Jun 072011
 

According to a recent USA Today article, retailers such as Best Buy, Target, Barnes & Noble, and Wal-Mart are cutting back on their CD selections. A Best Buy spokesperson is quoted as saying, “As people buy less, we stock less.” Sounds like a self-fulfilling cycle to this observer, but, sadly, one that isn’t likely to be reversed.

There’s more bad news….

In 2010, CD sales fell 19% and are down 8.8% this year.

Pretty dire, huh?

But wait.

Downloaded albums sales are up a healthy 16.8% and downloaded tracks are up 9.6%. Overall music sales are up 1.6%.

Yep, you read right, music sales are up.

Music isn’t going away. Albums aren’t going away. And according to Dave Bakula of Neilson, a company which tracks weekly sales statistics, “CDs are going to be around for a long time.”

So, to summarize what’s happening:  

Downloads are growing, brick and mortar store sales are slipping, online sales of CDs are strong. Music is a growing industry.

(By the way CDs are enjoying the “long-tail” effect: Amazon.com offers 4,000,000 CDs. Great for lesser-known songsters.)

Should we look for the same things to happen in books?

Yes.

The future is bright. Keep on writing and publishing.

Just a write thought.

May 312011
 

I’m fresh back from New York City and the Independent Book Publishers Association’s Publishing University, which they refer to simply as “Pub U.”

The Pub U is held on the two or three days just prior to the huge, annual Book Expo America.

If you are a book publisher or if you plan on publishing, attending both makes a great one-two educational punch. I’ve been in the book biz for 17 years or so, and I learn something new from these two events every year. And, of course, networking is perhaps the most valuable component of both.

My presentation at Pub U was part of a panel that discussed the necessity of a publisher using a distributor or a wholesaler to get his or her books to market. The two others on the panel were Richard T. Williams of Small Press United, a book distributor, and Craig Pollock of Ingram Book Company. Ingram is the 800-pound canary of the book wholesale industry. Nancy Stewart, also of Ingram, moderated.

In the book industry the terms “distributor” and “wholesaler” are not identical. A distributor contracts with a publisher for the exclusive right to supply a publisher’s books to the greater book trade, including retailers, wholesalers, and libraries. A wholesaler sells into the same book trade but doesn’t require exclusivity.

A distributor is supposed to supply active and aggressive sales representation on behalf of the publisher’s titles. This sales representation can get watered down for a number of reasons, including the fact that many distributors represent too many publishers to give first rate attention to any but the largest and most successful ones. A distributor’s staff may not like a title or see its potential, or may not feel the publisher is doing enough marketing for it and therefore may not get behind it.

The distributor usually retains 25% to 30% of net sales for its services.

 Below is a link to the PowerPoint from my talk. The first two slides explain this a bit more.

Steve Mettee Look Before You Leap IBPA-2011 

I think with brick and mortar bookstores accounting for less and less of the market for books, a publisher should think twice before signing with a distributor. That was the gist of my presentation.

What should a publisher do with the extra margin retained when not using a distributor? Spend the money on marketing the books.

 Just a write thought.

Apr 172011
 

The book business is more granular than other businesses. Books are sold one copy at a time.

Hook someone on your brand of toothpaste or a certain wine and you’ll get sale after sale. Hook someone on your book and the best you can hope for is that he buys copies for gifts—and that he has lots of friends—or that he talks it up so others will be prompted to buy a copy.

Here is a quote I stole from a recent edition of Shelf Awareness, a great daily newsletter for those interested in bookselling:

Margaret Atwood (Image from Wikipedia.)

“When people say publishing is a business—actually it’s not quite a business. It’s part gambling and part arts and crafts, with a business component. It’s not like any other business, and that’s why when standard businessmen go into publishing and think, ‘Right, I’m going to clean this up, rationalize it and make it work like a real business,’ two years later you find they’re bald because they’ve torn out all their hair. And then you say to them, ‘It’s not like selling beer. It’s not like selling a case of this and a case of that and doing a campaign that works for all of the beer.’ You’re selling one book–not even one author any more. Those days are gone, when you sold, let’s say, ‘Graham Greene’ almost like a brand. You’re selling one book, and each copy of that book has to be bought by one reader and each reading of that book is by one unique individual. It’s very specific.”

                          —Margaret Atwood in an interview with the Globe & Mail

Canadian Margaret Atwood is a poet, novelist, and short story writer. She has been described as a “scintillating wordsmith.”

As challanging as we find the book biz, many publishers—and authors—manage to thrive. My guess is, excellent writing is the best place to start.

Just a write thought.

Mar 312011
 

Federal Judge Denny Chin, after 13 months of pondering, rejected the proposed amended settlement agreement in the Google Books class action lawsuit.

If you don’t recall…

In 2005, Google began systematically scanning every book they could find. A number of august university and public libraries stepped forward to allow this.

Both copyrighted public domain material was included.

While the libraries would be allowed complete access to the digital copies, Google, at the time, said their goal was simply to allow snippets of each book to be accessed in a Google search.

Some people complained.

Google yelped, “Fair use!”

Everyone wasn’t in agreement. Suits were filed.

Attorneys enriched.

The plot thickened when Google announced they would begin selling copies of any out-of-print book they had a scan of unless the copyright owner objected. These works were given the handle “orphaned works.”

If the rights owner identified himself, and agreed to Google’s terms, Google would share the revenue. A nonprofit Book Rights Registry was to be created to receive the right’s owner’s share if no rights owner stepped up. If the rights were in dispute or unclear, the Registry would play arbitrator. If I recall, there was to be a small fee for this.

Some felt it was unfair to have to opt out of Google’s program. Copyright law is pretty clear on this. Permission must be granted prior to use.

More people complained.

More attorneys were enriched.

Feathers and fur flew. The Authors Guild and the American Association of Publishers joined the fray.

Time passed. Speculations abounded.

Attorneys were further enriched.

The Authors Guild, the AAP, and Google forged a settlement. It was later amended.

In 2010, Judge Chin began his deliberations on the amended settlement. His goal was to be sure the settlement was fair, adequate and reasonable. His long-awaited decision came on March 22. Chin ruled it wasn’t fair, adequate and reasonable.

Here are some of the judge’s concerns.

• The classes that were supposed to be represented in the class action suit were not broadly enough represented. The Authors Guild has about 8,000 author members, the AAP about 300 publisher members. Hardly complete representation of the hundreds of thousands of rights holders.

• An opt-out system fashions an involuntary usurpation of rights. International law came into play here since foreign authors would also have to opt out.

• Antitrust comes into play also. The settlement gave Google a “de facto monopoly on orphan works.”

• Individual privacy is also a concern. Google would get a clear window on what people were viewing and for how long.

The judge’s suggestions included:

• Make it an opt-in rather than an opt-out program.

• Set up systems so others have more access to Google’s repository of digital works.

• Send the orphaned works question to Congress. (The question has gone before Congress before but failed move through to law.)

What will happen now?

It’s anybody’s guess, but here are some thoughts being bandied about:

• Google may start lobbying Congress. What they can’t get by fiat, they may be able to get by cozying up with your local congressman.

• Google may admit their audacity and be content that they have already collected a huge database of rights holder information from those who registered with Google Books while the case was being deliberated and be happy with an opt-in program going forward.

• Chin’s ruling may be overturned. (The legal pundits say Chin was deliberate in his wording making this outcome unlikely.)

• The parties may go back to the drawing board. The Authors Guild and the AAP appear willing to do this. Google, at this writing, simply says it is “disappointed.”

What we do know for sure will happen:

• Large organizations, governments included, will continue to assault individual rights.

• Attorneys will continue to be enriched.

Just a write thought.

Mar 202011
 

Since we are about to launch the first eight books in our Classic Wisdom on Writing series, I felt The Write Thought deserved a logo. Here in 4-color, grayscale, and black and white  is what I came up with.

 

I felt it had sincerity and enthusiasm. What say you?

Just a write thought.

Mar 012011
 

My son, Josh Mettee, a number of the staff of American West Books—Josh’s company—and I recently attended one of those traveling Get Motivated! seminars where headliners include Colin Powell, Rudy Giuliani, and Joe Montana.

So did 16,000 other people.

The traffic into the arena was horrendous. Our seats were in the nosebleed section. Huge TV screens suspended from the ceiling were the only way we could identify who was speaking.

I went knowing that the $2 entry fee guaranteed there would be sales pitches for products of one kind of another.

I also knew I’d be entertained and I was.

Much on the program was applicable to writers’ and publishers’ lives.

Your words are your prophecy.

There was a lot of talk of about optimism as a key to success. Giuliani said great success comes when high ideals, preparation, and optimism meet.

One speaker suggested the old tool of looking at yourself in the mirror every morning and saying something affirming such as, “I am a great ___________.” (Fill in the blank: writer, publisher, husband, tollbooth attendant.)

Another put it: “Your words are your prophecy.”

Don’t believe a positive outlook is important? Try pessimism for a while and see how far that gets you as a writer or publisher.

Don’t stop short of the goal.

Another recurrent theme was stretching for your best.

One of the speakers asked us to raise our right arm as high as we could. When 16,000 people had their arms in the air, he said, “Now raise it higher.” Many people did. They hadn’t raised their arms as high as they could the first time.

I’ve had authors who, when I sent their manuscripts back for revisions asked me, “Isn’t this good enough?” like it was a junior high school paper they would settle for a “B” on.

Unfortunately, in most cases, this attitude prevailed when it came time for them to help market the book and the book’s sales and author’s royalties suffered for it. They weren’t willing to put their arms up as high as they could and were rewarded with meager success.

And now, the football metaphor:

At writers’ conferences, I like to talk about some literal stretching toward the goal that I’ve noticed in NFL games.

Picture one of those pileups that occur when the ball runner has been downed. As the players peel themselves off the pile, the fellow with the ball always reaches out and places it as far forward as he can.

This rarely fools the ref who, 99.99 percent of the time, picks up the ball and replaces it at the yard line where it went down.

However, the player, pro that he is, isn’t deterred. He knows .01 percent of the time a ref will leave the ball where it is. And that extra arm’s length might be the extra distance the team needs for a first down. And that extra first down might be what the team needs for a touchdown. And that extra touchdown might be what the team needs to win the game. And that extra win might be what the team needs to get into the Super Bowl. How much effort is it to extend your arm?

How high is your arm?

 Just a write thought.

Feb 042011
 

There was a bit of consternation over the last two weeks due to Barnes & Noble firing B&N’s longtime small press liaison Marcella Smith along with most of B&N’s regional buyers.

Marcella was instrumental in helping a multitude of independent presses get their books into B&N over the years—including my start-up, Quill Driver Books, more than 15 years ago.

With QDB, Marcella was also instrumental in getting our titles distributed by Ingram Book Company, the 600-pound canary of book wholesalers. At my request, Marcella asked Ingram to become B&N’s vendor of record for QDB titles. This, of course, required that Ingram stock our titles.

This was important because Ingram was the independent bookstores’ vendor of choice. Many bookstores wouldn’t even special order a book if Ingram didn’t stock it. Ingram had rebuffed my advances for more than a year when Marcella went to bat for us.

This may seem like a small thing, but it was a huge breakthrough for QDB and, for her help, I will always be grateful.

Independent Book Publishers Association Steps In

Florrie Binford Kichler, president of the Independent Book Publishers Association, contacted Joe Gonnella, vice president, Adult Trade for B&N with her concerns about this move. I’m including Gonnella’s response in its whole below:

Over the years, Barnes & Noble’s commitment to small, university and regional presses has been unwavering. Created in 1993, our small press department handles over 6,500 submissions a year, providing support and guidance to authors and publishers alike.

Through our network of retail stores and online at www.bn.com , books from over 50,000 small, regional and university presses are represented. It is the backbone of our business.

Recently there have been erroneous reports that organizational changes within Barnes & Noble’s buying group might impact the Company’s continued commitment to small presses. Nothing could be further from the truth.

To ensure the continued representation of your titles, please direct new title buy sheets or promotional information to the following individuals:

Eric Burger
Vendor Manager
(212) 633-3357
eburger@bn.com

Diane Simowski
Small Press Dept.
(212) 633-3549
dsimowski@bn.com

If you have any question, comments or concerns on how to work with Barnes & Noble, feel free to contact Eric, Diane or myself. We look forward to our continued partnership with you. We have always believed that one of the great strengths of the book business is its diversity as an ecosystem. The small and independent publishers are the facilitators of that diversity and will continue to be supported by our buyers and booksellers as they have been in the past.

Sincerely,

Joseph Gonnella
Vice President, Adult Trade, Barnes and Noble
jgonnella@bn.com

In addition, Gonnella asked that he and Binford Kichler speak on the phone once a month for the next few months.

I’m encouraged by Gonnella’s quick and encompassing response, but a start-up press’ experience with B&N will never be the same without Marcella’s friendly guidance.

 Just a write thought.

Jan 272011
 

As most of us know, Borders is in trouble. For one thing, Borders has “delayed” payments to publishers and other suppliers. I leave it to you to imagine what that is going to do to the company’s ability to resupply.

 Borders’ problems are publishers and authors’ problems. If Borders closes up shop, there will be hundreds of fewer bookstores to help get our books into the hands of readers (buyers!). I knew an old printer once who told me, “Once a business starts to go south, it continues going south.”  I think the following e-mail may be an example of this. 

This is a for-real Borders e-mail. I assume all or much of it is boilerplate. I had e-mailed asking what my Borders account info was.

Dear Valued Customer,

Thank you for contacting Borders regarding your account inquiry,

As we processed your request using your email account, It shows that you already registered on Borders rewards member.
However, kindly give us the following information for we to processed your request.

Card # 89066xxxxx

User name:

First name:

Last name:

Zip code:

Address:

I hope that this can be helpful to you. For further assistance, please don’t hesitate to contact us at 1-800-770-7811, or email us at
www.Borders.com

 Sincerely,
Borders Customer Care
www.Borders.com

The only thing I changed is the account number. Maybe this isn’t boilerplate. Maybe Borders outsourced their customer service to the underbidder in war-torn Somalia. Either way, it isn’t reassuring.

Perhaps we can look for independent bookstores to make a come back?

Just a write thought.

Jan 142011
 

A friend of mine recently sent me a chapter of his memoir. The tone of this memoir is quiet and calm—like most of us, shootouts and runaway trains are not part of his life. That’s fine, but since there isn’t much action to keep the reader’s attention, I suggested he deliver a richer picture of the characters in the memoir by adding a bit of color.

The use of seemingly commonplace details—“adding color” in writing parlance—helps define your characters and makes them more interesting to the reader.

For instance, my friend has a scene where he and his mother are going through a family photo album. I thought this was an opportunity to develop the character of his mother by focusing on the album. Was it worn? Leather or plastic? Did she keep pressed flowers in it? Did she keep it safely on the top shelf of the hall closet or toss it casually in the magazine rack beside her easy chair?

These simple details would tell us a little about his mother and make our reading experience richer.

An example often repeated in writers’ workshops goes something like this: Don’t tell us he ordered a beer, tell us he ordered a Budweiser (Tsingtao, Guinness Stout, whatever). The beer a man drinks tells us something about the guy.

If you have him stomping the dust off his steel-toed work boots before he enters the bar, we begin to get a feeling for him. If he orders a long-necked Lone Star the image of a rough, unsophisticated man grows. If he slips a thin gold band into his Levis as he pulls out the barstool, our understanding of who he is and what he’s like becomes even more clear.

Note that the color in this example wasn’t delivered only by the use of adjectives, but also with verbs (“stomping,” “slips”) and nouns (“work boots,” “Levis”). Color can be added with adverbs and dialogue, too.

Specific verbs and nouns (and authentic-sounding dialogue) are best to use to give your writing color. Be wary of the overuse of adjectives and adverbs.

I’m not trying to sell a book here (or maybe I am?), but there is a excellent chapter by Thomas Hunter titled “Bring Her On and Let Her Scream: Adding Colorful Description to Enliven Your Nonfiction” in The Portable Writers’ Conference. Hunter’s information works well for fiction writers too.

Just a write thought.

Jan 042011
 

I once saw a woman sitting behind an upturned cardboard box on a New York City subway platform. She had three stacks of stapled papers on the box in front of her. A sign on the box read, “Short Stories $1.”

I bought two.

 Point being, if you want your writing to sell today, you likely need to consider piecing together a marketing program.

 Just a write thought.