![]() ![]() The problem is that, if none of those new books does strike a nerve and break out, the lack of new trends means that publishers wind up throwing more and more money after stuff whose moment has already passed. Quite often, the people in publishing won’t be able to tell you why a particular book sold a million copies and so they spend a lot of their time trying to strike a balance between ‘more of the same’ and ‘might actually strike a nerve’. Publishing tries to solve this problem by publishing books that are a bit like something successful. Sometimes, successful authors will have back-catalogues that can satiate an audience’s desire but more often than not, great books are kind of hard to find. When a book hits big, readers will walk into a book shop and say they want more of the same. The problem was that for every world-famous author rubbing shoulders with movie stars on late-night TV there were literally dozens if not hundreds of authors who were… well… shit. These were not just good years, they were fat years. Back in the 1970s, a successful horror novel could sell in the hundreds of thousands of copies, the best-known writers were house-hold names and Hollywood producers were falling over themselves to sign the rights to anything even remotely decent. ![]()
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