Canada's magazine of book news and reviews | Friday, May 9, 2008
Archive for the 'Publishing' Category
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From the Los Angeles Times:
Despite all the hand-wringing by those who claim that literary culture is trapped in a downward spiral, overwhelmed by movies and video games and a 24/7 fixation on Britney Spears’ fender benders, book sales and library visits tell a different story. Last month, the Assn. of American Publishers reported that 2007 book sales were up 3.2% over 2006. Since 2002, the book business has seen a growth rate of 2.5% a year. And at the University of Chicago Library, the number of students slouching through the door topped the million mark last year for the first time.
Besides computers, students can behold marvels that don’t have to be plugged in, such as a newly acquired gem from the 14th century, “Le Roman de la Rose” (”The Romance of the Rose”), a beautifully illuminated manuscript created about 1365, based on the original by Guillaume de Lorris.
“Our library is very heavily used,” said director Judith Nadler. “The digital and the print-based will continue to coexist. We don’t want the electronic instead of the book. We want the electronic and the book.”
This is very heartening, but at the same time, what they call “handwringing,” we call “editorial content.”
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In a move that should have people talking at the upcoming London Book Fair, HarperCollins U.S. has announced plans to launch a new-style publishing program. The man in charge is publishing veteran Robert S. Miller, who is credited for building Disney’s Hyperion publishing program.
According to a press release from HarperCollins:
As President and Publisher of the yet-to-be-named entity, Miller will publish approximately 25 popular-priced books per year in multiple physical and digital formats including those as yet unspecified, with the aim to combine the best practices of trade publishing while taking full advantage of the internet for sales, marketing and distribution. Authors will be compensated through a profit sharing model as opposed to a traditional royalty, and books will be promoted utilizing on-line publicity, advertising and marketing.
The references to leveraging the web sound like the usual breathless PR-speak, but compensating authors through a profit-sharing model does indeed sound like something new and notable. Who knows what it’ll mean for the authors in practice, but it’ll probably be an experiment worth watching.
Meanwhile, The New York Times has posted an article examining HarperCollins’ plans, in which it reports that Miller also aims to reduce (or altogether eliminate) costly returns. The article doesn’t make clear how he plans to do this, except to say that:
The new group will also release electronic books and digital audio editions of all its titles, said Jane Friedman, president and chief executive of HarperCollins, a unit of the News Corporation.
“At this moment of real volatility in the book business, when we are all recognizing things that are difficult to contend with, like growing advances and returns and that people are reading more online, we want to give them information in any format that they want.”
From The Wall Street Journal:
Amazon.com Inc., flexing its muscles as a major book retailer, notified publishers who print books on demand that they will have to use its on-demand printing facilities if they want their books directly sold on Amazon’s Web site.
The move signals that Amazon is intent on using its position as the premier online bookseller to strengthen its presence in other phases of bookselling and manufacturing. Amazon is one of the biggest booksellers in the U.S., with a market share publishing experts estimate to be about 15%. Amazon doesn’t comment on sales.
The news appeared first on Writers Weekly, an e-zine for freelance writers. They have accumulated a huge number of links to stories about the move in the press and on the net and are providing daily updates.
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Love it or hate it, Brooklyn has long been the stomping ground of young(ish), hip American writers. Now, it seems to be the preferred locale of indie publishers, too. According to New York Times reporter Rachel Donadio, Verso, the British indie, and Melville House, the literary publisher – as well as New Left Review and N+1, the literary quarterly – have all pulled up stakes in Manhattan and set up shop across the East River in Dumbo, “the gritty-chic Brooklyn neighborhood whose acronym means ‘down under the Manhattan Bridge Overpass,’ home of million-dollar condos, the York Street Projects, artists’ studios and high-end boutiques.” (The London Review of Books is also rumored to be scouting the location.) Reportedly, the companies were lured by the subsidized rents offered by maverick tycoon and developer David Walentas, the self-proclaimed “Pied Piper of Dumbo.”
Now, if only the publishing establishment would follow suit, Paul Auster, Jonathan Lethem, Jonathan Safran Foer, Myla Goldberg, and Nicole Krauss, to name a few Brooklyn authors, could permanently eschew the L train to Manhattan.
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Despite an unsteady book industry, The Guardian reports there is a growing appetite for self-publishing, citing the rapid growth of one of the first online print-on-demand publishers. Lulu, now five years old, is doubling in size every year and claims it publishes 4,000 new titles each week.
Lulu’s success has attracted traditional book retailer Borders to partner with it, and to launch a personal publishing program in 13 stores across the U.S.
In-store interactive kiosks will enable people to publish their own books-on-demand for just a few hundred dollars - though editing and marketing services cost extra. As for readers, well, what author can really count on those, anyway?
Harvard University has adopted a new policy that may jeopardize the future of academic publishing. According to a piece on Bloomberg.com, the school’s professors have now been afforded much more leeway to publish their research for free online.
Harvard’s decision lends support to the growing open-access movement in academia, an approach opposed by journal-industry representatives who say bypassing journals and their peer-review process may harm the quality of published research.
“This is a large and very important step for scholars throughout the country,” Stuart Shieber, a computer science professor who sponsored the motion to adopt the new policy, said in a statement released after the vote. “It should be a very powerful message to the academic community that we want and should have more control over how our work is used and disseminated.”
The article gets at the other side of the argument by quoting Ian Russell, chief executive officer of the Association of Learned and Professional Society Publishers in the U.K.:
Russell, who represents both nonprofit and commercial publishers, said journals enhance scholarly work through the peer review process, the prestige they carry and links to previous work.
“Why should that be free? That’s value-added material that publishers are adding over and above the raw material,” Russell said. “It’s like saying you can dig silver out of the ground, and therefore silver knives and forks should be free.”
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Advances in digital publishing have brought us to the ever-so-modern and high-tech production of what LibreDigital is calling book “mash-ups.”
The “mash-ups” are custom publications filled with content from several different sources and bound into one handy book. Using the eCompile Service, publishers can create custom publications for the truly demanding customer. LibreDigital is promoting their use for college textbooks and professional directories.
LibreDigital will announce the latest eCompile Service program at the O’Reilly Tools of Change Conference in New York today.
Last year, the Department of Canadian Heritage commisioned a report entitled The Book Retail Sector in Canada, which was releases late last month. (You can read the whole report here.)
Its key findings probably won’t knock the wind out of anyone familiar with Canadian bookselling and publishing. To wit:
The report concludes that Canadian bookselling and reading habits are affected by similar changes and forces as in other Western industrialized nations, that Chapters-Indigo dominates to a potentially unhealthy degree, and that “Canada’s book retail sector faces many challenges today, but many opportunities, too.”
(For more on these developments, see Quill & Quire magazine, passim.)
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In response to all the recent talk about the 21st-century being the Chinese century, The Guardian has put together a fascinating two-part piece about the Chinese publishing industry.
The Chinese literary world is like a parallel universe, almost invisible to many in the west, complete with big hitters (Su Tong and Jia Pingwa), innovators (Xi Chuan and Che Qianzi), and bestselling superstars (Han Han and Annie Baobei), some of whom are earning more than £1m a year.
The first piece looks at the parallel worlds of state- and private-owned publishing houses; the phenomenon of the shu cheng – massive bookstores that are like small book cities; the explosion of reading among young people; cell-phone lit; and a somewhat disturbing trend away from what we would call “literary fiction.”
This rush to the market has led to a “huge explosion” in genre fiction, according to [Beijing-based translator and journalist Eric ] Abrahamsen, with martial arts, sword and sorcery, romance and crime fiction very popular. “It’s sort of a release,” he says, “as if people are saying ‘finally we can sit down and read a romantic novel in the afternoon, rather than worrying’.” He is less optimistic about the prospects for literary fiction, suggesting that authors are “writing for a population that doesn’t want to think about their lives” and would rather just get on with making money. There is a small group of “very smart, very brave” writers trying to understand what’s happening to China in a period of change so rapid that “people are living differently now to how they were even six months ago”, but it is increasingly hard for them to find an audience for their work. “Almost nobody else is interested. The government’s implicit deal is ‘Don’t ask too many questions, just do your thing’,” he explains. “There are a lot of really disheartened writers who would like to put their heart and soul into writing, but who aren’t doing it because most people aren’t reading it.”
The second part of the series can be found here.
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Noted sci-fi author Ursula K. Le Guin weighs in on what she calls the “alleged decline of reading” in a feature essay in the February issue of Harper’s. The article begins with a predictable litany of lamentable reading stats, but then takes the debate in a whole new direction, squaring the blame for reading’s decline on publishers, not readers.
Books are social vectors, but publishers have been slow to see it. They barely even noticed book clubs until Oprah goosed them. But then the stupidity of the contemporary, corporation-owned publishing company is fathomless: they think they can sell books as commodities.
The essay, available only to subscribers, is equally sharp, witty, and angry throughout, though Le Guin’s conclusion that we’d all be better off if “corporate” publishers dumped their literary imprints does seem a little rash. Still, her rhetoric is fine, rabble-rousing stuff.
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The latest news from the annals of text-message lit comes from Japan, where cell-phone novels – books composed on a cell phone’s cramped keyboard and consumed on its tiny screen – are producing bestsellers, emoticons and all.
The Sidney Morning Herald reports that the phenomenon, called keitai shousetsu, is racking up some impressive sales numbers:
Remarkably, half of Japan’s top-10 selling works of fiction in the first six months of the year were composed the same way – on the tiny handset of a mobile phone. They sold an average of 400,000 copies. By August, the president of Goma Books, Masayoshi Yoshino, was declaring in a manifesto that he was determined “to establish this not simply as a fad, but as a new kind of culture”.
Even more surprising, those figures refer to the sale of conventional, paper-and-glue books, not the text-message installments that are sent out to subscribers prior to the book’s publication. Here’s one keitai shousetsu editor’s rationale for why the e-book subscription translates into a physical sale.
It might seem strange that young readers are going out and buying the book after they’ve already read the story on their mobile. Often it’s because they email suggestions and criticisms to the author on the novel website as the story is unfolding, so they feel like they’ve contributed to the final product, and they want a hardcopy keepsake of it.
Too bad participatory novel-writing is the way of the future, not the past: this Quillblogger would have liked to have had a crack at, say, The Brothers Karamazov – another bestseller at the moment in Japan. Cut that sucka’ down to size!
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In response to the latest International Panel on Climate Change report, the most alarming to date, a British environmental organization and publishing industry mouthpiece is promising “a 10% reduction in carbon footprint from 2006 levels by 2015,” reports the Guardian.
The target has been adopted by the industry’s Environmental Action Group (EAG), a panel set up earlier this year by the Booksellers Association and the Publishers Association which brings together high-level figures from Penguin, HarperCollins, Hachette, Random House and Faber.
That figure, however, is non-binding, and is perceived by Greenpeace spokesperson Andy Tait as merely paying lip service to the threat of global warming – not unlike our current government’s embrace of “aspirational goals” in reducing GHGs, come to think of it. Here are Tait’s comments:
Encouraging booksellers and publishers to reduce their carbon footprint by 10% is a positive gesture, but a much more serious impact would be made if the publishing industry insisted that the pulp and paper industry that supplies them cleans up its act. Energy efficiency, clean renewable energy and an end to using paper from ancient forests could transform the industry that supplies the raw materials for our books and magazines.
To put the news in context, the literary blog LitKicks has an interview with Raz Godelnik, CEO of an environmental organization that targets the U.S. publishing sector. Here, he summarizes the damning statistics brought up in the IPCC report:
Deforestation is a significant contributor to climate change. If you look at the last IPCC report that was published this month, you can see that it is responsible for 17.4% of GHG emissions. Only energy supply and industry contribute more….
The paper industry on all its uses (books, newspapers, catalogs, etc.) is a large consumer of the trees cut down worldwide. Just one example – 65% of the trees cut down in the Boreal Forest in Canada are used to make paper – 80% of it goes to U.S. consumers.
For its part, Q&Q is published on 100% Ancient Forest Friendly paper – and we’re not alone in Canada in having made that commitment.
For related reading from Q&Q passim on how the issue has played out in Canada, see below:
Everything’s going green
Greenpeace pushes publishers on paper use
Canadians in Frankfurt push for eco-friendly printing
Despite the eternal precariousness of indie press life, that they often punch way above their weight in sales, award nominations, and critical recognition is an accepted fact in Canada. Not so in the U.K., where indie presses are viewed not so much as vital to a literary culture, but more as justly obscure, barnacle-type entities that can be safely ignored.
Times may be changing, however – at least according to an article in The Independent:
Think of the word “independent” in the book world, and you imagine young fogeys in tweed jackets with leather elbow patches, earnestly proclaiming the merits of obscure novels by Japanese octogenarians which sell precisely three copies before being remaindered.
However, the best-seller lists of recent years tell quite a different story. Eats, Shoots and Leaves, The Life of Pi, Stef Penney’s The Tenderness of Wolves, the Booker-longlisted What Was Lost, by Catherine O’Flynn, all demonstrate that the current crop of independents are energetic go-getters, unearthing treasures that would be lost in bigger houses, and publishing them with focus and a positivity that would put their bigger counterparts to shame.
Specifically on the topic of Yann Martel’s Life of Pi, Jamie Byng of Canongate, who acquired and published the book, provides some of the backstory of its massive success there.
There were several key steps in the success of Life of Pi that highlight the differences between the independents and the conglomerates. The first was acquiring it. As is well known, only one other publisher, Faber — another indie — actually bid for the book. Then, “An amazing amount of care and passionate thought went into the publication of that book. From the commissioning of the artwork from a great designer called Andy Bridge. There was a level of care in the book’s production values, which typified the process.”
Unlike some conglomerates with large budgets, smaller houses rely on endorsements or “puffs” as they are known in the trade. Byng sent a copy of The Life of Pi to Margaret Atwood, and although she was unable to endorse it, composing a very witty poem by explanation – “I Only Blurb for the Dead” – she volunteered to review it, “and so I had my pick of the literary pages. Margaret did a brilliant review for the Sunday Times.” Then, Byng put forward the novel for the Man Booker Prize – this might not sound like rocket science, but as he astutely points out “a bigger publisher might not even have put it forward,” due to the two titles per publisher rule.
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In publishing, where the problem has always been with books not selling, the hip, new trend appears to be not selling books. More and more authors are making their work available for free (sometimes with the expectation of a tip or donation), with the idea that, as with music, spreading the word(s) as widely as possible can only help build a writer’s profile. Paradoxically, it can even help sell books – Coach House Books used to post almost all of their new books, in their entirety, on their web site, with the assumption that few people would read an entire book online, but they might just read enough to order the ink-and-paper version. (More here.)
The latest to open the cage on her own work is Toronto author Sheila Heti, who has placed her entire first book, The Middle Stories, on her website, along with info on how to buy the real thing. (She’s even willing to walk to the post office to mail it.)
Given how short The Middle Stories is, it may work just as well on the screen as on the page. And we have to say, Heti’s clean, easily navigable scans of the book are a lot more readable than that Kindle thing.
The U.S. print-on-demand company BookSurge has teamed up with a website called Ancestry.com to come up with an ambitious new money-making venture, one which just might catch on. It’s a book series entitled Our Name in History, and it’s only available through BookSurge’s parent company, Amazon.com. According to the Book Publishing News blog:
The […] book collection was created using historical records [from Ancestry.com] dating from the 1600s to provide a blend of interesting facts, statistics and commentary about the history of the most common 279,000 last names in America. Now millions of Amazon.com customers can purchase a keepsake about either their own last name or that of their favorite actor, president or media mogul and have it printed on demand by BookSurge.
A quick look at Amazon’s website reveals that each title in the series looks virtually identical: an image of the Statue of Liberty adorns the cover, surrounded by oldy-timey black & white photos of happy immigrants greeting a brand new day. The only element that changes is the family name referenced on the cover. The first title listed, fittingly enough, is The Smith Name in History. There’s even The Zappa Name in History. There is not, however, The Joey Joe-Joe Junior Shabadoo Name in History, in case you were wondering.
Guardian scribe Richard Lea has written a longish piece about the dearth of translated works in the English book publishing market.
In any library or bookshop, the vast majority of books on the shelves are by authors writing in English. In stark contrast to publishing throughout the rest of the globe, translated fiction accounts for only a tiny fraction of the books published in the English-speaking world. In Germany 13% of books are translations. In France it’s 27%, in Spain 28%, in Turkey 40% and in Slovenia 70%, but in Britain and America the best estimates suggest that the fraction of books on the shelves which started off in another language is somewhere around two per cent.
Just to interrupt here for second, how much do these stats really mean? It may well be that smaller countries like Slovenia and Turkey just don’t have as extensive (or well-supported) a literary scene as Britain or the U.S., requiring the importation of more foreign authors. But back to the piece:
Translators also suffer from a lack of status […] Translation is considered by many universities to be insufficiently significant or original to add lustre to an academic CV, while publishers routinely sweep evidence of translation off the covers of books. “It’s weird,” says Allen. “There’s no stigma attached to being an actor rather than a playwright, or a pianist rather than a composer, but there’s this horrible stigma attached to being a translator.”
Can we interrupt again? Is there really “a horrible stigma” attached to being a translator? They surely suffer from a general lack of recognition, but they’re not exactly the damned. And there’s something weird, too, about the attempt to liken the art of translation to the art of acting or playing the piano. Yes, all three jobs are “interpretive,” but theatre and music require actors and musicians to bring a work to life. A novel does not need such mediation; we value the art of writing specifically because it is a direct communion between author and reader. Consequently, translations are always going to fall just short of the ideal. Does that mean translations aren’t worth doing? Of course not. But to deny that there’s something just-slightly-less-than-desirable about them is pointless.
In any case, the most level-headed commentator in Lea’s piece is probably Bloomsbury’s Bill Swainson, an enthusiast for literature in translation who published W.G. Sebald and Javier Cercas, among others.
He’s “sceptical” of figures suggesting that only around two per cent of books in the U.K. are translations. “I think the way to look at it is: ‘Are the good books coming out in the rest of the world finding their way into English, and in good translations?’,” he suggests. “And I think the answer is, ‘Yes, a great many are’.”
Here in Canada, of course, there’s a whole other kettle of fish: are enough of our French-language authors translated into English? Thoughts, anyone?
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Judith Regan, former president of HarperCollins’ ReganBooks division who was fired last year following her controversial plan to publish O.J. Simpson’s If I Did It, is suing HarperCollins’ parent company, News Corp., for $100 million for defamation.
Bloomberg Press reports that Regan’s complaint, filed yesterday, alleges that News Corp. made her a scapegoat for the O.J. Simpson fiasco, fired her without cause, and fabricated stories to discredit her.
Murdoch personally approved the Simpson book and suggested paying $1 million for the project, Regan claims in her suit. When the controversy erupted over the project, the defendants planted false stories in the press to discredit her, Regan said, including one allegation that she was fired because she made anti-Semitic comments and had claimed to be the victim of a “Jewish cabal” in the book industry.
Regan also claims that News Corp. “tried to destroy her reputation because she has information about former New York City Police Commissioner Bernard Kerik that would be harmful to ex-New York Mayor Giuliani and his presidential campaign.”
While not specifying what information she has about Kerik, who she claims had a “personal relationship” with her, Regan said that an unidentified News Corp. executive told her to withhold information and documents from investigators in their probe of the former police commissioner.
Kerik, who was appointed to the post by then-New York City Mayor Giuliani, was indicted Nov. 9 by a federal grand jury on charges of tax evasion, conspiracy and lying to the White House. He pleaded guilty last year to state charges that he accepted thousands of dollars in gifts while in office.
Kerik turned down a 2004 offer by President George W. Bush to run the Homeland Security Department, a post Giuliani recommended him for, after it was disclosed that Kerik failed to pay taxes for a nanny that worked for him.
It will be up to the court to determine what the truth is and if there are some innocent victims here, but the phrase ‘nest of vipers’ keeps coming to mind. Quillblog does not envy the judge in this case.
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The publishing industry is once again the unhappy poster child for the difference between U.S. and Canadian retail prices, but this time the complaint is coming not from consumers or booksellers but from federal Finance Minister Jim Flaherty. The Globe and Mail reports that the minister used a copy of Hary Potter and the Deathly Hallows as a prop at a news conference on Tuesday. Flaherty says he paid 20% more at an Ottawa store than the price listed at a Washington D.C. store he visited last weekend.
The Potter prop flap capped a campaign by Mr. Flaherty to insert himself into the national debate about whether retailers are doing enough to cut prices now that the loonie is trading above par with the U.S. dollar.
Although he has sworn off any threat of government action, such as price controls, Mr. Flaherty met with retailers yesterday in hopes of persuading them to voluntarily cut prices.
Standing against a backdrop that proclaimed he was “Standing Up for Consumers,” he said prices are coming down, but not fast enough, and warned that Canadians will cross-border shop if domestic prices don’t reflect the stronger purchasing power of the loonie.
“There should not be large discrepancies between similar products just because they are sold on different sides of the border,” he said.
Retailers said they think they succeeded in convincing Mr. Flaherty that prices may not drop to the exact same level as U.S. prices because of higher costs faced in Canada.
The Globe story also pointed out that if Flaherty had shopped around he could have bought the book at Ottawa bookstore Collected Works, which is currently selling books at the U.S. sticker price. Costco and Amazon.ca’s prices (heavily discounted from the list) were even cheaper than the price in the Washington store.
The Montreal Gazette has also run a story on the issue which quoted Penguin Canada’s Yvonne Hunter about efforts by publishers to reduce prices, as well as Edmonton bookseller Steve Budnarchuk, representing the booksellers’ perspective. “Like Penguin, Budnarchuk said he and other retailers ‘are taking losses to show customers we’re not insensitive to them.’”
For more on the issue from Q&Q Omni, click here.
There’s a battle brewing over a plan by Raymond Carver’s widow to publish a book of 17 Carver stories, The New York Times reports.
Tess Gallager wants to publish the stories from Carver’s breakout 1981 book What We Talk About When We Talk About Love as Carver originally wrote them.
Largely as a result of that collection, which became a literary sensation, Carver was credited with popularizing a minimalist style. But many of his fans have been aware of reports that Gordon Lish, Carver’s first editor at Alfred A. Knopf, had heavily edited, and in many cases radically cut, the stories before publication to hone the author’s voice. At the time, Carver begged Mr. Lish to stop production of the book. But Knopf went ahead and published it, to much critical acclaim.
Ms. Gallagher, who is also a novelist and poet, wants to see the original stories published as a volume called “Beginners,” the title that Carver gave to the story that became the title story in What We Talk About.
“I just think it’s so important for Ray’s book, which has been a kind of secret, to appear,” Ms. Gallagher said by telephone from her home in Port Angeles, Wash. But, she added, “I would never want to take What We Talk About out of publication.” Those versions of the stories, she said, “are now part of the history.”
Ms. Gallagher’s plan has created controversy. Carver’s later editor, Gary Fisketjon of Knopf, which holds the copyright to What We Talk About, is deeply opposed to the idea.
“I would rather dig my friend Ray Carver out of the ground,” he said. “I don’t understand what Tess’s interest in doing this is except to rewrite history. I am appalled by it.”
Knopf has warned Gallagher that if she tries to publish with another house, it will consider the book an illegal, competitive edition.
It’s a thorny issue that calls into question everything from Carver’s reputation as a master of minimalism to the metaphysical problems of determining what a late author really thought and would want.
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The U.S. publisher Thomas Nelson will be publishing the world’s first eco-friendly Bible later this month, according to The Book Standard.
The Charles F. Stanley Life Principles Daily Bible will be certified by the Forest Stewardship Council (FSC) and production will flow from a FSC-certified forest through a paper manufacturer and printer that have FSC chain-of-custody certification. “Our team is excited to be taking some important steps forward in protecting the resources God has given us,” said Michael S. Hyatt, president and CEO of Thomas Nelson.
The story goes on to point out that the Bible is the most widely circulated book on the planet, which is true, of course, but it’s not like this is the only version of it floating around. We’re not sure who this Charles F. Stanley dude is, but he probably doesn’t have as deep market penetration as, say, King James. Still, it’s a good start.
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