Today’s Publishing Perspectives (which everyone in the universe should subscribe to), has a great piece by Lance Fensterman, the man behind BookExpo America, the New York Comic Con, the New York Anime Fest, and the soon-to-be-launched Chicago Comic and Entertainment Expo. The interaction (or lack thereof) between publishers and readers is a long-running hobbyhorse of mine, so this bit is of particular interest to me:
But for all this nuance, what is the real distinction between all these shows? Since I work so closely with both the business to business model and the con (or consumer/public) model, my observation is that the cons (I use this term generically to define SDCC, NYCC, C2E2) drive media coverage, are epicenters of energy, and allow an incredibly porous connection between creator and consumer. Trade events (exclusively business to business environments) lack this porous connection between creator and consumer. The con model is based on an outside-in style of connection and promotion; the creators are there to hear from the consumers, to influence the consumers, and to interact with the consumers. The model at trade events such as BEA is much more inside-out. Publishers are there to influence emissaries or tastemakers who are then expected to take the message to the book buying public based on what they saw and who they met.
The notable increase of bloggers at BEA and the quality and quantity of information that is conveyed through the Internet is certainly changing the paradigm at BEA as the “public” is becoming increasingly involved through a Web based universe. But this introduction of a public component is a long way from what we see at SDCC or NYCC. I am not suggesting that there is a perfect model for any single event. Different shows serve different purposes. But just as NYCC needs to think about building a better business to business environment to set it apart, so too does BEA need to think about creating more direct communication with the public. We live in a world where everyone feels empowered to have a “say” and to wield some influence. Since this is the case, I think it is appropriate for both NYCC and BEA to ask the question: just who is an industry insider anymore?
Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .
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