Taking a risk vs guaranteed sales – how do children's publishers decide what to print?

Ever since I had a great conversation with my friend Nick at Nosy Crow last week, I have thought a lot about new titles and how publishers decide what to print. As I'm walking the dog I often get lost in formats, extents, topics, special features, promotion ideas, key messages etc. I think it's a sign that I love my work, so it's a good thing!

Nick and I spoke about how publishers approach new children's book ideas and how creative and sales departments often have differing approaches to decision-making. We concluded that publishers need to find the balance between taking a risk on a brand-new idea and ensuring (almost) guaranteed sales.

Publishers have always been discerning about what to print but I would argue that due to rising/fluctuating printing and shipping costs, they are now even more so. They don't want to have piles of unsold stock in warehouses and they don't want buyers to send back books if they haven't been able to sell them. Ethically, many publishers will be looking to reduce their carbon footprint and impact on the environment, so there may well be further costs and investments there, too.

As well as looking for new accounts, sales teams will be returning to existing customers each year to sell upcoming titles and revisit backlists. Over time, sales teams learn the kinds of books different buyers and retailers around the world are looking for. They know, for example, that in the UK a different topic and format will appeal to The Works vs Waterstones on the high street, a National Trust shop vs a trendy book table in Urban Outfitters, and Heathrow airport vs a supermarket in rural Scotland.

Sales (alongside editorial) will always be looking closely at how many units a book needs to sell to make a decent profit margin. Profit can be spread across a whole list, so some may make more than others – but essentially it needs to make sense to make the book, even if the idea sounds super exciting and innovative.

In new title meetings, sales will be listening to proposals and mentally working out who they could pitch to and how much interest there will be, based on their experience and knowledge as well as the current state of the territories they represent and their preferences. This isn't to say that they aren't interested in taking risks, but their job, alongside foreign rights, is to generate secure sales for the company.

Creative departments understand this, of course, but Nick and I have both noticed that editors and designers often come from a slightly different, perhaps more risky perspective, asking a different question: what books does the world need?

In other words, how can we create new books that meet the ever-present yet also changing needs of children, families, caregivers and gift buyers around the world?

Creative teams may choose a customer avatar to focus on (e.g. a parent with children of a certain age with certain interests) or they may think more widely. I generally begin building new book ideas by honing in on one important key message for a book and working out its purpose (to educate, inspire, make kids giggle etc).

In my editorial training course, we focus on taking risks and meeting needs as well as sales potential as we fill in a new product development sheet (NPD). Participants are asked to work out who would buy the book and where it would be sold as well as finding comparative titles to determine the market. They are also asked what positive change their book will bring about.

Anne is currently on module seven of twelve of my course and so she has made great progress on her NPD. She is particularly interested in licensing so we are working up a proposal for a new Bluey title: a sticker activity book for children's parties. She's carried out loads of market research on the brand and similar titles and knows exactly what the book could be, and importantly, why it should be made (what need it meets).

Quite simply, she knows that the book's purpose is to help throw the ultimate Bluey-themed party, and its key message/positive change is to bring everyone together to create amazing Bluey party memories. She has written a fabulous 30-second sales pitch and has come up with some genuinely brilliant special features to help make throwing a party easier. Importantly, Anne has looked at both sales potential and ways to meet the needs of sleep-deprived, time-poor parents, all within the rules of a major brand. It's impressive!

In module one of my course, I talk about how one key trait of a successful children's editor is interest in children's media and predicting trends.

Can an editor look at what is going on in the world, determine the constant, current and future needs of book buyers, and then envisage books to solve or help in some way? And can they pitch it in a way that demonstrates that there is a genuine if not pre-existing market? In other words, can they work out what could sell well in six months, one year or even two years down the line? It takes time to create a book, so this foresight needs to tap into the collective consciousness and can be a gamble. Sometimes, the world isn't ready for a new concept but other times it is crying out for one.

If you are interested in my course, please go to the featured section of my LinkedIn profile to find a post that outlines the details or send me a DM on here. Also on my profile is a blank new product development sheet if you are interested in taking a look at one of those. Under activity, click on documents.

Have a lovely Tuesday!

Claire x