Booksellers versus book buyers

Jeff Deutsch

In his book In Praise of Good Bookstores, Jeff Deutsch lists some of the criteria necessary for a bookstore to be profitable. Here are the first three:

1. Nearly 20 percent of the inventory must consist of products other than books.

2. The books on the shelves must be mostly from the major presses.

3. Stores must leave books on their shelves no longer than four months.

Each of these may work in the favor of bookstores and their bottom line, yet each of them works against those who may actually be their best customers, people who buy lots of books.

Bookstores commonly sell coffee, pastries, greeting cards, magazines, calendars, gift items and a variety of other non-book products. I bought a cup of tea in a bookstore last week. For many stores, these sales keep them in business. But for those of us who go to bookstores to look at books, it often means going to the rear of the store to find what we are looking for.

The big presses publish most of the best sellers and the most famous authors. Yet serious readers are often frustrated when they cannot find less-promoted books by lesser known authors. You can order them, of course, if you know about them, but most of us prefer to hold a book in our hands before committing to buying it.

Even those who shop for books several times a month rarely see every book in the store. I, for example, rarely look at books on the bottom shelves simply because of the inconvenience. Thus it can easily take more than four months for a book to find its reader. Often I don't even hear about a book that sounds interesting until more than a year after it has been published. By then, finding it in a bookstore can be impossible. I must turn to Amazon or order the book from a store.

And so, the rules that make sense for bookstores don't make sense for some of their best customers.

The past catches up

Sometimes the past just won’t stay in the past. Such is the case in Megan Miranda’s 2020 thriller The Girl from Widow Hills.

Twenty years before little Arden Maynor was found in a storm drainage pipe after having gone missing in a storm several days before while sleepwalking. For 20 years she has been trying to escape all the hoopla.

Now with a new name, Olivia, and living in a new state, she tries to live a newlife working for a hospital. Then, sleepwalking once again, she discovers the body of the very man who rescued her those 20 years before. Who might have murdered him? Could she, unknowingly, be the killer?

The more things happen, including the disappearance and death of a friend, the more it seems what happened in Widow Hills is involved in what is happening now. But how is that possible?

Miranda keeps the suspense bubbling in this unconventional thriller. It is never entirely convincing that Olivia would try so hard to keep little Arden in the past, but once you accept that premise, the novel proves a good one.

Strangers become family

When David Baldacci writes a standalone novel, you can usually predict it will be very different from his series books. That is, there will probably be no spies, no assassins and no murderers.

And there you have Strangers in Time, his 2025 novel. But this does not mean the story lacks all the excitement of a typical Baldacci novel. It is just more PG rated.

The persistent German bombing of London during World War II destroyed families as well as buildings. Baldacci brings together three people left alone by the war, creating a new family out of perfect strangers.

These include Charlie,an orphan who must do whatever he can to survive, including theft; Molly, a girl from a wealthy family who returns from the country to find both parents missing; and Ignatius, a bookseller/air raid warden broken-hearted from the death of his wife.

A mystery or two surrounds each of these characters, but together they solve them all.

Obscure books can have a future

Readers are almost alway particular to some obscure author or another, and so, as long as a book is available in Earth's big bookstore (which I construe as every bookstore and every used book store and every library in the world), it has a chance of finding a new audience.

Jane Smiley, 13 Ways of Looking at the Novel

Jane Smiley

There's a lot to like about the long Jane Smiley sentence printed above. Let's take it apart.

"Readers are almost always particular to some obscure author or another ..."

Many readers stick with the best-sellers, reading the same books as everybody else. But Smiley is talking about those more serious readers who discover particular authors and then wonder why everybody else isn't reading their books.

In my younger days, as I've written about previously, I was fond of Edward Lewis Wallant and D. Keith Mano. Why, I wondered, weren't their novels best-sellers? Today few people have even heard of them. More recently I have become enamored with Dexter Palmer and Olaf Olafsson. Why aren't other people reading them, too?

You probably feel the same way about "some obscure author or another."

"... Earth's big bookstore (which I construe as every bookstore and every used book store and every library in the world) ..."

Sadly, neither bookstores nor public libraries keep books around for very long. They need to make room for newer books. Meanwhile used book stores keep disappearing. Yet, as I wrote about a few days ago, people hate to throw out books after they have finished with them. Thus older books by some of those obscure authors can still be found in thrift shops, garage sales, estate sales and other places.

"... it has a chance of finding a new audience."

Some obscure books don't find their audience when first published. Yet books can actually last a long time, and only partly because people hate to destroy them. Sooner or later, as in the case of Moby-Dick and many other classics, they can find their readers. Obscurity doesn't always last forever.

Making a book

Writing, at least on the professional level, is a group effort. We don't normally think of it that way, of course. If someone's name is on the book, the magazine article or the newspaper story, that is the person who gets the credit — or the blame. Yet there are others, usually many others, who are involved.

Rebecca Lee makes this clear in her 2022 book How Words Get Good. Her expertise is book publishing, and in her career she has been involved in many of the steps in the process of making words good, now including writing a book herself.

Even though authors are the ones whose names are on the books, they need help. They need agents to find someone to publish their work, for example. They need editors. Many authors are terrible spellers. They make mistakes of all kinds, and writers are often the last ones to notice their own mistakes. (I know this from sad experience.)

And then there are proof readers. What is the difference between a copy editor and a proof reader?  Lee tells us. Essentially, a copy editor gets a manuscript ready to be printed. A proof reader checks for errors made by the printer. Does the printed work match what was supposed to be printed?

Lee even devotes chapters to footnotes (her own footnotes are superb, well worth reading), cover designs, blurbs, fonts and what happens when books go out of print. Her book covers an amazing amount of territory — probably too much, actually — and it is a wonderful resource for anyone wondering what goes into making a book.

Feelings attached

But it (a story) exists not as words written in books but as images with feelings attached.

Jane Smiley, 13 Ways of Looking at the Novel

"Images with feelings attached." I like that phrase. 

A few days ago I posted something on the subject of how reading a book a second time is different from reading it the first time ("Same book, different experience," Aug. 17, 2026). This is what Jane Smiley is talking about in the line above quoted from her book, 13 Ways of Looking at the Novel.

Marlon Brando
 in a scene from The Godfather

I think this is one reason movies based on novels we have read tend to be so disappointing. The images in the films conflict with the images left in our mind from the novels. Because film images are so powerful, they tend to overpower those in novels. I read Mario Puzo's novel The Godfather before I saw the movie, yet ever after it has been the movie images that come to mind, not those I had while reading the book. I can't even remember how the novel differed from the movie.

One way to rekindle those original images is to reread the novel, although even then the images in your mind will be different from those you had when you first read the book, and they also may be heavily influenced by the movie.

Yet we still usually want to watch movies adapted from novels we love. We always hope against hope that the images in the film will conform with the images that linger with us from reading the book. Unless the film is really, really good, as The Godfather is, we are usually disappointed.

A distinctive style

Thomas Hart Benton's artistic style is so distinct that even an art amateur like myself can recognize one of his paintings easily. Yet, as Justin Wolff tells us in Thomas Hart Benton: A Life (2012), it took years for him to develop that style. Look at his early paintings and they look nothing like those we know him for.

Benton was the son of U.S. Senator Thomas Hart Benton, who wanted his son and namesake to follow in his footsteps. Instead the younger Benton went his own way, lived in poverty for years and eventually found the style that made him more famous than his father.

Benton called himself a realist, known for his murals that seem to shimmer. His images, while stationary, seem to writhe. Nobody has adequately described Thomas Hart Benton paintings, yet they are instantly recognizable.

Benton met and married Rita, the love of his life,  and she stuck with him through his years of poverty, his heavy drinking, his carousing and his failures, protecting his image as well as his images, selling and promoting his paintings.

It may be difficult to believe that Jackson Pollock, known for his abstract drip paintings, was his student, as well as one of his closest friends. Benton's hot-and-cold relationship with President Harry S. Truman also makes fascinating reading. Benton wanted Truman's approval, yet Truman tended to say what he felt, not necessarily what others wanted him to say.

What I find hard to swallow in Wolff's biography is his conclusion that Benton should have been more like Pollock, more open to abstract expressionism. True, Benton may have been out of step with many of his contemporaries, but he ultimately found his style, and that style served him well.