I wasn’t familiar with James Patterson Inc., but this 2010 article describes the publishing juggernaut’s dominance:
Like most authors, James Patterson started out with one book, released in 1976, that he struggled to get published. It sold about 10,000 copies, a modest, if respectable, showing for a first novel. Last year, an estimated 14 million copies of his books in 38 different languages found their way onto beach blankets, airplanes and nightstands around the world. Patterson may lack the name recognition of a Stephen King, a John Grisham or a Dan Brown, but he outsells them all. Really, it’s not even close. (According to Nielsen BookScan, Grisham’s, King’s and Brown’s combined U.S. sales in recent years still don’t match Patterson’s.) This is partly because Patterson is so prolific: with the help of his stable of co-authors, he published nine original hardcover books in 2009 and will publish at least nine more in 2010.
There are many different ways to catalog Patterson’s staggering success. Here are just a few: Since 2006, one out of every 17 novels bought in the United States was written by James Patterson. He is listed in the latest edition of “Guinness World Records,” published last fall, as the author with the most New York Times best sellers, 45, but that number is already out of date: he now has 51 — 35 of which went to No. 1.
Patterson and his publisher, Little, Brown & Co., a division of the Hachette Book Group, have an unconventional relationship. In addition to his two editors, Patterson has three full-time Hachette employees (plus assistants) devoted exclusively to him: a so-called brand manager who shepherds Patterson’s adult books through the production process, a marketing director for his young-adult titles and a sales manager for all his books. Despite this support staff and his prodigious output, Patterson is intimately involved in the publication of his books. A former ad executive — Patterson ran J. Walter Thompson’s North American branch before becoming a full-time writer in 1996 — he handles all of his own advertising and closely monitors just about every other step of the publication process, from the design of his jackets to the timing of his books’ release to their placement in stores. “Jim is at the very least co-publisher of his own books,” Michael Pietsch, Patterson’s editor and the publisher of Little, Brown, told me.
To maintain his frenetic pace of production, Patterson now uses co-authors for nearly all of his books. He is part executive producer, part head writer, setting out the vision for each book or series and then ensuring that his writers stay the course. This kind of collaboration is second nature to Patterson from his advertising days, and it’s certainly common in other creative industries, including television. But writing a novel is not the same thing as coming up with jokes for David Letterman or plotting an episode of “24.” Books, at least in their traditional conception, are the product of one person’s imagination and sensibility, rendered in a singular, unreproducible style and voice. Some novelists have tried using co-authors, usually with limited success. Certainly none have taken collaboration to the level Patterson has, with his five regular co-authors, each one specializing in a different Patterson series or genre. “Duke Ellington said, ‘I need an orchestra, otherwise I wouldn’t know how my music sounds,’ ” Pietsch told me when I asked him about Patterson’s use of collaborators. “Jim created a process and a team that can help him hear how his music sounds.”
The way it usually works, Patterson will write a detailed outline — sometimes as long as 50 pages, triple-spaced — and one of his co-authors will draft the chapters for him to read, revise and, when necessary, rewrite. When he’s first starting to work with a new collaborator, a book will typically require numerous drafts. Over time, the process invariably becomes more efficient. Patterson pays his co-authors out of his own pocket. On the adult side, his collaborators work directly and exclusively with Patterson. On the Y.A. side, they sometimes work with Patterson’s young-adult editor, who decides when pages are ready to be passed along to Patterson.