The Shatzkin Files


Losing the secondary business can kill you


Before the Internet deconstructed the publishing value chain and enabled new models, both publishers and booksellers benefited from a lot of what I’d call “secondary business”. Secondary business was not what they were set up or primarily intending to do, but which they easily could accommodate to earn easy margin that supported their primary operations.

Publishers controlled an apparatus that could make bound books out of manuscripts and put them on bookstore shelves for patrons to buy. These were not trivial capabilities and they were much in demand. Although  the principal business model for a commercial publisher was to select what to publish, develop it editorially in collaboration with the author, and then take the risk of printing inventory and distributing it in hopes that it would sell, sometimes opportunities arose that were less risky ways to employ their skills.

I had my first experience with this kind of publishing in the late 1970s when my friend Caroline Latham was the writer-for-hire and then publishing consultant to a wealthy man named Jack Eisner. Eisner was a Warsaw Ghetto survivor with an exciting and moving story of his experiences on the run from the Nazis during World War II. After the war, he built a very successful import-export business so that by three decades after the war he had the time and resources to deliver his story to the broadest possible audience.

Caroline co-wrote his book, The Survivor. Eisner hired Abby Mann (the Academy Award-winning screenwriter of Judgment at Nurenberg) to write the screenplay for the movie, and the play was written by Susan Nanus. Jack financed the production of the play on Broadway, where it had an extremely brief run.

Caroline engaged me to help her make the book deal. We were working with William Morrow, a fine and venerable publisher. They paid Eisner no advance. Eisner agreed to put up a substantial sum (I think it was $75,000) for advertising and promotion of the book. Morrow made all the decisions about printing and distribution. With a deal like that, they couldn’t lose. And they didn’t, although the book didn’t sell very well in relation to the investment made in it by Eisner. It is worth noting that there is a paperback edition of the book, renamedThe Survivor of The Holocaust, still available from Kensington.

The more common author of this kind for publishers would have written a business book that “paid off” for the author in ways other than trade store sales. Sometimes it just enhanced their reputation and improved their primary business. Some business book authors move large numbers of copies of their books themselves. In bygone days, “selling” your book to a trade publisher (for little or no advance) with contractually-stipulated author buy-backs was a deal that worked for both sides. I remember a very significant trade publisher telling me over a decade ago that “author sales” constituted one of their largest distribution channels.

Working with an established publisher has a couple of distinct advantages: the imprimateur of a brand name is one and their ability to move copies through commercial channels is another. But it also comes with definite drawbacks for the commercially-minded author. The profit on books the author moves is shared with the publisher. And the time schedules for trade publishing are traditionally glacial; virtually every author’s first disappointment is how long it takes from the time their book is completed until the time a publisher puts it out.

One stark example of an author who does better self-publishing than he could do with a trade house is Michael Durkin. Michael is a sales trainer and motivational speaker who sells his own self-published book, bundled together with audio CDs that are simply recordings of his speeches. The package of the book with about six of the CDs sells for $100 and he sells about 25,000 of these a year, mostly through the 100 or more speaking engagements he usually does, plus a few from his own web site. Durkin is so averse to sharing his margin that he doesn’t even try to sell his material through Amazon! Durkin also points out that his book is a fabulous prospecting tool; he uses it regularly as a door-opener. It gets people to hire him for the speaking engagements that fuel his product sales which, if you figure that his cost of goods leaves him with a margin of more than $80 per package sold, is producing a solid seven-figure profit for him annually.

Durkin agrees that 20 years ago he almost certainly would have worked through a publisher with a buy-back arrangement which would have meant a significant hit to his margin. And it would have constituted a very nice subsidy for a publisher.

Bookstores also have lost what is collectively a vast amount of secondary income to the Internet. My father briefly fought a battle in the 1950s to stop the practice of giving wholesalers more discount than bookstores got. Len wanted to force library supply to go through retailers so that library purchases were subsidizing the retail bookstore network, not warehouses that simply extended the publishers’ supply chain. It was a great insight (although both libraries and wholesalers, deeply cognizant of the value-added services wholesalers perform today for libraries, would argue persuasively against it today as, apparently, they did then.)

What often distinguished a successful independent store was its ability to do “back door” trade: serving local businesses, schools, and community groups. If a local reading group needed 10 copies of a book, they’d buy it from their local bookshop. Bulk business, and there is lots of it in every community in America, was most conveniently transacted through a local merchant. Now it is most conveniently transacted through the Internet. When a “back door” book business succeeds (like Jack Covert’s 800CEO-Read business based in Milwaukee and originally spawned by the independent Schwartz Bookstores), it is because it develops a far-flung following (served largely through the Net) rather than a local one.

It only works now if it is built on a vertical principle so it can appeal to a global audience. Being local doesn’t provide enough of a competitive edge for a local purchaser who is looking for wide selection, the ability to buy in bulk, the ability to ship to different recipients, and the ability to handle all that business online.

It is almost impossible to prove this with data, particularly retrospectively, but my intuitive hunch is that competitive independent stores in the 1980s and 1990s outdid their chain competition largely because of their ability to develop and serve secondary business — business above and beyond what is delivered by the traffic that comes in  the front door, shops the displays, and walks out with the goods. If that were true, it would explain why independents seemed to be hit harder than the chains in the first decade and more of the Amazon-led online bookselling revolution.

But all publishers and all brick-and-mortar book retailers earned critical margin in bygone days from sources that have alternatives they didn’t have then, even though neither the publishers nor the booksellers would have identified this business as critical to their survival. That’s another manifestation of the permanent alterations occurring to the ecosystem that spawned and enabled the existence of a general publishing business.

BookExpo America is this week. I’m really sorry I’m missing the Self-Publishing Day on Monday. That’s clearly a movement that is rapidly growing in importance; one we’ll have to “cover” a bit at Digital Book World next January. It’s an increasingly potent commercial force that all elements of the trade community — authors, agents, publishers, wholesalers, and retailers – will want to understand. I can’t make it because I’ve got meetings elsewhere in the city all day Monday. I am planning to be on the floor all three days the exhibits are open. I know many big houses are off the floor in meeting rooms this year; I’ll be paying attention to  how that changes the feel of the show.

I can already tell I’m glad to have Cader’s BEA LunchtoGo app; I don’t believe I’ve had such a simple stand number look-up device. (It has lots of other data and functionality as well, but that’s mainly what I’ll use it for.) I’ve got an iPhone now but I have had a handheld organizer since 1986. I remember a few years ago Frankfurt offered data of this kind for the Palm Pilot which you secured by having it “beamed” from one of the kiosks they set up around the Book Fair for the purpose. The process was klunky and, as I remember, so was the tool. I don’t think the experiment made it into a second year. But Lunch’s tool is much cooler, and it shows how a web site can work just like an app (as long as you’re connected; the data’s in the cloud, not in your hard drive) and dodge the restrictions of the Apple environment.

  Back to blog

  • http://www.ravensquill.com Alan Gilliland

    “I’m really sorry I’m missing the Self-Publishing Day on Monday.”
    So am I. Stuck in UK, it would have been good to hear your take on it. Been following your blog since you didn’t speak in London.
    Responded yesterday to a blog on a chap called Doctorow which bears on this issue. I hope you don’t mind me repeating it here.
    (Publishers Weekly and e-read blog)
    I am just a little curious about the degree of interest in Doctorow’s travails. Maybe it’s just because it’s the first time someone doing this has chatted about it all the way through?
    I have done something similar here in UK, though using a different approach, with a reasonable degree of success (It has sold 5,000 so far- see below).
    I wrote, illustrated, designed (book and cover) and set up printer-ready pdf’s (sent to China for litho print-run).
    I did use a Literary consultancy to hire an established writer to critique the book before going ahead. Otherwise all done myself with no budget up front. Learned how to use Adobe InDesign (already knew Illustrator and Photoshop).
    Used first print-run profit to pay for second, and so on. Now reached 5,000 sales of (UK) £14.99 hardbacked book, undiscounted. Finishing 3rd print run. Before publication day I persuaded 60 indie bookshops to take and thus persuaded Gardners wholesalers to taker 400 copies.
    Through signings (weekends, holidays) built credibility with Waterstone’s (British B&N) group till sold well over 3,000 this way. It was made a book of year here by http://www.lovereading4kids.co.uk and have now sold translation to S. Korea (out this month). My children’s reviews are incredibly enthusiastic (on website – Curd – reviews) Website is http://www.ravensquill.com for anyone interested in seeing it. Trying to produce e-book version but problems with formatting stability with 80 illustrations (B&W toned pencil sketches). Now doing same with next adult ghost story (complete but awaiting illustrations). [Good luck with your book,Doctorow.]
    Why did I do it? Because I thought it was possible, given technology. And I did not want my book to be found on the remainder shops shelves three months after publication because not an ‘instant bestseller’. I decided to ensure it had a fair chance of reaching a readership, however modest (and take 42-60 percent of the book price home with me).
    As an e-xpert can you help at all in resolving my formatting dilemma? (ePub doesn’t seem to work with illustrated books – ie on iPhone the page drops off the bottom after certain illus. then pages later returns to normal, etc..)

  • http://idealog.com/blog Mike Shatzkin

    Alan, what a great story! I'm glad you didn't ask me before you undertook to
    do this because I would have told you it was nigh on impossible! But, having
    achieved this much, I think your Korea sale is just the first of many you'll
    make around the world. You should find a literary agent to sell rights for
    you in the US, Canada, and Australia right away.

    Now to respond to one passive and one active query from you:

    The reason they pay attention that “chap Doctorow” is because he's pretty
    successful writer who has credentials as a technologist (he is co-editor of
    the blog Boing Boing) and who expresses himself frequently on How Publishers
    Should Do It. In other words, he's known and you're not.

    I wish I could tell you how to handle the tech question — how to deal with
    your book as an ebook. I don't know the answer, but I know people who do. I
    will forward your post to a couple of them and see if we can come up with
    something. Thanks for the post.

    Mike

  • http://www.offshoreoffset.com Chris

    Alan, I'd be interested to know who printed your book in China.

    I love a good self-pub tale. Feel free to email me if you want another quote on a reprint or new title. I can introduce you to my supplier but I won't act as your buyer agent because I'm in Australia. Therefore you will need to handle the import yourself or find a broker.

    Hit my profile if you want email me.

  • http://johnaustinblog.blogspot.com/ gator1965

    Mike,

    Great insight into the workings of the publishing world of the past with your remarkable experiences ! I was fascinated and at the same time a little sad at how fragile the publishing world of bookstores and distribution really was (and still is to a degree)…Great stuff

  • http://booksquare.com/the-daily-square-still-dream-edition/ The Daily Square – Still Dream Edition | Booksquare

    [...] Losing the secondary business can kill youInteresting look at how secondary businesses support the main business and what happens when you lose those income streams. [...]

  • http://www.ravensquill.com Alan Gilliland

    Hi Mike,
    Thanks for replying. I am desparately looking for an agent in US Canada – if you can suggest would be grateful.
    And thanks for forwarding to possible helpers (the ebook company in India I approached couldn’t manage it nor a company in UK – but someone must know!) That’s very kind of you.
    Guess I’m pig-headed or pig-ignorant (depending on your prejudice) and don’t believe in ‘impossible’. As newcomers to this field not encumbered by a baggage of caveats, we (see below) were able to proceed step by step overcoming problems as they arose, not worrying about all the things that might go wrong. Always proceeding on the assumption that if you don’t do it yourself…
    In an interesting an interesting take on today’s publishing situation,
    here’s how a Lit. consultant replied when I sent her my first year’s progress: “we're overwhelmed by how well you've done with self-publishing. You don't need an agent or a publisher, you're doing so much better on your own and earning way more than you would if you went down the traditional route. There's a private debate within the trade at the moment where we're all wondering why authors need publishers nowadays when they can do so much better on their own.”
    On the reject front (movies):
    Have had interest from Hollywood (Fox Films), stymied by Disney announcing ‘Toy Story 3’ just after they received it “no one in Hollywood is going to put up money for another Toy Story while that’s going on”,
    and encouragement from HiT Entertainment (big UK children’s TV):“We really enjoyed the inventive witty narrative and surreal humour in the book. We can see that Curd the Lion might work very well as a family feature film”
    and Tfou (TF1, French TV company's children's animation): “I think your book should become a film but we don't produce film at Tfou.”
    Our cunning plan to get into the States is through an ebook version (have applied for B&N’s new venture but I fear their setup might be another e-Pub version, which hasn’t worked so far)? Of course I’ll take any avenue that opens up – never wittingly refuse any opportunity.
    Perhaps I should have mentioned that at the start I formed (with an administrative partner) a limited company as the vehicle for this and future works (both of my own making and eventually others).
    We are now members of both the Independent Publishers Guild and Publishers Association here, in receipt of UKTI (government body) grants to attend international book fairs to promote abroad. Now have Big Apple Tuttle-Mori and Ilustrata agencies representing us in their language zones and Anne Louise Fisher Associates (top literary scouts) pushing to their clients, with quite a few foreign publishers promising to read it.
    Just need to break into the States!
    (Doctorow – aha! I shall go and look up Boing-Boing.)
    My website was created by an advertising designer (film Cos and Coca Cola) who loved book so much he did it for nothing! How good is that? You do meet genuinely nice people sometimes!
    What really pleases me is the kids’ responses (here’s the latest, not yet on my website):
    Kelly Rose, age 13:
    “This book was best and is fab and is the best so far out of my collection of roald dahl and this book has beaten him aand it is soo cool and Alan Gillilan is the best author in the history of authors.”

    Lucy Ferguson, age 12:
    “Wow! i read this in a day! i couldnt stop reading it! I will start to read it again tomorrow :) thanks to Alan gilliland for writing such a gripping and awesome book :)

    Isabelle Hammersley, age 10:
    “I just got back from Waterstones Guildford. When I bought the book I got it signed by the author and he is one of the kindest men I’ve ever met. Anyway on the book I couldn’t put it down ITS AMAZING! Ive read right up to the bit with the Minorbores riddle. I really need to find out what it means. I cant wait till the next book comes out. ITS THE BEST BOOK EVER AND IVE READ HARRY POTTER AND JACKY WILSON BOOKS!!!!!!!!!! LOVE IT AND THE AUTHOR!!!!!!!!!!!!!!!!!!XXXXXX

    Nicholas McDonald, age 12:
    “I'm so happy that I met Mr Gilliland. I read it in 5 days, I couldn't put it down, I love it so much! My favourite characters were Sweenie and Pilgrim Crow because they were both cool and funny. I can't wait till The Ineffable Emperor comes out!
    The book should be turned into a hollywood movie (i love the place hollywood in the book!) I love the book!”

  • http://www.ravensquill.com Alan Gilliland

    Or even, “desperately”. Doh!

  • http://www.ravensquill.com Alan Gilliland

    Hi Chris,
    Thanks for taking an interest. I have a pretty good company here in UK. Omnipress of Eastbourne, who negotiate prices for me, much better than I could achieve on my own (they work with quite a few publishers). Around £1.80 per copy for 3,000 copies flat back hardback case sewn, 260 x 194mm, 176pp., 128gsm matt art paper with 3mm boards, plus jacket 4c_matt lam spot UV.
    Including delivery to two UK destinations (warehouse plus Gardners Wholesalers). I reckon that’s pretty good?

  • http://idealog.com/blog Mike Shatzkin

    I think actually more fragile now than ever…

    Mike

  • http://johnaustinblog.blogspot.com/ gator1965

    Perhaps, but I think things are coming into a lot clearer focus as Regan McMahon points out in the SF Gate http://alturl.com/q6pr Good article…

  • http://www.makemoney.pk Qasim11876

    But all publishers and all brick-and-mortar book retailers earned critical margin in bygone days from sources that have alternatives they didn’t have then, even though neither the publishers nor the booksellers would have identified this business as critical to their survival. That’s another manifestation of the permanent alterations occurring to the ecosystem that spawned and enabled the existence of a general publishing business.

  • http://www.makemoney.pk M.Akramsaim12812

    I can already tell I’m glad to have Cader’s BEA LunchtoGo app; I don’t believe I’ve had such a simple stand number look-up device. (It has lots of other data and functionality as well, but that’s mainly what I’ll use it for.) I’ve got an iPhone now but I have had a handheld organizer since 1986. I