"Consolidation carries costs you won’t find on a price sticker. Dozens of formerly independent firms have been folded into this conglomerate: not just Anchor, Doubleday, Dutton, Knopf, Pantheon, G. P. Putnam’s Sons and Viking, which still wield significant resources, but also storied names like Jonathan Cape, Fawcett, Grosset & Dunlap, and Jeremy P. Tarcher. Many of these have been reduced to mere imprints, brands stamped on a book’s title page, though every good imprint bears the faint mark of a bygone firm with its own mission and sensibility.
"Decades of consolidation have cost writers and consumers alike. There
is, for one, the persistent gripe of writers and agents: companies
either forbid (as at Penguin) or restrict (at Random House) their
constituent imprints from bidding against one another for a manuscript.
That means not only lower advances, but also fewer options for writers
to get the kind of painstaking attention — from editors, marketers and
publicists — that it takes to turn their manuscripts into something
valuable.
"Among the imprints that survive, the tendency is to homogenize and focus
on a few general fields like ambitious nonfiction, accessible literary
fiction or thrillers. “Legacy” publishing does best in the first
category: it commands the advances needed for research, the editing
talent to shape the writing and the marketing muscle to distribute those
doorstop biographies on Father’s Day.
(Graphic: writersrelief.com)
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