An anonymous comment from a fellow Ventorship passenger:
My experience has been that publishers and editors can be quite cowardly about telling an author that they're disappointed in sales. Generally, they just sort of go quiet. This happened to me when the preorders by bookstores weren't what they expected. For those that don't know, the most important sales--the ones directly to bookstores--happen before your book is even released. A publisher had promised me some updated sales figures around release day, but when I asked, they got very snippy and sales & marketing responded with something along the lines of 'our team is doing its best for your book' rather than offering any figures. A bad sign, I realize now. It also happens when it's time for the publisher to decide whether they'll give you another contract. I've been ghosted by my own editor, which I think is ridiculous. We authors are grown-ups; we also get bad news from our agents all the time. So why do our publishers think we can't handle a frank conversation?
My debut series in YA definitely did not perform according to what my publisher hoped, and they paid a good chunk of money for it. I switched age categories, and (as you mentioned), my YA sales didn't come up at all. When I went back to YA, my publisher warned that they wouldn't be able to match my first deal (not a surprise because of the amount), but they still offered a very good sum. In the end, mostly due to a preference to retain certain rights, we went to a different publisher who didn't really bring up previous sales at all. At the same time, one of the Big 5 completely stepped back due to my past sales because they felt they "couldn't relaunch me in a way that would get their sales team excited." That stung a bit, but I rallied!
I actually think the concept of your book matters a lot! So, if you have a less-than-great track record, but your newest book is something editors and sales teams are excited about, they don't seem to care as much.
Something else I've heard / something else I actually do -- I know some editors will actually use bookscan to look at the sales of books you comp yours to, so now when I'm going out with a book, I do try to find a book that comps well to mine AND has good sales. The truth is, sales folks (even in publishing) are numbers people, and that seems to be what speaks to them.
I can confirm that switching age categories pretty much gives you a blank slate. I've heard the same is true if you write under a different name. And I think it can be true if you simply switch genres though I don't have hard evidence on that.
Another thing I've heard which seems right to me: it also depends on how many copies of your book they printed. If they printed 20,000 and only sell 5,000, that's annoying for them. But if they print 5,000 and sell close to that, then that's much better.
Side note: we authors (or our agents) can and should ask for print runs ahead of pub. It does give an indication of what sales your publisher expects for your book.
I’m still yet to earn an advance on my books, as I get paid royalties straight away. All 3 of my books are with the same publisher. Though I was told that my editor thought my debut ‘would sell more’ - even though it sold very well for a debut with little marketing. Ever since then I’ve felt a shift. My second book has flopped, I’m almost certain of it (still waiting for payment a month and days after release to confirm this). It’s in a different genre and similar but different pen name, so maybe that will go in my favour long term.
I don’t have much hope for my third book, second romcom, selling well, all because of a lack of marketing from the publishers. They’re also not forthcoming on signing me for more, either - though they haven’t said this, just ignored emails where I ask about next steps. Now I’m trying to decide my next career moves. Say yes to a truly digital first indie publisher, or hold out for a hopeful trad 5/advance treatment.
I’m curious to learn more about getting royalties right away with no advance. Sending out all the good vibes that sales are better for your newest books (I’ve bought them both!) than you thought. I don’t get editors who ghost instead of answering questions even with hard answers
Yes! The idea is you get higher royalty rates and earn straight away. Sounds good, until you realise that it’s a lot of free work and you’re not guaranteed to sell, so the income fluctuates. Though it is nice to have a bit of money come in every month!
I have been told at least twice that my track was a problem. Once to justify an advance amount, once to decline an option. On the second occasion, I was told specifically that my track wasn’t good enough for the genre I hoped to pivot to. (My imprint had folded and been replaced by a new imprint that only took the genre in question.)
Also, my track followed me from YA to adult fiction. At least, that’s how I would explain receiving an identical modest offer, which the editor wouldn’t budge on. With my new book on sub, I’m trying to pivot to a new genre (romance) with a pen name, but so far no one is going for it.
An anonymous comment from a fellow Ventorship passenger:
My experience has been that publishers and editors can be quite cowardly about telling an author that they're disappointed in sales. Generally, they just sort of go quiet. This happened to me when the preorders by bookstores weren't what they expected. For those that don't know, the most important sales--the ones directly to bookstores--happen before your book is even released. A publisher had promised me some updated sales figures around release day, but when I asked, they got very snippy and sales & marketing responded with something along the lines of 'our team is doing its best for your book' rather than offering any figures. A bad sign, I realize now. It also happens when it's time for the publisher to decide whether they'll give you another contract. I've been ghosted by my own editor, which I think is ridiculous. We authors are grown-ups; we also get bad news from our agents all the time. So why do our publishers think we can't handle a frank conversation?
Another anonymous comment from an author:
My debut series in YA definitely did not perform according to what my publisher hoped, and they paid a good chunk of money for it. I switched age categories, and (as you mentioned), my YA sales didn't come up at all. When I went back to YA, my publisher warned that they wouldn't be able to match my first deal (not a surprise because of the amount), but they still offered a very good sum. In the end, mostly due to a preference to retain certain rights, we went to a different publisher who didn't really bring up previous sales at all. At the same time, one of the Big 5 completely stepped back due to my past sales because they felt they "couldn't relaunch me in a way that would get their sales team excited." That stung a bit, but I rallied!
I actually think the concept of your book matters a lot! So, if you have a less-than-great track record, but your newest book is something editors and sales teams are excited about, they don't seem to care as much.
Something else I've heard / something else I actually do -- I know some editors will actually use bookscan to look at the sales of books you comp yours to, so now when I'm going out with a book, I do try to find a book that comps well to mine AND has good sales. The truth is, sales folks (even in publishing) are numbers people, and that seems to be what speaks to them.
I can confirm that switching age categories pretty much gives you a blank slate. I've heard the same is true if you write under a different name. And I think it can be true if you simply switch genres though I don't have hard evidence on that.
Another thing I've heard which seems right to me: it also depends on how many copies of your book they printed. If they printed 20,000 and only sell 5,000, that's annoying for them. But if they print 5,000 and sell close to that, then that's much better.
Side note: we authors (or our agents) can and should ask for print runs ahead of pub. It does give an indication of what sales your publisher expects for your book.
Love this advice about print run knowledge! Thanks, AnSo!
I’m still yet to earn an advance on my books, as I get paid royalties straight away. All 3 of my books are with the same publisher. Though I was told that my editor thought my debut ‘would sell more’ - even though it sold very well for a debut with little marketing. Ever since then I’ve felt a shift. My second book has flopped, I’m almost certain of it (still waiting for payment a month and days after release to confirm this). It’s in a different genre and similar but different pen name, so maybe that will go in my favour long term.
I don’t have much hope for my third book, second romcom, selling well, all because of a lack of marketing from the publishers. They’re also not forthcoming on signing me for more, either - though they haven’t said this, just ignored emails where I ask about next steps. Now I’m trying to decide my next career moves. Say yes to a truly digital first indie publisher, or hold out for a hopeful trad 5/advance treatment.
I’m curious to learn more about getting royalties right away with no advance. Sending out all the good vibes that sales are better for your newest books (I’ve bought them both!) than you thought. I don’t get editors who ghost instead of answering questions even with hard answers
Yes! The idea is you get higher royalty rates and earn straight away. Sounds good, until you realise that it’s a lot of free work and you’re not guaranteed to sell, so the income fluctuates. Though it is nice to have a bit of money come in every month!
It seems almost like the hybrid of traditional and indie publishing!
Yeah! I think my imprint is the big 5’s answer to trying to compete in the digital first market, essentially!
I have been told at least twice that my track was a problem. Once to justify an advance amount, once to decline an option. On the second occasion, I was told specifically that my track wasn’t good enough for the genre I hoped to pivot to. (My imprint had folded and been replaced by a new imprint that only took the genre in question.)
Also, my track followed me from YA to adult fiction. At least, that’s how I would explain receiving an identical modest offer, which the editor wouldn’t budge on. With my new book on sub, I’m trying to pivot to a new genre (romance) with a pen name, but so far no one is going for it.
Thank you so much for sharing this, Margot. Sending all the good energy for your current submission!