hope this explains WHY the numbers aren't often as "black and white" as we make them.
Two examples from my own publishing experience: 1. I have a book in print that has so far sold 102,000 copies. So imagine my surprise when my "large" NY publisher made it impossible to buy even on its own website - without telling me. Yes - it's still being sold through school channels but only if teachers know where to look and happen to have the right ISBN number (which is also not listed on their site). I discovered that when a large bookstore handling requests for an annual literary festival (out of state) wrote me to ask for help acquiring titles. "Large publisher" is now sending copies to the festival but has not yet explain why they starved off the retail conduit even as demand is growing. Instead they produced a "kindle" version to keep it "in print" even though the majority of school children don't have access to that technology. Interestingly enough, the characters in the book - and early reader - are all African American. The problem and even the setting however, has nothing to do with their race. Many of my best sales (and requests for personal appearances) are in white suburban and rural communities.
2. I was asked to appear on a university panel to discuss diversity in New York. My publisher (a different one) sent books along and marketing materials for other authors who were not speaking or even attending the conference. The only materials for my book were the ones I printed at my own expense. Four color glossy I might add, which a bit pricey to produce since I prefer to use local printers so I can proof the press runs.
In talking to my colleagues I am not alone in my experiences. I have paid my own way to speak on ALA panels and noted that several of my publishers don't display books or even offer book signing opportunities even if the subject of my lecture is ABOUT those books.
So even when the opportunity is available, how does a consumer (or even an institutional buyer) obtain a title they can't get their hands on? I do know this is not limited to authors of color - but have seen the same trend happen for white authors with an ethnic protagonist. One glaring example was attending an ALAN conference where a colleague was invited to speak about her novel featuring an African American girl (a book I loved, by the way) but the publisher sent only copies of her book and marketing materials about a white suburban boy.
At some point you have to know what is really happening before you can conclude there is no commercial demand. Many of those children who are not counted are indeed reading and buying books or checking them out at the library. Locally, the library is filled with students who are reading on site. They just want what everyone else wants - books that seem to have captured the media's attention or that friends recommend.
Hence I said - less Precious and Blind Side and Martin Luther King and Rosa Parks. How about a few more Harry Potters and Hunger Games where we aren't stuck in the background and/or destined to die after saving a white heroine. How about books where we get to be center stage not the add on diversity for marketing purposes.
Before deciding there is no commercial demand, perhaps consider that publishers have done a good job over the last decade of killing it by leading people to conclude that books featuring someone of a specific race are going to be an angst based book about it.
Just saying'…………..Christine
On Feb 28, 2014, at 11:42 AM, Charles Bayless wrote:
As has been mentioned, everything is ultimately driven by commercial demand
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Received on Fri 28 Feb 2014 12:47:05 PM CST
