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Just when I thought publishing couldn’t get any worse…
This morning I got furious about a bit of news, and began to compose a rant so screedalicious I realized I should finally avail of the opportunity proffered me by Amy Hertz at the Huffington Post and write for them. Below, in the interests of those who kindly have me in their RSS feed, is the item in question, cross-posted.
This morning Book Expo America, the largest book convention in the US, and one of the largest in the world, announced that they’d dropped plans to have the exhibits open on Tuesday, the day before the convention opens. (Already the convention had been changed from its customary Friday-Sunday, to a late Tuesday-Thursday schedule, to accommodate publishers’ desire for reduced costs.) The idea was that the floor would be open for a couple hours in the late afternoon-early evening, allowing for an opening night party as is done at the French book fair, the Salon du Livre, and at the American Library Association’s Annual Convention. An opportunity to party, invite media, booksellers, authors, to hang out, have a keg at one booth, cheap wine at another, have a Stormtrooper mix you a cocktail at at third. Celebrate books. Create a sense of occasion, of event.
Nope. Not in publishing. Don’t want to have to rush erecting our foamcore cover mock-ups.
As I confess in this article I wrote for Publishers Weekly the final day of BEA 2009, I’m on the show’s Advisory Committee. I and others have been crying out not just for a party but for at least one day of the show to be open to the public. Witness the remarkable success of events like the LA Times Festival of Books (140,000 attending), the Decatur Book Festival (70,000 attending after only five years in existence), the Brooklyn Book Festival, to name some outdoor events, and New York Comicon, organized by the same folks that organize BEA, but with exhibitors who actually care about the fans, 70,000 of whom show up. (And that’s the me-too Con, not the original Comicon in San Diego!).
Books was once a business where publishers sold to booksellers, and booksellers sold to readers. So BEA was an event where publishers sold to booksellers. But with the chains not needing an event to meet everyone, since everyone beats a path to their door, and with the explosion in the number of books available means that publishers need to motivate readers to read their books, and not take for granted they’ll walk into bookstores and buy, the event needs to be about exciting readers/customers, not hustling the retailers.
But not only are we not getting the public let in for a day, we can’t even be bothered to throw a party for the damn insiders.
Don’t blame the organizers. The decisions get made by the exhibitors that pay for the most square feet at the show. I hate to repeat myself, quoting my own self, but I’m being forced to do so by the obtuseness of the industry I love.
The publishing business is not in trouble because there’s no demand for books. It is in trouble because there are changes afoot in how best to satisfy the demand, changes to which there are suitable responses, two of which are fostering fan culture and generating a sense of occasion, and the leaders of the largest publishing organizations are failing in their professional responsibility to implement these responses. By reducing their participation in BEA at the same time the media participation has increased by almost 50%, by refusing to open the Fair to the readers on Sunday, these CEOs have effectively thrown in the towel. They are managing the demise of the book business, pointing fingers at any generic social forces they can find, failing to see the one place the responsibility can be found, their own damn offices.
Steve Ross, on this site, beseeched folks to stop taking potshots at publishing industry. Steve, our problem isn’t the folks taking potshots at us, it is us. That pain in our foot? It’s not outsiders stomping on it, it’s us, shooting ourselves.
Comments
Yes, Mr. Ross’s article is very irritating. Especially when large corporate publishers threaten to pull all the editing from books if e-versions are to be sold for $4.00.
I’ve been seeing typos (homonyms particularly) in books for close to 20 years now, and widowed white lines where the author has fiddled with one part of a loooong Word document and the text hasn’t re-adjusted properly, and dropped words, and dropped lines… There are now typos in the New Yorker.
I’ve seen Australian publishers publish excellent books of non-fiction - except that the last paragraph undercut the entire premise of the book and should never have been included. The pipeline version of publishing means books that need rewrites must go out in September, as scheduled, regardless.
I confess, my friend, I am puzzled: what editing, fact-checking, or copy-editing remains? What’s left to cut? There’s no bone on that bone. (I read the same threat when David Baldacci was defending Amazon / Kindle-prices. Could there be … talking points?)
I used to work for a [famous name] book publisher and distributor of books, where, with all respect for both the dictionary and reality, the practice could only be described as price-gouging. When this family-held company arrived at the point of ushering an outsider onto the Board, this man sold the editing department (the only dept. that did consistently earn double-digit profits) so the company could make double-digit profits, like the television station he came from.
Which leads us, or at least me, to the related question of CEO craziness.
Sometimes the causes are organic. That one went quite quietly, after the diagnosis. But mostly the craziness is self-induced.
At the large book-related org where I work now, it became the fashion to say, about 10 years ago, “I don’t have to know what you do in order to manage you.” And so the CEO hired friends, and friends of friends, until, 10 years later, nobody in senior management has actually done what the organization is set up to do. CEOs’ terror of being behind the curve leads them into fantasias of self-regard every time another idea blows down the speaking-tubes.
It’s because no one in senior management can work a customer service desk or abattoir line that these orgies of organizational self-destruction are so hard to stop once they get started.
Immediately recent example: the major motion picture studios are now dismantling their distribution-chains, with nothing to replace them but some idea that people will go to their websites and order DVDs. The studios have never been brand;: the products were too variable, the actors were too fungible, and, after the collapse of the studio system, the deals too intricate. Nonetheless, the studios wish to be brands, and so they will be, and so the world will flock to their websites because –
Because, as we all know, major publishers are no better at buying books than Blind Freddie’s dog.
If major publishers knew what they were doing the 9-month no-circ list at your local public library wouldn’t be the fulsome document it is; if major publishers knew what they were doing there’d be no inspirational tales of [Famous Book] being “passed on” 23 times; they knew what they were doing they wouldn’t be bidding for books, one imprint against another from the same house; if they knew what they were doing they wouldn’t have laid off their editors and forced them to become new and noticeable costs as agents; if they knew what they were doing, they wouldn’t be forcing new / aspiring writers to go to independent editing services for actual editing, to eat the loss and lower their own earnings past sustainability. (E-books can forgo editing. The majors have been for years.)
If major publishers are peopled by “idealists and lovers of literature” and still manage to be an astounding farrago of disrespect for the reader, the writer, and the ink, it could be that the owners of major publishing brands are no more “idealists and lovers of literature” than the publishers of major newspapers are left-leaning journalists.
I know all this is a response to Mr. Ross’s article. It echoes your own frustration.
– MF (11/11 02:43 PM)
There are surprisingly few comments here so I thought, simply, that I would leave this comment as encouragement to keep the updates coming. But I’ll say this as someone who works in Books but also in Comics—I’d kill for the enthusiasm of Comic Con put into the context of Books (ie BEA). That place, that energy, is exciting plus the fans are buying.
– Jacob Covey (11/25 04:40 AM)
Richard,
Where are we in the next venture?
Need updates to pacify the book building masses, myself among them.
Require input reports from street level gang warfare aka publishing industry circa late 2009.
A.
– A. E (12/09 09:38 PM)
A.E., sorry things are a wee bit slow. A Request For Proposals with description of the approximate architecture and feature set of the first Cursor community, Red Lemonade, went out to developers a couple weeks ago. Responses are mostly in, and it is some interesting stuff. We won’t be able to substantially act on them until we have some money, of course, which is why the business plan is going to investors this coming week.
I’ll do a slightly more organized response than this in the main blog within a week, but I wanted to respond to you a little more quickly…
– Richard Eoin Nash (12/12 06:26 PM)
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Commenting is not available in this section entry.I ran Soft Skull Press from 2001 to 2007 when we sold it to Counterpoint for whom I continued to run it until early 2009. I founded Cursor and am publisher of Red Lemonade. I now run content and community for the new cultural discoverer Small Demons. After the jump is my bio, since I know some folks come to this site looking for it, and I thwart them by not having a proper one. read more »
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