Editors at publishing houses and film producers are both driven by marketing, by the big idea, by projects that they know they can sell. I think a lot of editors will still say they want to discover the next big voice. That’s true, and having an original voice is fantastic. But at the same time, you need a concept that is going to pop and stand out from the competition. And of course, both industries, film and publishing, follow trends. Angels are very big. Zombies are very big. Vampires are very big. If the global market keeps feeding off those trends, then publishers are going to continue to sell those kinds of books. But at the same time, publishing has a much broader bandwidth than movies or television. You can do forty-five vampire books. But in film and television, you’re not releasing as much product. The studios have cut back the number of films they make. The number of narrative shows out there has been cut back because of reality and alternative programming. So the number of outlets has greatly diminished. So there can only be so many vampire projects, for example. You’ll have True Blood on HBO and Vampire Diaries on CW, but the more vampire shows are already out there, the harder it is to be successful with a new one. There are more publishers than production studios, and a lot more books get made than television shows. Readers devour content in a way that’s a bit different than the way most viewers approach film and television. That’s why publishing can afford to be a little more tolerant of trends. It’s financially dangerous when film and television succumb to the trend mentality. There are tons of zombie shows and films in development right now. Most of them aren’t going to do well, but a lot more zombie books will find homes.
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