Читать книгу The Three Percent Problem - Chad W. Post - Страница 16

Although it seems that everything is doomed (remember what I said about publishing folks?), I believe that amid all this chaos, potential or otherwise, there are reasons to believe that independent publishers, booksellers, and works in translation all could thrive.

Assuming Borders doesn’t make it, or at least a significant shrinkage in chain stores, an opportunity will open up for independent bookstores to make a comeback. For years these stores have been battered out of business due to the volume discounts, enormous floor space, and nationwide branding efforts of the major chains. But at this time, when, thanks in part to the greed that destroyed the financial sector, people are focusing more on “buying local,” independent bookstores can fight back. There have been a number of studies on the economic impact of buying books from a local store, including one conducted in 2007 in San Francisco that found that a 10% increase in book sales in the local market would result in increased economic input of $3.8 million, 25 additional jobs, and $325,000 in additional retail activity. These arguments should appeal to a larger segment of customers than usual during this current/forthcoming recession. In the wake of a Borders collapse there would be a lot of underserved book communities where a niche store could step in and succeed.

One reason indie stores could make it in this sort of climate is the modest nature of their business model. Rather than try and be everything to everyone, stores with specific identities that are integrated into the local community—like St. Mark’s, City Lights, McNally Jackson, Shaman Drum—tend to succeed by cultivating and serving a specific group of loyal customers. Additionally, a number of stores are playing around with the idea of becoming nonprofits. Shaman Drum is transforming into the Great Lakes Literary Arts Center and expanding its community activities and offerings. The indie store as literary center is the antithesis of the box store, and exactly what we need in our world today.

In terms of niche marketing, Amazon UK recently announced a “Literature in Translation” store highlighting works of international authors and presses that publish a lot of translations. This isn’t dissimilar from the annual Reading the World program in which independent bookstores display a host of translated titles in order to draw the attention of readers to the wealth of great books that are available from writers born outside of our borders. This sort of niche marketing—or not even marketing, just providing information about a particular type of book—is highly effective and can make a big difference sales.

It might seems self-serving (or self-delusional), but I think that independents on the whole—nonprofits publishers especially—are in a better position to weather this storm than anyone else. I’ve long believed that the role indies play in book culture would continue to grow in the future, mainly because these presses are branded, they have a particular mission and vision, and their expectations are modest enough to allow for them to publish “real” literature instead of books that seem profitable.

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Currently the marketplace is dominated by the idea that books should be enjoyable and useful, an entertainment alternative equivalent to watching TV or surfing the Internet. But, to be honest, books aren’t as immediately gratifying as a TV show. People who really read, who buy lots of books, are often attracted to the unique things the medium has to offer that goes beyond simple amusement. This discrepancy between books as simple entertainment and books as unique medium could be one of the reasons behind the dismal numbers reported in the NEA “Reading at Risk” and “To Read or Not To Read” reports, which found that in 2006, 15-34 year olds spent less than 10 minutes a day reading for pleasure. And that between 1985 and 2005, household spending on books fell by 14% when adjusted for inflation.

Independents driven by an editorial vision—houses like New Directions, Archipelago, Europa Editions—are in a better position because they aren’t trying to appeal to an enormous range of pleasure seekers, but are engaging with an active audience that is dedicated to the idea of serious literature. These houses are “deep” publishers doing a lot of books within a certain aesthetic range. Commercial presses tend to be very horizontal—publishing a few titles from a huge range of categories. Most importantly though, is the genuine desire to connect with their audience.

Despite having all the necessary resources and reach, commercial houses have historically been pretty bad at truly engaging with their audience. The websites for HarperCollins and Random House are aesthetically disastrous, and have little that draws a reader back or starts an electronic “relationship” with its fans. You may find excerpts and basic book data on the site, but you’ll also find an Obama book next to a cooking book next to a Michael Crichton thriller. There’s not much of a voice present on these sites, and there’s definitely not a sense of community. It’s as if the commercial publishers can only view readers as clients rather than supporters.

This idea that a press partners with its readers rather than simply treating them as customers is a concept that I believe will shape the future of publishing. For ages publishers have cut themselves off from their readers. For instance, the general public isn’t allowed to attend Book Expo, since publishers only want to deal with people in the industry. And the chain linking an editor with a reader is enormous, stretching from the author to agent to editor to sales department to wholesaler to bookstore buyer to bookseller to reader.

There are two main reasons that I think the iPod has been such a cultural force (aside from the “cool” factor): it isolates the user and makes him feel like a unique individual, while providing the listener with a greater freedom of choice than ever before. Parallel to the rise of the iPod and its message of individuality, social networking sites allowing people to connect and share information and recommendations have become more and more popular as well. Each of these innovations allows creators and producers to directly interact with “customers.” This combination of individual enjoyment, the empowerment of nearly unlimited choice, and instant access to a community of like-minded people is incredibly powerful and, in my opinion, is the setting the publishing industry should cultivate to engage and energize a large group of readers willing to explore and enjoy all types of literature.

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On a more personal level, editors—real, living breathing people, not just the faceless corporation—can reach individual readers in an extremely cheap, effective way. By creating Facebook groups to crowdsource parties, such as what Lorin Stein did for Bolaño’s 2666, or writing personal blogs about books and publishing, editors and independent presses can start to build alliances with readers who believe in what the press is doing.

One of the biggest growth areas—maybe the only growth area—in publishing is in the realm of graphic novels. Again, there are a lot of reasons for this, but one significant reason is the fact that graphic novels (and comic books more broadly) have always cultivated a fan culture in which readers interact closely with the publishers, writers, artists, etc. In our “web 2.0” world, interaction is key, and people who feel engaged with a project or organization are much more likely to do the sorts of things that will spread the word and increase sales and readership. As demonstrated by the success of BzzAgent—a word of mouth company that mobilizes hundreds of unpaid “BzzAgents” to spread the word about new products—word of mouth marketing is extremely effective. The more people who love what you’re doing and feel like they’re helping you to do it, the more they’ll get other people involved, and the more successful you’ll be.

It’s not a complicated concept, but one that sleek, savvy small presses are more likely to capitalize on than amorphous, nondescript commercial houses. Indies also have a chance to leap ahead in terms of using ebooks to reach readers. With a loyal fan base and authors who aren’t looking to make millions off their intellectual property, independent presses can play around with the current models, giving away free ebooks or selling them at a very low price, all in the interest of generating excitement about a particular author or work.

It was clear to me when HarperCollins announced a special iPhone tool allowing people to access excerpts of HC books by visiting the Harper website on their phone that the big presses are insanely out of touch. The activities of the Institute for the Future of the Book, such as their collaborative online reading of Doris Lessing’s The Golden Notebook, or their theorizing about how presses could be structured in a world where content is completely free, are much more cutting edge than what the big houses are doing.

One other thing worth mentioning is the nonprofit model and recent variations on it. Since the revenue stream for nonprofits is diversified—usually about 50% from sales, 50% from donations—these houses are more protected than other presses when the bottom falls out of the market. Granted, foundation giving is slowing up for the time being, but individuals are still donating. And individuals who understand the value of what nonprofit publishers do will continue to donate and help these presses through these rough times. Furthermore, collaborations between nonprofit presses and universities have proven to be very advantageous to both parties, giving the press additional, crucial resources, and giving the university new educational opportunities for its students.

With independent, nonprofit, and university presses doing most of the literature in translation, there’s a chance for the sales of translations to continue to grow in the coming years. As the industry retracts and readers of the literary community consolidate, translated literature could come to the fore, attracting new readers. And as more presses like Melville House, Archipelago, Europa Editions, Counterpath, Ugly Duckling, Graywolf, and Open Letter come onto the scene with reasonable expectations and a willingness to experiment with new ways of reaching readers and new models for how to survive and fulfill one’s mission, the literary world might not be as bleak as some might think.