The publishing game, like the recording industry, is in evolution. Book publishers are struggling. Many authors with impressive publishing records are finding it hard to place their work. Bookstores are disappearing. According to some, the novel is a dying art form.
Dying or evolving?
Will Self wrote a compelling (and long) piece for the Guardian about the novel’s demise, pointing out that the long narrative form is in an evolutionary stage, not a death rattle. I think he’s got a point. The novel is just one type of long form narrative. Prior to the novel’s prevalence, Dickens was publishing his stories in magazine serials.
In the New Yorker, George Packer wrote a piece, Is Amazon Bad for Books? about how Jeff Bezos used the book industry to gather data and figure out how to sell stuff to intelligent people. In doing so, he removed the publishing gatekeepers from their castles and turned publishing into a two-tiered system. On the one hand, there are the Harry Potter Shades of Grey trends that go from page to movie screen to McDonald’s plastic lunch figurines. Below that there’s a swamp of cheap unknowns. Gradually, the masses are becoming the gatekeepers.
If his version of the trend is correct, we’ll we end up with picture books of cats and dogs.
Cats and dogs
As much as I like cats and dogs, I don’t think I could survive on a steady diet of them.
I bet there are many others who feel the same. More people than ever are curling up with their kindles or kobos or iphones. They’re reading on packed streetcars and planes. They’re drinking too much wine at reading clubs trying to remember explain metaphors. They’re hearing and participating in Canada Reads debates and lapping up Oprah’s recommendations (I’d link to her, but her site is weird and I don’t think she needs the promo 😉 ).
We crave those moments, sitting alone, allowing our imaginations to take wing. Where the stage of imagery is on the screen of our minds, rather than constructed for us. Where stories allow us to explore places and experiences outside the realm of normal day-to-day schedules.
The gatekeeper role is changing places, but it doesn’t mean that, in all cases, they’re lowering their standards.
Less talk, more action
A few initiatives are out there that are helping to figure this conundrum out.
In a new blog on self-publishing, The Guardian makes a very good point: The trouble with many self-published projects is quality. New authors, so proud of the plain act of stringing so many words together, get their work out without much reflection or input. Then they’re defeated when their work doesn’t catch on. Or, writers who do manage to find quality are not so good at promoting their work, and get lost in the deluge.
But how do you get a one-man band to realize they may be very good at playing the harmonica, but may need some help with the bass drum?
Indie Author Land has a competition to find the 50 best self-published books of the past year. They received 5,000 nominations in 2 weeks. (Yikes!).
Should book publishers be morphing into book development midwives? Change the emphasis from putting stories on printed pages and focus on developing the writers? A model similar to that has existed for playwrights in Canada (PDCC). These organizations read early drafts of a playwright’s work, provide feedback and when ready, hold a reading with professional actors. These organizations are government funded, but so are literary presses.
If anyone out there knows of another indie author community, please let me know in the comments. Or do you have something to say on this topic? Go for it.