Bestseller
A bestseller is a book or other media noted for its top selling status, with bestseller lists published by newspapers, magazines, and book store chains. Some lists are broken down into classifications and specialties (novel, nonfiction book, cookbook, etc.). An author may also be referred to as a bestseller if their work often appears in a list. Well-known bestseller lists in the U.S. are published by Publishers Weekly, USA Today, The New York Times, and IndieBound.[1] The New York Times tracks book sales from national and independent bookstores, as well as sales from major internet retailers such as Amazon.com and Barnes & Noble.[2]
This article is about the concept of a book as a bestseller. For other uses, see Bestseller (disambiguation).
In everyday use, the term bestseller is not usually associated with a specified level of sales, and may be used very loosely in publishers' publicity. Books of superior academic value tend not to be bestsellers, although there are exceptions. Lists simply give the highest-selling titles in the category over the stated period. Some books have sold many more copies than current "bestsellers", but over a long period of time.
Blockbusters for films and chart-toppers in recorded music are similar terms, although, in film and music, these measures generally are related to industry sales figures for attendance, requests, broadcast plays, or units sold.
Particularly in the case of novels, a large budget and a chain of literary agents, editors, publishers, reviewers, retailers, librarians, and marketing efforts are involved in "making" bestsellers, that is, trying to increase sales.
Steinberg defined a bestseller as a book for which demand, within a short time of that book's initial publication, vastly exceeds what is then considered to be big sales.[3][4][5]
Early best sellers[edit]
The term "best seller" is first known to have been recorded in print in 1889 in the Kansas City, Missouri newspaper The Kansas Times & Star,[6] but the phenomenon of immediate popularity goes back to the early days of mass production of printed books. For earlier books, when the maximum number of copies that would be printed was relatively small, a count of editions is the best way to assess sales. Since effective copyright was slow to take hold, many editions were pirated well into the period of the Enlightenment, and without effective royalty systems in place, authors often saw little, if any, of the revenues for their popular works.
The earliest highly popular books were nearly all religious, but the Bible, as a large book, remained expensive until the nineteenth century. This tended to keep the numbers printed and sold low. Unlike today, it was important for a book to be short to be a bestseller, or it would be too expensive to reach a large audience. Very short works such as Ars moriendi, the Biblia pauperum, and versions of the Apocalypse were published as cheap block-books in large numbers of different editions in several languages in the fifteenth century. These were probably affordable items for most of the minority of literate members of the population. In 16th and 17th century England Pilgrim's Progress (1678) and abridged versions of Foxe's Book of Martyrs were the most broadly read books. Robinson Crusoe (1719) and The Adventures of Roderick Random (1748) were early eighteenth century short novels with very large publication numbers, as well as gaining international success.[7]
Tristram Shandy, a novel by Laurence Sterne, became a "cult" object in England and throughout Europe, with important cultural consequences among those who could afford to purchase books during the era of its publication. The same could be said of the works of Voltaire, particularly his comedic and philosophically satirical novel, Candide, which, according to recent research, sold more than 20,000 copies in its first month alone in 1759. Likewise, fellow French Enlightenment author Rousseau, especially his Julie, ou la nouvelle Héloïse (1761) and of Johann Wolfgang von Goethe's novel, Die Leiden des jungen Werthers (The Sorrows of Young Werther) (1774). As with some modern bestsellers, Werther spawned what today would be called a spin-off industry with items such as Werther eau de cologne and porcelain puppets depicting the main characters, being sold in large numbers.[8][9]
By the time of Byron and Sir Walter Scott, effective copyright laws existed, at least in England, and many authors depended heavily on their income from their large royalties. America remained a zone of piracy until the mid-nineteenth century, a fact of which Charles Dickens and Mark Twain bitterly complained. By the middle of the 19th century, a situation akin to modern publication had emerged, where most bestsellers were written for a popular taste and are now almost entirely forgotten, with odd exceptions such as East Lynne (remembered only for the line "Gone, gone, and never called me mother!"), the wildly popular Uncle Tom's Cabin, and Sherlock Holmes.
Major publishers[edit]
In April 2013 Penguin Random House was created to become the world's largest publisher. The two major shareholders are Bertelsmann (53%) and Penguin Group (47%) owned by Pearson PLC.[23]
Other major publishers include Thomson Reuters, Reed Elsevier, Wolters Kluwer, Hachette, McGraw Hill Education, John Wiley and Sons, Houghton Mifflin Harcourt, HarperCollins, Simon & Schuster, Macmillan Publishers, and Harlequin Enterprises.[24]
Cultural role[edit]
While the basic dictionary definition of bestseller is self-evident, "a popular, top-selling book", the practical cultural definition is somewhat more complex. As consumer bestseller lists generally do not detail specific criteria, such as numbers sold, sales period, sales region, and so forth, a book becomes a bestseller mainly because an "authoritative" source says it is. Calling a book a "top-selling" title is not so impressive as calling it "The New York Times bestseller". Although the former phrase is assumed to be derived from sales figures, the latter benefits from the high profile of the particular list. A book that is identified as a "bestseller" greatly improves its chance of selling to a much wider audience. In this way, bestseller has taken on its own popular meaning, rather independent of empirical data, by becoming a compromised product category and, in effect, attempting to create a marketing image. For example, a "summer bestseller" is usually determined long before the summer is over, and signals a book's suitability for millions of lounging pool-side readers.
The use of the marketing phrase, underground bestseller further illustrates the independent-from-sales, self-defining aspect of the term. For example, publisher HarperCollins suggested the bestseller potential of Divine Secrets of the Ya-Ya Sisterhood: A Novel by announcing "...four years after her award-winning, underground bestseller, Little Altars Everywhere..." in the promotion. The book went on to achieve bestseller status in the 1990s. In reviews of the 2002 film of the same name, the novel's bestseller status was cited routinely, as in "compelling adaptation of Rebecca Wells' bestseller".[25]
The famous Diogenes Publisher at Zürich (Swiss) started to talk about its own Worstsellers in 2006, and therewith brought a new mode-word into the German speaking European countries.
Connection with the movie industry[edit]
Bestsellers play a significant role in the mainstream movie industry. There is a long-standing Hollywood practice of turning bestsellers into feature films. Many, if not the majority, of modern movie "classics" began as bestsellers. On the Publishers Weekly fiction bestsellers of the year charts, we find: #1: Harry Potter and the Order of the Phoenix (2003); #3. Jaws (1974); #2. The Exorcist (1971); #1. Love Story (1970); #2. The Godfather (1969); among many others. Several of each year's fiction bestsellers ultimately are made into high-profile movies. Being a bestseller novel in the U.S. during the last forty years has guaranteed consideration for a big budget, wide-release movie.[26][27]