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PS. By way of clarification, as some were confused, “On the internet no-one knows you’re a gay knitting dog” alludes to this iconic New Yorker cartoon from 1993.

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The good folks at Booknet Canada are doing a conference in March Calculated Risk: Adventures in Book Publishing and, for their sins, are inviting me up to do a keynote. But since that’s not expiation enough, they did an interview with me for their BNCTV.

One sign of a good interview is when the interviewee learns at least as much as the interviewer and I was lucky enough to have exactly that experience at the hands of Morgan Cowie. I’d fun doing this, and check out the second frame for a completely different and rather hilarious cut of the interview by Mark Bertils.

And this is Mark’s remix. Thank God he didn’t make me seem like I was trying to rap, or some such.

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I’d a lovely lunch late last month with George Gibson, Publisher at Bloomsbury USA, a man generous with galleys and reading copies. And I, missing the daily activity of scheming how to connect a given book with the right readers, can be a little over-generous, i.e. maybe a wee bit loquacious, excessively unstinting with suggestions about what reviewer might like it, what bookseller handsell it, what institution host an event, etc., etc.

That day George was the unwitting beneficiary of me in full here’s-another-thing-you-could-do! effect. He’d brought along a galley of Wild Romance: A Victorian Story of a Marriage, A Trial, and a Self-Made Woman by Chloë Schama (no prizes for guessing Dad’s first name…), a love-gone-awry story, a courtroom drama (her husband denied they’d ever been married and she had to sue him to prove he was her husband) and adventuress’s tale, I thought it’d be great to send galleys to such denizens of genre romance like Sarah and Candy, Jane Litte, Kassia Kroszer, and so forth. And on I went, with solicited and unsolicited advice.

George, at the end of the lunch, graciously noted that his notes on our lunch could be rather useful, both for that book (I’d also suggested Erica Jong as a blurber) and for a few others we’d discussed. In turn, his advice to me was to start charging for such a lunch! I thereupon realized that yes, in terms of my time, and other people’s money, the best, most cost-effective consulting I could do would be ninety minutes over lunch with a publisher, or editor, or publicist, or agent to talk about a few books and offer some marketing tips. He suggested the sum of $250, which sounded reasonable to me.

So I hereby announce this as the primary mode of consultation I shall do from this point forth! Called “My Lunch with Richard,” after the movie of almost the same name, it’s a $250, 90-minute consult on topics of your choosing. You pay for lunch, but I swear I’m a cheap date. And it can be over coffee, if lunch ain’t your thing. Over breakfast would be nice, too! And over the phone or Skype if New York ain’t your place.

A way I can be useful and pay the rent as I get Cursor started-up, eh?

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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.

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[Crossposted from the official Frankfurt Book Fair blog.]

As readers of the Book Fair blog have by now ascertained, my beat certainly encompasses matters digital. And now we’re done with the Fair, the fog is beginning to lift and allowing certain features of the landscape to become more distinct.

All Will Change, Change Utterly (Again and Again)

First a warning, an admonition, really – a core organizing principle of our landscape is that it is now “emergent.” (In philosophy, systems theory and science, emergence is the way complex systems and patterns arise out of a multiplicity of relatively simple interactions.) Or, in relatively simple terms, each action by hardware companies, software companies, media companies, artists, writers, publishers, and retailers affects the landscape.

The falling of barriers to entry has increased the number of these actors operating on the landscape, and their degree of interdependence has grown. So not only will things continue to change, the rate of change itself is likely to increase. We are not just in transition from one state or model to another state or model, we’re in transition to a state of permanent accelerated transition where the model is continuous rapid reinvention.

Publishing will never be stable again.

(Skeptics, remember: if Moore’s Law – which asserts that processing power will double every eighteen months – continues to hold up, and it has held up for 35 years, then 25 years from now the iPhone will fit inside a blood cell.)

Getting with the Reality-Based Program

So, with that caution in mind, let’s look at what the panels and conversations and announcements of the first half of the Fair suggest. My co-blogger Alex summarized a superb conversation Wednesday amongst a pretty much perfectly representative sample of companies facing the digital challenges: Victoria Barnsley (CEO, HarperCollins UK), Richard Charkin (Executive Director of Bloombury Publishing), Andrew Savikas (VP of Digital, O’Reilly Media), and Ronald Schild (MD of MVB Marketing). It was clear from the comments that for all the discussion in the industry of pricing in terms of “should,” ie. what should we charge for digital content, prices are going to be set by consumers, plain and simple.

To allay your skepticism, I should say that this was the trade publisher CEO, Victoria Barnsley, who was saying that. I chatted with Charkin after the event and he emphasized that regardless of where one stands on the law and philosophy of copyright, the business models have to reflect the reality that even if individual shouldn’t hack, copy, pirate, they can, and some will, so the models need to be predicated on that reality, not a fantasy in which some combination of automated takedown notices and digital rights management manages to eliminate illegal copying from the planet.

What this means is that we (publishers, authors, agents) are going to need to make decisions based on the world that is (people will make unauthorized copies, people will undercut your price), rather than the world we will wish for. Until recently, it was not clear that the publishing industry accepted this, but these statements by Richard Charkin, Victoria Barnsley and other industry decision-makers are powerful indicators that this approach has solidifed to the point of consensus.

There is no such thing as an eBook

This is not in fact to say there is no such thing as an eBook but to say that the digital transformation facing the industry is not one is which files downloaded to a reading device are replacing print books, but that digital information and entertainment will not be single files but will be apps, files, websites, streams… Over the course of the Fair various players offered phrases such as “a digital manifestation of what was a book” and “long-form narrative delivered digitally” and “story-telling” and “immersive text-only experiences” and it is clear that the reason for such a profusion of vague terms is not obtuseness but a recognition that we’re not replacing one static-priced unit (pBook) with another static-priced unit (eBook), but finding that our single massive unidirectional pBook supply chain is now just one component of a tremendously variegated set of producer-consumer relationships and each producer is therefore going to need to offer the consumer a range of pricing models: subscription, rental, per unit download, advertising, serialization, fewer or more guarantees of ownership (as opposed to personal license) rights. And other yet to be named or thought up!

The World is Your Oyster

There are a billion web-enabled cell phones. Lexcycle’s Stanza reading app has been downloaded 2.5 million times in 75 of the 80 countries in which the iPhone is now available. There will be 20 Android-based smartphones by the end of this year. This is not an American thing, or an Asian thing, this is worldwide. For example, the country-by-country breakdown shows that while the U.S. is the largest market for O’Reilly’s Snow Leopard OS Missing Manual app at 35%, Italy was second at 23%. China’s Shanda has 4 million people signed up to buy and read novels on their mobiles.

Not only, it turns out, are the readers of the world looking to buy our content if we can deliver it to them digitally, but the world’s leading hardware companies are looking to help us. Along with Sony, iRex, TXTR, and other dedicated reading device manufacturers exhibiting, presenting, and working the floor, two Apple executives were traversing the halls of the Fair to let publishers know all the opportunities that await them on that platform. (Let it be said: that platform, right now, is the iPhone. Not any other rumored device. Apple has not been in private discussions about a larger device and reports that they have are a hoax. But Apple does believe in the opportunity for the publishing industry’s content, contrary to the occasional snarky comment from Jobs.) Apple is working to improve the Books section of the App store to make it more browsable, and they are trying to help publishers find the right developers to work with.

The Takeaway

This year’s Fair has made clear that:

1. This is happening now, the future is already here.
2. Everyone can benefit, no-one is exempt.
3. The transformation is irrevocable, continuous, multivalent, and potentially asymmetric.

Much of the change will not be apparent in the tradition consumer print supply chain for a while, especially in countries with a protected marketplace and/or fixed consumer prices. Take advantage of that breathing space and do not take its longevity for granted””fixed prices are not fixed sales. Instead, use the cushion that that social compact has afforded you to continue the process of advancing the cause of literature in whatever format or experience your country’s reader might desire.

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