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Bestseller Breakdown: What It Takes to Become a Bestseller and Why It Does(n't) Matter

August 16, 2011

Writers dream of plastering the words “Bestselling Author” next to their name on business cards, resumes, books, blog posts, photos, and virtually every other place their moniker appears. And they can’t be blamed—that phrase counts for a lot, especially for authors hoping to attract customers with a “national bestseller” banner on their cover. But what exactly does it mean to be a bestseller? And how much does it really matter?

 

Books are traditionally considered bestsellers when they meet one of three unofficial requirements: (1) placement on the New York Times bestseller list; (2) placement on the Wall Street Journal bestseller list; or (3) placement on the USA Today bestseller list. And, if we’re being frank, the biggest prestige comes in making the illustrious New York Times list.

 

So what does it take to get on one of these things? The number of sold books required to achieve bestseller status is virtually indefinable. The numbers necessary are relative to which other books are in the market the same week as yours. Books on the very same bestseller list can have drastically different sales counts. In his blog post “Bestseller: How Many Copies Do You Have to Sell to Become a Bestseller?” Jeffrey Krames sites a week in August 2010 in which Elizabeth Gilbert’s Eat, Pray, Love topped the lists, selling 140,000 copies. The fifth bestselling book that same week sold less than 11,000 copies—a 129,000 difference from the first-place seller.

 

Genre lists are an entirely different ballgame. The New York Times separates books into categories, and the number of books sold required to hit each of those genre categories is immensely different. For that same week in 2010 Krames discussed, Tom Rath’s StrengthsFinder 2.0 topped the business category, selling just over 9,000 copies. Number two on the list, The Big Short by Michael Lewis, measured in at 4,200.

 

It’s also important to note that bestseller lists only reflect velocity of sales—not overall success of a book. A title could be a “tortoise seller,” moving eight hundred books per week for an entire year but never making any of the lists. Not all sales are reported to the lists, either. Each list has its own way of determining quantity, usually through a catalog of sales reported to them by selected bookstores, and none of the lists are comprehensive. In fact, sales through specialty stores like Walmart, Target, and Christian bookstores are usually not collected, and for some authors, those can be the locations of the majority of their sales.

 

In some ways, bestseller status is becoming less relevant in this age of ebooks, apps, and digital downloads. Can a free ebook downloaded 100,000 times in a week be considered a bestseller? Not according to the New York Times, but it certainly must have been one of the most-read books of the week. In the long run, that will matter a lot more.

 

The Times only recently started including ebook sales on their list, and ebook sales for advice books, how-to books, children’s books, and graphic books are not captured at all. Although ebooks only account for about five percent of overall book sales right now, that number is sure to rise.

 

The Times list is also backlogged by several weeks. Sales for the week ending August 6 won’t appear in the print edition of the Times until August 21. In our digital world, trends can rise and fall with almost terrifying rapidity (silly bands, anyone?); sometimes what was selling three weeks ago has no bearing on today.

 

Amazon, on the other hand, does update its list hourly, and the site recently separated free ebook lists from paid. This likely reflects actual popularity a little more closely than the Times list, but being an “Amazon bestseller” doesn’t exactly have the same ring to it. But will it eventually? Or are bestseller lists on their way to obsolescence?

 

Being on the New York Times bestseller list is still a great way to build sales and does hold a lot of cachet—we can’t deny that. But in the end, authors should concentrate on the longevity of their book and its cross-revenue potential.

 

Our advice? Don’t measure your success solely in book sales. Keep in mind the long-term strategy for your book—increased exposure for yourself and your company. If you only sell three thousand books but those books translated into more clients and, ultimately, more profits for you, then “Bestseller shmestseller!” we say. Slow and steady can and will win the race.

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No More "Tuesdays with Marley": Avoid Copy-cating Bestsellers

July 16, 2009

One of our favorite moments of last May’s BookExpo coverage was this one-liner from Bob Miller of HarperStudio: during a discussion on “Stupid Things Publishers & Booksellers Do,” he said, “No more Tuesdays with Marley?” He was, of course, referring to the hastily (and poorly) produced copycats that tend to follow breakout successes in the book world. (Here’s looking at you, Sense and Sensibility and Sea Monsters.)

The lesson is to not let market trends alone dictate the book you decide to write and publish. Most of the time, book buyers will see right through a blatant attempt to piggyback onto a successful book that was probably a success because it was a well-written and smartly packaged book—not because it contained special subject matter (boy wizards, emo vampires, etc.) that readers craved in and of itself.

Anyway, if you thought Tuesdays with Marley was clever, you’ll love the fake-bestseller contest put on by Steve Hely, author of How I Became a Famous Novelist (Grove Press). His book includes a mock NYT bestseller list [PDF alert], and he invited others to come up with their own bogus book titles. A personal favorite, from @ami_with_an_i: "Punk Girls Don't Get Fat: The Secrets of Staying Skinny on Just Two Packs of Camel Wides and a Flask of Cheap Whiskey a Day." See them all on Twitter and on Facebook. (PS: This is also near-brilliant social media marketing, obviously.)

Harry Potter = Death Star

July 11, 2007

nielsenlogo.pngThe Nielsen Company has released a report on the pervasive, indomitable Harry Potter brand in media, PW Daily reports. Most curious in the report is the money made from Potter transubstantiation: U.S. consumers spent $11.8 million on Harry Potter-licensed trademark cookies, candy and gum products since June 2002. Some other highlights:

  • The first four Harry Potter films have grossed more than $3.5 billion worldwide
  • The four Harry Potter movie soundtracks combined have sold more than 1.1 million copies in the U.S. There have been 180,000 total downloads of songs from those soundtracks.
  • According to a recent Nielsen Cinema survey of moviegoers, 28% of persons 12+ in the U.S. have read one or more of the previous Harry Potter books, and 15% have read all the Harry Potter books to date.

According to Nielsen's press release, of the top selling books in the U.S. since 2001, three were Potter books. Four Potter films are included in the 20 highest grossing films of all time.

Bigger Discounts Just in Time for the Holiday Season

October 25, 2006

Barnes & Noble announced deeper discounts for their membership club members to help compete against discounters, warehouse clubs and online retailers. Members pay $25-a-year and receive a 40% discount on fiction and nonfiction bestsellers, and a 20% discount on all hardcover titles. They will also continue to receive a 10% discount on everything else sold in the store, including coffee and paperbacks. Members had received an extra 10% discount in addition to the usual 30% discount off hardcover bestsellers, and a 10% discount on other adult hardcover titles.

In an article by Jeffrey A. Trachtenberg of the Wall Street Journal, Joseph J. Lombardi, Barnes & Noble’s chief financial officer, is quoted as saying "You have to be competitive. We've been talking about softness in the hardcover business, and this lets us support that format with our best customers."

To learn more: http://online.wsj.com/article/SB116174027712702867.html?mod=2_1167_1

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