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> they have to have a diverse catalog.

They have to have a diverse catalog because they don't know in advance which books will be the big sellers.

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Tolkien and Rowling probably combine to be the majority of British publishing revenues ...
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That wouldn't be the case (if, in fact, it is true) if publishers hadn't cast their nets wide enough to include weird stories about hobbits and magic schools.
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Dav Pilkey is basically western comic books right now. One of his books outsells all traditional publishers - Marvel, DC, IDW, etc.
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It mirrors the venture capital business. Invest in 100 projects. Know that 90 of them will likely fail, 7 or 8 will break even, and just 2 or 3 will succeed. Hope that the successful ones are big enough to cover all the losses of the others plus some.
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no - capital intensive business has very different patterns than popular media business. The visibility of the VCs and the visibility of publishing houses has some small overlap. Day-to-day and implementation details, timelines for success.. audience, partners.. so many things are starkly different IMHO
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It's the shotgun approach. Lots and lots of attempts and ride the successes as far as they can.
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>because they have to have a diverse catalog.

Why must they have a diverse catalog?

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there are two reasons, one has already been noted elsewhere - that you don't know what will succeed so you cast your net wide and hope you got one of the few winners in your catch.

The second reason is that your diverse catalog exists also as advertising for that subset of readers who will become your next authors, they might be dreaming for years about the day they can be published by Random House, just like their hero, obscure writer X from some years ago who did not earn out, but ended up inspiring the next generation's big thing.

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Publishers have a good idea who will succeed. Being able to estimate that is part of the job, and they've become far less diverse and adventurous over time because they've become far more corporate and profit=focused.

Most published books either have a track record as self-published break outs, and/or they're trend chasers, and/or - as the article noted, but didn't say enough about - they have authors who fit a known demographic with known tastes and can be marketed on the strength of the author's story.

The real reason so many books are published is because it's a volume game. Most books are actually profitable - barely - so they need to keep churning them out to make adequate aggregate profits.

It's true that most of the money is made by a few tens of authors, but that doesn't mean no money is coming from the rest.

The tiny number of high prestige titles are cultural loss leaders which give publishers a cover story that they're really about Serious Literature and aren't just content mills.

This used to be a credible excuse when Serious Authors were still a thing, but it's looking more and more threadbare these days.

Serious Authors used to be household names, but hardly anyone can name a Recent Serious Author now. Critics still criticise, competitions still award prizes, and review editors still review, but most of the money and most of the interest is elsewhere.

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