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Every year except this one. Perhaps that's it. Because this week I would
normally be in Frankfurt as I have been for the seven previous years. I
have gone so many times that I feel out of sync here in my office instead
of traipsing from 3.1 to 6.0., or immersing myself in the fascinating books
and publishers from New Guinea and Iran and Somali; or like a bee swarm
morphing my way in and around the crowds in the most popular 5.0 and
5.1 halls housing the German publishers.
Hall 8.0, the US, UK, and Israeli hall is sort of a quiet refuge. It is a mini-
mini BEA. The booths are the same in structure, except at Frankfurt they
are called stands. Otherwise add noise and three times the number of
publishers and you could just as easily be at our New York, Los Angeles,
or Chicago conventions. It is nice to see familiar faces. To chat with
colleagues I have made over the years in Frankfurt and only see there.
Though we may not do any rights business together, it is still nice to catch
up. That is what I miss the most about not being in Frankfurt this week. It
was, like for most of us these days, a decision made most prudent due to
the Great Recession.
You see I love all of the books I publish. It is really a prerequisite, possibly
for all small publishers too. If you don't love the book, how can you sell it?
My passion for each and every book is in part why I am told by others how
successful I am at garnering so much media attention for Kales'
publications.
Related to this, I think there are some other things we can do to help
ourselves as publishers. The first place I would suggest we look is not just
at ourselves as most of us are doing in trying to figure out where the
industry is going, wondering if we will survive when people certainly
smarter than me, and perhaps you, have gone out of business or lost their
jobs.
I suggest we look at how we can help two of our primary partners, book
retailers and book printers. After all, though we are certainly in a difficult
spot, personally the most difficult time I have had in my ten years in
business, we are still in a fairly strong position as content providers. If you
look at yourself as a content provider, then the channels of distribution for
that content are the primary areas under greatest distress now. Not the
content providers. We can still do what we do best -- acquire quality
content, shape it, package it, and market it. Whether it be on paper or on-
line, the first two areas of our working lives, acquisition and shaping,
remain largely the same. The content provider is still an integral, in fact
central and indispensable component of the media global transition we
are facing. The latter two areas, packaging and marketing, are in the
greatest flux as we debate the merits of paper and e-books. Thus our
cousins in this industry, book retailers and book printers are far more
vulnerable than we are. We still own the content. We still sell the content.
First a few words about book retailers. They are our friends generally
speaking. I feel confident in saying that about independents. I feel our
friendships with the major chains are more complex as we find ourselves
in competition with them in some areas. Areas such as some of them
having their own publishing programs. In at least one instance I know of a
major book retailer having entirely replaced a well-known study aid imprint
with their own imprint. There are other examples I can mention but for the
purposes of this article, I would simply like to express that our major retail
partners are not angels and neither are we. Independents are our most
reliable friends in terms of equitable partnerships, but of course the
percentage of sales from them is smaller than those from the majors. Thus
we have to make compromises.
We must make a new peace with our retailers. In this difficult time, I
suggest we see how we can help one another rather than pitting ourselves
against one another.
Less money tied up in inventory is more money in our pockets. I think part
of the reasoning behind this flawed returnable model is that we are
deluding ourselves into thinking that we are more like commodity
manufacturers rather than artwork manufacturers. In the first case it is like
toothpaste. In the second case it is like fashion.
Fashion on the other hand, and as an interesting side note the design
firms are also called "houses", i.e. The House of Chanel, offers us some
guidance. Their business model is to present samples of their upcoming
season, just as we do blads and catalogs, take orders from their retailers
for each garment and in which sizes, and then manufacture at one time,
just as we have a first press-run, the bulk quantity of that season's orders.
They do a little overage in some cases but it can not be counted on.
Why is it the best idea for us to fret over supply to meet an unknown
demand with our print runs? In the fashion industry, they manufacture to
the demand and not beyond. Clearly, in some instances if there is a hot
garment then they manufacture more, similarly to our second or third
press runs. Otherwise when the garments for that season are sold out, the
consumer has missed out. Now with the Internet, perhaps that fashion
style could be found used somewhere.
I am not calling for a "Buy America" campaign. But rather a "Think very
carefully before going overseas" campaign. Five years ago we realized
about a 30% savings including freight and tariffs for printing illustrated
books in China. Now, due to intelligence and the competitive nature of
American printers, as well as the tendencies of Chinese printers to have
chiseled away at that tempting 30% differential, prices are about the
same. In fact, after the books leave on a slow boat from China, when you
add in importation fees namely paying longshoremen and truckers in New
York or Los Angeles (Long Beach) to unload and deliver your books to
your warehouse, I think it has become slightly more expensive. Truth be
told, there is still about a 20% savings by printing illustrated books in
Canada. Furthermore, Italy produces the most beautiful artistry. If your
budget permits, for 20% to 30% more Italian printing craftsmanship is well
worth it.
I would like to address economic injustice aspects at some other time. But
for now, briefly, I have been in a Chinese book manufacturing plant in
Shenzhen. I am sure there are others of you who have also gone on press
in China too. When I was there years ago, the workers were paid on
average $16.00 per week for 12-hour workdays, 7 days a week. Today it is
widely reported that 60% of Chinese citizens live at or below the poverty
level while the top 10% live rich lives as government officials and powerful
business brokers, both groups collecting more in bribery money than in
salary as reported by human rights organizations. In conclusion, on moral
grounds alone, please help support American printers.