OK, I’m bloody exhausted. There’s only so many meetings, parties, dinners, jokes, and seven-hour plane rides one can take before totally crashing. I’ve been traveling since October 1st—after spending a late night out with Paul Auster on the 30th, which seems like maybe two months ago—so forgive my sloppy posts of the day. I do have one or two more general Frankfurt things I want to write, but first I feel like reposting some of the articles I wrote for the “Publishing Perspectives Show Daily.” All apologies if you already read these, but I need a few days to get my head back together . . . Up first are a couple pieces on OR Books, a relatively new publishing house with a non-traditional business model.
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Speaking at both Tools of Change and the International Digital Rights Symposium, John Oakes of the newly launched OR Books elucidated his business model. Compared to traditional publishing structures, its simplicity is quite revolutionary.
Launching last fall, OR Books has a few specific strategies: it offers its authors relatively low advances (and high royalties), edits the books quickly so that they can be released months after completion (instead of years), spends the bulk of its budget on marketing each title, and licenses titles to traditional publishers. The big difference between OR and other indie presses is that OR ignores chain stores, Amazon and the like, only selling its books directly through its Website. This practice truly upends the industry’s beliefs at a time when most other publishers are trying to figure out how to make their e-books available through as many distribution channels as possible.
Every title that OR publishes is available through its site in paperback and non-DRM e-book formats. (There’s also a bundle option through which a reader can get both the paperback and e-book at a sizable discount.) As Oakes pointed out, the benefits of this system check a number of boxes on a publisher’s wish list: no returns, much more accurate pre-publication print runs, and profits that go straight to the publisher and author. OR Books author Douglas Rushkoff pointed this out in a recent interview with Publishing Perspectives, but rather than focusing on advance sales to a handful of large customers, OR Books is focused on selling real copies to actual consumers.
The OR Books business model is deceptive in its simplicity. In many ways, it’s a throwback to a time before supply-chain intermediaries permanently altered the bookselling business—a time when publishers were also printers and bookstores. It’s a model that—if successful in the long run—thrives on both satisfying the needs of customers and maximizing the publisher’s return. (It’s an obvious thing to point out, but OR doesn’t have to pay sales reps, or attend sales conferences, etc.) Although many authors and agents have been amenable to this model, Oakes said that a number of editors at traditional publishing houses are completely baffled and antagonistic toward such a strange business model.
Which might be why so many speeches at TOC Frankfurt revolved around the need for publishers to adapt by focusing more on the needs of consumers and less on how to retain old standards.
Andrew Savikas’s keynote looked at the intertwined evolution of form and format and the need to find better customer-friendly formats (i.e., apps) for things like guidebooks and other “database” titles. His underlying point—that readers still desire traditional content (classified listings, movie information) but in new, more convenient formats—really set the tone for the conference.
Pablo Arrieta’s presentation on readership in Colombia, and the restriction of content due to the lack of an iTunes/iBookstore in Latin America, was illuminating in its global perspective.
Sheila Bounford of NBNi also discussed the need for publishers to reconnect with readers, resonating with the theme of the day.
It’s true that TOC—or any call for “change” in the publishing industry, really—is mostly focused on implementing new technologies to increase revenue. That said, along with this expansion into enhanced e-books and video games comes a parallel change in philosophical outlook—which may, in the long run, have an even larger impact on the industry as a whole.
The publisher’s blurb for Oleg Pavlov’s The Matiushin Case promises the prospective reader “a Crime and Punishment for today,” the sort of comparison that is almost always guaranteed to do a disservice to both the legendary dead and the ambitious. . .
One hundred years have passed since the start of World War I and it is difficult to believe that there are still novels, considered classics in their own countries, that have never been published in English. Perhaps it was the. . .
In the London of Hédi Kaddour’s Little Grey Lies, translated by Teresa Lavender Fagan, peace has settled, but the tensions, fears, and anger of the Great War remain, even if tucked away behind stories and lies. Directly ahead, as those. . .
One of the greatest services—or disservices, depending on your viewpoint—Bertrand Russell ever performed for popular philosophy was humanizing its biggest thinkers in his History. No longer were they Platonic ideals, the clean-shaven exemplars of the kind of homely truisms that. . .
The best way to review Alejandra Pizarnik’s slim collection, A Musical Hell, published by New Directions as part of their Poetry Pamphlet series, is to begin by stating that it is poetry with a capital P: serious, dense, and, some. . .
Upon completing Albertine Sarrazin’s Astragal I was left to wonder why it ever fell from print. Aside from the location, Astragal could pass as the great American novel. Its edginess and rawness capture the angst and desires we all had. . .
When my eyes first crossed the back cover of Fabio Genovesi’s novel Live Bait, I was caught by a blurb nestled between accolades, a few words from a reviewer for La Repubblica stating that the novel was, however magically, “[b]eyond. . .
“I preferred the war to the plague,” writes Curzio Malaparte in his 1949 novel, The Skin. He speaks of World War II and the destruction it has wrought on Italy, the city of Naples in particular. But the plague he. . .
With the steady rise of feminist scholarship and criticism in recent decades, it is little wonder that the work of Louise Labé should be attracting, as Richard Sieburth tells us in the Afterword to his translation, a “wide and thriving”. . .
In Conversations, we find ourselves again in the protagonist’s conscious and subconscious, which is mostly likely that of Mr. César Aira and consistent with prototypical Aira style. This style never fails because each time Aira is able to develop a. . .