Publishing Makes No Sense

Apart from print and e-books, what other formats have you explored—such as audio books, foreign translations, film rights? Do you have advice for a newbie writer exploring additional income streams from the same book?

 

I’m probably the wrong person to ask. To riff on Sergeant Schultz from Hogan’s Heroes: “I know nothing. I see everything. And nothing about this business makes sense.”

E-books? Yes, of course. That’s a given these days.
Audiobooks? Not yet—NO COMMENT.
Foreign translations? Pfft. Let me get readers in English first.
Film rights? Thanks, LMAO. Good one.

So what can I say that’s actually encouraging in a business that defies logic?

I’ll give you this: I know two authors who each sold around 10,000 copies. Not overnight, but steadily. They’re reliable, professional, hardworking, and they show up—at conferences, on panels, in bookstores. Writer Number Two was even asked to revise a WIP and delivered fast.

Both were unceremoniously dropped by their publishers.

One got a “Dear Jane” email that was basically the publishing equivalent of being thrown from a moving car. Neither whined publicly. They dusted themselves off and kept going, because you don’t burn bridges in this industry. You just keep building new ones. What can you control? Not much. But here’s what I’ve learned:

Your cover art matters. We’re visual creatures. Readers judge books by covers, whether we admit it or not. The back cover might entice, the first pages might hook—but it’s the cover that gets the click or the second glance.

Own your rights when you can. When the rights to my Company Files series reverted to me, the first thing I did was rework the covers. Not to throw my previous publisher under the bus (okay, maybe gently nudge them under the tire), but the makeover was overdue.

Focus on your product and your people. Make your book as good as possible, then go meet readers—online, at cons, wherever you can. Nobody knows what will sell, but people respond to connection.

Luck and timing matter more than we like to admit. Walter Mosley made the NYT bestsellers list after President Clinton casually mentioned reading Devil in a Blue Dress. Stephen King once boosted a book’s sales by saying he picked it up while hiding in the bathroom from his wife. (Side note: Tabitha King pulled Carrie out of the fireplace. Give her a medal.)

So yeah—if Stephen wants to duck into a bathroom and find one of my books, great. Just say the title, no praise necessary.

As for film rights? David Morrell’s Rambo spent decades in purgatory, and when it was finally produced, the ending was changed. But thanks to a smart contract lawyer—and back when advances actually meant something—he got paid.

What can I say? 

Do the work. Protect your rights. Stay professional. And keep your expectations realistic.

That, at least, still makes sense.