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.
Randall Jarrell once argued a point that I will now paraphrase and, in doing so, over-simplify: As a culture, we need book criticism, not book reviews. I sort of agree, but let’s not get into all of that. Having finished. . .
Like any good potboiler worth its salt, Fuminori Nakamura’s The Gun wastes no time setting up its premise: “Last night, I found a gun. Or you could say I stole it, I’m not really sure. I’ve never seen something so. . .
Heiner Resseck, the protagonist in Monika Held’s thought-provoking, first novel, This Place Holds No Fear, intentionally re-lives his past every hour of every day. His memories are his treasures, more dear than the present or future. What wonderful past eclipses. . .
If you’ve ever worked in a corporate office, you’ve likely heard the phrase, “Perception is reality.” To Björn, the office worker who narrates Jonas Karlsson’s novel The Room, the reality is simple: there’s a door near the bathroom that leads. . .
I recently listened to Three Percent Podcast #99, which had guest speaker Julia Berner-Tobin from Feminist Press. In addition to the usual amusement of finally hearing both sides of the podcast (normally I just hear parts of Chad’s side. . .
Let’s not deceive ourselves, man is nothing very special. In fact, there are so many of us that our governments don’t know what to do with us at all. Six billion humans on the planet and only six or seven. . .
“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“And this—what. . .
Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .
In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:
When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .
César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .