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A PURPOSE OF LARSSON (1): WHAT IT LOOKS LIKE A BEST SELLER AT A HAMBURGER? EDITORS MEETING

Summer came and go like crazy riding booksellers windows and managed to sell a knife the last book in the trilogy of Larsson, talisman to which the sector has given the magical powers that lead us out of Book now assumed crisis. Booksellers want to cash as, dealers expect such million-selling curb the tsunami of the return (of the "other" books, of course), and "other" publishers are torn between submitting its next plan to sell or engaging editorial coarse linen, because I do not know what to do with the bands of unsold books. The

blame for everything, according to some, is the homogenization of demand, ie best-sellers, who are eroding the market, generating negative anomalies pandemic reading for the entire sector. But what is a best seller? Answer to question Mexican writer and editor Roberto Pliego in the latest issue of the journal Textures:

1. Best seller: a term coined by Harold Bell Wright in 1902, which he defined as "comfort food for people Simple. "
2. Long before there was talk of the book industry or mass society, the best seller was already there: The Green Mountain Boys (1839), Daniel P. Thompson reached 50 reprints twenty years Uncle Tom's Cabin (1852), by Harriet B. Stowe, sold 300 thousand copies in one year.
3. The best seller is written not to literature but to ring the cash register.
4. The best seller is the book that sells as many copies as soon as possible: Quixote, the Bible or Hundred Years of Solitude are best sellers.
5. The best seller is a product is the sign of the speed and vaccine is rereading.
6. Just outside the bestselling reader a library ... or a bookstore.
7. The best seller is alien to literary criticism or literary history: not precise analysis, only seeks immediate experiences.
8. Al bestseller benefits you free price and leeway in intellectual property and copyrights.
9. The best-selling author pays no regard to literature, but the commercial director of the publisher.
   

few days ago one of our classes in the Edit Master University of Salamanca , in partnership with Santillana, the students we interviewed about the almost inevitable question of compulsory sale of books from Larsson, the result of the subsequent discussion the following question arose: Why bestsellers and bestseller large fall in most cases, statistically speaking, in two or three large publishing groups? We place the following working hypotheses that could explain this phenomenon:

1. editorial talent management: to have a major economic power the profile of big publishers hire editors 'smell' of literature.
2. are publishing with a strong commercial: they have a cultural bias-apostles.
3. These companies do not have editors but " coolhunters '(trend hunters) who are literate society emerging trends in each country.
4. The economic power of the editorial-or group-determines access to manuscripts and authors of caches very high. This could explain a Follet, a Le Carré or Grisham, but could not explain Dan Brown, a John Boyne, the first Harry Potter or the same Larsson.
5. are companies with capacity to develop a coherent and consistent marketing, with a cross brace from other parts of the media conglomerate.

What do you think? Should any of these causal factors? Do not be a mix of various hypotheses? , or a chance in the theory of catastrophes? The pandemic of the bestseller "favor the fixed price drop?

ended with a quote from Roberto Pliego: In what looks like a bestseller to a hamburger? In that one and another are made from ingredients unreliable and taste better when they are offered at bargain prices.