There was another new phenomenon with Blue Lily, Lily Blue, too - one that started before it was published. Where were all the e-readers going? Articles online had headlines like PEOPLE NO LONGER ENJOY READING EBOOKS IT SEEMS. So I expected to see a sales drop in book three, Blue Lily, Lily Blue, but as my readers are historically evenly split across the formats, I expected it to see the cut balanced across both formats. Sometimes this change in numbers is so extreme that publishers cancel the rest of the series, which you may have experienced as a reader - beginning a series only to have the release date of the next book get pushed off and pushed off again before it merely dies quietly in a corner somewhere by the flies. The number of folks who try the first will always be more than the number of folks who make it to the third or fourth. They’re usually games of diminishing returns, for logical reasons: folks buy the first book, like it, maybe buy the second, lose interest. Now, series are a strange and dangerous thing in publishing. The print copies sold just as well as before, landing it on the list, but the e-copies dropped precipitously. Book three, however, faltered in strange ways. All three of its predecessors hit the bestseller list. It’s the story of a novel called The Raven King, the fourth installment in a planned four book series. Now, with those statements in mind, here’s the story. It is only about two statements that I saw go by:Ģ) someone who pirates the book was never going to buy it anyway, so it’s not a lost sale.
Publishing can’t afford to publish the new and midlist voices without the James Pattersons selling well.
It is only about how piracy affects a book’s fate at the publishing house.ģ) It is also not a conversation about book prices, or publishing costs, or what is a fair price for art, though it is worthwhile to remember that every copy of a blockbuster sold means that the publishing house can publish new and niche voices. sales to readers and libraries.Ģ) This is not a conversation about whether or not artists deserve to get money for art, or whether or not you think I in particular, as a flawed human, deserve money. This means that the fate of my books, good or bad, is largely decided on U.S. publisher first, who then sells my rights elsewhere. readers any less, but because I am published with a U.S. Here are a few things we should get clear before I go on:ġ) This is a U.S. I didn’t think I had much to add to the piracy commentary I made yesterday, but after seeing some of the replies to it, I decided it’s time for this story. I’ve decided to tell you guys a story about piracy.
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