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"What if there was an algorithm that could predict which novels become mega-bestsellers? Are books like Dan Brown's The Da Vinci Code and Gillian Flynn's Gone Girl the Gladwellian outliers of publishing? [This book] boldly claims that the New York Times bestsellers in fiction are predictable and that it's possible to know with 97% certainty if a manuscript is likely to hit number one on the list as opposed to numbers two through fifteen. The algorithm does exist; the code has been cracked; the results are in"--
Writer F. Scott Fitzgerald's career itself is a metaphor for the vagaries of book publishing. If Fitzgerald would have had his way, we would today refer to The Great Gatsby as either Gold-Hatted Gatsby, Trimalchio in West Egg, or The High-Bouncing Lover. A few years before Gatsby, Fitzgerald had become a literary sensation at the age of 23; Helen Hooven Santmyer, a contemporary of Fitzgerald's, would not have a successful novel published until she was 88 and living in a nursing home. In this book, the author explores that mysterious place in publishing where art and commerce can either clash, mesh, or both. Along the way, a wide range of authors--from the literary greats to today's commercial superstars--editors, agents and publishers share their thoughts, insights and experiences: What inspires writers? (John Steinbeck, for example, wrote every novel as if it were his last, as if death were imminent.) Why are some books successful and appreciated, while others fall into oblivion? The answers are often elusive, never absolute, but the stories and anecdotes are always fascinating.
A companion to the comprehensive guide that’s helped thousands of authors find self-publishing clarity. The world of self-publishing can be daunting at best; completely overwhelming at worst. From navigating those early days of writing and editing your manuscript, to finding the most effective marketing strategies, there’s nothing simple about putting your book out into the world. And you don’t just want to put your book out—you want it to flourish. On your own, that may feel like a stressful guessing game, but with the right tools, it doesn’t have to. Wherever you are in the process, self-publishing veteran Tim McConnehey and his team of experts at Izzard Ink are here to help. Following along with McConnehey’s critically acclaimed guide, 10 Secrets to a Bestseller: An Author’s Guide to Self-Publishing, this workbook will help you take those crucial next steps toward success, walking you through the major tasks of self-publishing as you fill out detailed worksheets like “Do Your Research,” “Assemble Your Team,” and “Going to Retail.” You’ll end up with a personalized roadmap to your own project, and helpful strategies that you can revisit time and again throughout your publishing journey. No matter what your publishing goals are, the 10 Secrets to a Bestseller Workbook will help you figure out where you are now and where you want to go next.
How do you grab a book publishing deal with a publisher of your dreams? You offer them a potential bestseller they can’t refuse! With “All-in-One Guide to Become a Bestseller,” learn how to write a critically and commercially successful book, build readership loyalty, create the ultimate author platform using social media tools, learn how to sell your author brand, come up with a foolproof launch plan for your book, and manage your expectations as a first-time author!
This essential guide, now available in a fully updated new edition, is the only available study of all bestselling books, authors and genres since the start of the last century, giving an unique insight into a hundred years of publishing and reading and taking us on a journey into the heart of the British imagination.
First published in 1981, this book offers a study of British and American popular fiction in the 1970s, a decade in which the quest for the superseller came to dominate the lives of publishers on both sides of the Atlantic. Illustrated by examples of the lurid incidents that catapult so many books into the bestseller charts, this comprehensive study covers the work of Robbins, Hailey and Maclean, the 'bodice rippers', the disaster craze, horror, war stories and media tie-ins such as The Godfather, Jaws and Star Wars.
While the term 'bestseller' explicitly relates books to sales, commercially successful books are also products of individual creative work. This Element presents a new perspective on the relationship between art and the market, with particular reference to bestselling writers and books. We examine some existing perspectives on art's relationship to the marketplace to trouble persistent binaries that see the two in opposition; we break down the monolith of the marketplace by thinking of it as made up of a range of invested, non-hostile participants such as publishing personnel and readers; we articulate the material dimensions of creative writing in the industry through the words of bestselling writers themselves; and we examine how the existence of bestselling books and writers in the world of letters bears enormous influence on the industry, and on the practice of other writers.
From airport bookstores to deckchairs, as audiobooks downloaded by commuters, and on Kindles and other portable devices, twenty-first century bestsellers move in old and new ways. This Element examines the locations and mobilities of the contemporary bestseller as a multi-format commercial object. It employs paratextual, textual, and site-based analysis of the spatiality of bestsellers and considers the centrality of geography to the commercial promise of these books. Space, Place, and Bestsellers provides analysis of the spatial logic of bestseller lists, evidence-rich accounts of the physical and digital retail sites through which bestsellers flow, and new interpretations of how affixing the label 'bestseller' individual authors and titles generates industrial, social, and textual effects. Through its multi-layered analysis, this Element offers a new model for studying the spatiality of popular fiction.
This volume of articles comprises papers from the 25th annual conference of the Poetics and Linguistics Association (PALA), which was held at the University of Huddersfield, England, in July 2005. The theme of the conference was 'Stylistics and Social Cognition', and as usual at a PALA conference, this theme was interpreted very widely by the participants, as the reader of this book will no doubt conclude. At the heart of this volume, there is something of a reaction against the cognitive developments in stylistics, which might be seen as being in danger of privileging the individual interpretation of literature over something more social. The concern is to consider whether there is a more collective approach that could be taken to the meaning of text, and whether recent insights from cognitive stylistics could work with this idea of collectivity to define something we might call 'commonality' of meaning in texts. Stylistics and Social Cognition will be of interest to those working in stylistics and other text-analytic fields such as critical discourse analysis and those concerned with notions of interpretation, collective meaning and human communication.
Despite the displacement of countless authors, frequent bans of specific titles, and high-profile book burnings, the German book industry boomed during the Nazi period. Notwithstanding the millions of copies of Mein Kampf that were sold, the era’s most popular books were diverse and often surprising in retrospect, despite an oppressive ideological and cultural climate: Huxley’s Brave New World was widely read in the 1930s, while Saint-Exupéry’s Wind, Sand and Stars was a great success during the war years. Bestsellers of the Third Reich surveys this motley collection of books, along with the circumstances of their publication, to provide an innovative new window into the history of Nazi Germany.