Wednesday, 27 August 2014
Tuesday, 1 July 2014
Monday, 2 June 2014
The Frustrations of Being an Independent Publisher or Why Amazon is Actually Saving Independent Publishing
Many authors and independent publishers have no issue with this, having suffered at the hands of traditional routes to market via high st retail outlets for longer than they care to remember. Everyday is a battle trying to convince book buyers to have a look at their titles. Knowing that it is pretty much a futile effort on their behalf. A cursory glance if we're lucky followed by a quick dismissal as buyers return to the 'sanctity' and 'safety' of the lager publishers. So, what are buyers afraid of risking by investing in small businesses in Britain - by this I mean small independent publishers. The answer is pretty much nothing. Let me explain.
All books 'bought' (and I use that term very loosely) by buyers are actually 'bought' on sale or return. Meaning that if after a designated period the books have not sold, they are returned to the publisher and any monies exchanged are promptly returned to the retailer in exchange for the books. So, no risk for the retail outlet. Now let's look at why they prefer dealing with larger publishers - yes, they have larger marketing budgets so there is more likelihood that there will have been some exposure to the title from the consumers point of view...possibly. But here's the kicker - they run extraordinarily large runs of books. On the sale or return method (or no risk of exposure to the retailer method as I like to call it) the retailer can 'buy' thousands of copies of a single title and flood the stores with them - it's great for turnover for two reason.
1: The publisher is likely to pay for prime locations in the store to actually enhance selling more copies (Don't believe the charts or the hype. It's all about how deep a publisher's pockets are)
2: The retailer can return every unsold copy sometimes within weeks of publication to the publisher and claw back every single penny - sometimes they don't even have to display the books - let's face it, who can check every single store, right?. The large publisher gets a little cash boots to quickly invest and earn some interest off before the books are returned to them. i.e you scratch my back...
With buyer's reducing range of indie books in store it is becoming increasingly difficult and frustrating for independent publishers to get vital book events to promote books even at a local level. A certain high street store invariably hides behind an array of excuses when trying to decline a book signing or launch event in store. Managers up and down the country seem at odds as to what excuse they can use not to engage with independent publishers. Usually this terminates with a veiled response ending at the MD's door.
Here is a couple of corkers I have been told over the past year:
"Oh, you need to guarantee 80 sales on the day to make it worthwhile" To which I challenged them to name any single book which had sold 80 copies in a day in the past 6 months. Silence pursued.
"In line with our new stricter author event guidelines, I must consider whether her books are suitable for our market and will actively sell off the shelf, and unfortunately our sales don't reflect this." To which I responded, If your buyers aren't buying the book and placing them in-store how can they sell? Silence pursued.
There is much wrong with publishing and book retail in general - don't get me started on publishers selling off their over large runs at ridiculously cheap prices to supermarkets and remainder stores. These are usually the remainders sent back from the high street stores - but when there is an absolute stranglehold on buyers by the big five publishers it is difficult for independent publishers who scrape a living through Amazon to have much sympathy for their plight when they complain about an uneven playing ground. If you want an uneven playing ground try wearing the shoes of an independent publisher for a day.
Saturday, 22 February 2014
Friday, 11 October 2013
We are all guilty of it. Terms such as hotly tipped literary sensation, bidding war bonanza and the next JK Rowling (Substitute any authors name you care for here, it depends on the genre – Stieg Larsson, Stephen King, EL James etc). These are no more than PR devices meant to engrain in the mind of the casual reader some element of worthiness to their next ‘must-have’ purchase. The same can be said to books which win awards. The reality is that even the Man Booker is no more than a bun fight in a tea shop. Awards are supposed to be a recognition of achievement but often real achievement and worthiness is overlooked in the fog of PR and deep pockets. Deep pockets to fund the PR machine and to pay the fees needed to get a book shortlisted. No, I am not suggesting any impropriety; the Man Booker is open to all publishers as long as they can fund the prize money. By which I mean coughing up £5k if you are shortlisted and a further £5k if you win. So clearly this award does discriminate on a basis of cash flow and circumstance.
So, how do we learn to discriminate between the fluff, puff and hyperbole? Discretion and curiosity remain two key tools in our armoury and forgive me but this is where I am going to praise Amazon for what it is allowing to happen in the book buying marketplace. It is giving the consumer or the reader a little more democracy and choice. It does not discriminate anywhere near as heavily as ‘those who know better’ and make our choices for us. It allows the consumer the chance to find the good, the bad and the downright awful and this allows the cream to rise free from the restraints of PR.
This is not an attack against PR. It is one of the best and most powerful tools that can be used with discerning journalists and editors as long as there is an actual story, but when the story clearly is lacking and it is no more than the contents of a hot air balloon, it pays to pinch yourself every now and then and scratch beneath the surface a little deeper to find the truth and remember not everything you read is true.
Friday, 19 July 2013
As news filters through that JK Rowling’s unmasking as the author of The Cuckoo’s Calling was from her lawyers’ it seems a little hard to swallow. If Rowling was serious about keeping her crime writing pseudonym of Robert Galbraith safe, you would assume everyone connected to the project would have been made to sign an non-disclosure agreement (NDA) with severe penalties for anyone found leaking the story or those connected to anyone leaking the story. Not wanting to duck the issue, this could look like a well timed PR stunt designed to do exactly what it has achieved and that is to sell a load of books after stirring curiosity. Will there be swift justice?
It really does beggar belief that the best friend of JK Rowling’s solicitor’s wife, would disclose this information on Twitter, let alone the fact that the trusted legal employee (Chris Gossage) would be so careless in the first instance to reveal the truth so casually. Stranger things do happen though. Would this happen at Penguin? Or is it all a PR lark? If true I dare say Ms Rowling is huffin and puffin as well as effing and blinding.
Having sold 1500 copies prior to the leaking, the book has now been reprinted with over 140,000 copies flying onto the shelves.
Ms Rowling is not naive and I cannot imagine she would have had no measure for recourse built in to keeping her identity safe. If this is not a PR stunt then we can safely assume that there will be consequences for Russells Solicitors, Chris Gossage who revealed the identity to his wife’s best friend Judith Callegari who promptly repeated it parrot fashion on Twitter – how ironic. If true, they must be feeling like a bunch of tits.
It certainly does make you wonder about the standards of legal professionalism, and whether Ms Rowling is appointing a new legal team to take action. I can already see them circling like birds of prey.
Thursday, 4 July 2013
Recently Caffeine Nights announced a first look deal it has made with Richwater Films, an extremely vibrant and exciting British film production company, and I was drawn to thinking about the parallels between the digital revolution happening in both of our industries. Publishing and the film (or Movie) industry is being transformed and democratised by digital. I use the word democratised because that is exactly what is happening. Not only is digital giving greater access to people who would have been shut out of the old worlds of film and books but it is also transforming the way we are working. The advent of high definition cinema quality images shot through DSLR which can be purchased by companies rather than being on the treadmill of forever loaning equipment and buying film stock, let alone the worry of processing the shot footage and storage of negatives etc has been swept away with the new tide of digital. Digital in publishing means so much more than eBooks. It has affected every part of the book making process from design to the finished product. The same can now be said of the films you watch.
Quality, as ever will out but because something is new and presented from new sources it should not be dismissed. The democratisation I speak about also includes gaining access to creative input from people who would never have been accepted by the ‘old school’ and this is not just the working classes but bright young, middle aged and old film makers and publishers from different backgrounds, classes and ethnicities. This is the true democratisation. The ingress of digital is reaching many of our visual and audio arts. Beginning for me with photography and music before the tendrils of digital and advent of technology allowed publishing and film to join the club. I see digital as the new wave or punk revolution for our time and it is a breath of fresh air. It opens a world where ideas can be discussed more freely and investment in those ideas more attainable through the cost savings digital offers. This brings new art, and obviously here I am talking about books and film and all each encompass, to the masses.
Straddling the divide between publishing and film is the author or screenwriter. Authors like our own Dougie Brimson, who has carved a career in both industries through his bestselling books like The Crew and Top Dog, selling thousands of copies and writing screenplays for features such as Green Street starring Elijah Wood and the forthcoming screenplay of Top Dog from his own novel for Richwater Films. Dougie is a prime example of an author who has capitalized on digital in both industries through talent, hard work and determination.
This digital era defines success in different ways and offers different channels for success. While it is great to have film distribution to a network of cinemas or book distribution to a network of book shops it is no longer necessary for that to happen to have a hit on your hands. There is an eager audience devouring new digital content. At Caffeine Nights and Richwater Films we are lucky to be working in both the traditional and new world of distribution. Our books will be available in stores as well as online. Films such as Richwater Films up and coming ‘Vendetta’, starring Danny Dyer and Vincent Regan will get a theatrical release (through distributor Anchor Bay) before it reaches the consumer shelves as a DVD, where it will be seen by many thousands of viewers and of course eventually online.
The book industry used to sneer at entrepreneurial authors who went down the self-publishing route and called it ‘vanity’ publishing. Now it has a new respect through the sheer force of numbers in sales it commands with some authors. The film industry is also battling with an entrepreneurial spirit that is embracing digital, those roughneck mavericks with their low budget features and guerrilla style film-making techniques. Arguably some of the output may be less slick than their big rich cousins and I really do mean arguably - in some cases it’s difficult to tell the difference between a £1m pound movie and a £30m pound movie - but it is also fresher and doesn’t feel as sullied or tainted by a corporate shroud which often stifles originality and creativity. It is this democratisation that frightens the establishment .
Digital is the common factor that drew Caffeine Nights and Richwater Films like magnets to work together - combining our talent pool so each can benefit. I am equally sure that other arts have been brought together in similar fashion. Without this revolution neither company would exist, or at least not in the way they do today. We have chosen to ride the technological new wave flowing through our respective industries and seize the opportunities each is presented with. It is without doubt one of the most exciting times to be in publishing and film making in the UK ever.
Many years ago Paul Weller wrote “This is the modern world, we don't need no one to tell us what's right or wrong” For me this sums up the democratisation of digital.