Good to see this massive and important genre with millions of readers (and one in which Amazon Publishing publishes very successfully through our Montlake imprint) getting some media attention, even if the piece is quite short:
“Romance is still too white,” says Nadine Gonzalez, a Haitian-American author now published by Mills & Boon. The publisher has launched a competition to find writers from “underrepresented ethnic backgrounds” in order to “bring more diverse characters” to the genre.
Tall, handsome—and darker [£]
There’s no way this stat doesnt at least make you think:
Mr Fallon said Pearson was selling 20m books a year when he became chief in 2013. This year, it expects to sell 2m.From FT.com today (£)
Absolutely smashing read from a few weeks ago on Scientific Publishing, Robert Maxwell and the implications for Science itself:
And no one was more transformative and ingenious than Robert Maxwell, who turned scientific journals into a spectacular money-making machine that bankrolled his rise in British society. Maxwell would go on to become an MP, a press baron who challenged Rupert Murdoch, and one of the most notorious figures in British life. But his true importance was far larger than most of us realise. Improbable as it might sound, few people in the last century have done more to shape the way science is conducted today than Maxwell.
Is the staggeringly profitable business of scientific publishing bad for science? | The Guardian
In the piece below, Weldon is on the money and authors should keep that in mind:
He thinks publishing a new book is a bit like running a startup company, or – in an analogy closer to this horse-racing enthusiast – a flutter at the track, where “relentless optimism” is blended with controlled risk-taking.
via Tom Weldon: ‘Some say publishing is in trouble. They are completely wrong’ | Books | The Observer.
Interesting piece by Stephen Page of Faber in The Bookseller:
Publishers and other media companies have always been as singular as those who invest directly with talent to license properties. This is changing. Netflix’s House of Cards demonstrates that players further down the value chain are trying to expand their role to include investment in intellectual property. Alongside this, the transformation of self-publishing has demonstrated that those upstream from larger scale publishers are also able to exploit copyright. We are all part of one continuum, and will co-exist to the benefit of readers and writers alike.
via Past, present and future | The Bookseller.