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From Kristine Kathryn Rusch:
If you’re a writer and, more specifically, if you’re an indie writer, there’s a lot of opportunity in the bookstore and library markets. Yes, indeedy, I’m talking brick-and-mortar stuff.
First, a reminder: I’m doing a short series reviewing 2018 with an eye toward 2019. If you have not read the first post in this series, please do so. I will be referring to it throughout the series. In fact, I’d recommend that you read the entire series in order, simply because I’ll be referring to things in one post that I mentioned in a previous post. Otherwise, I’d be repeating myself ad infinitum.
. . . .
If you only saw my post on Barnes & Noble back in October, you’d think that all bookstores were in deep trouble. Barnes & Noble is in trouble. Despite the happy sunny much-too-upbeat headlines about B&N in December, the trouble remains.
The headlines are great, like this one from goodereader.com which says “Barnes & Noble Plans to Open 15 New Stores in 2019.”Doesn’t that sound wonderful? Thriving businesses expand, right?
But you need to actually read past the headline. Barnes & Noble is actually cutting back retail space, and probably cutting back on expensive leases. They’re going from stores that are at least 17,000 square feet to stores that are 14,000 square feet or less. And they’re moving those smaller stores to “entertainment districts or cultural centers.”
Um, you know, like independent bookstores. Only Barnes & Noble will have a self-serve kiosk and a “book theater” (whatever the hell that is) and “plenty of comfortable community seating areas.”
So, less space for books and less interaction with employees, but also lower rents (most likely) and less money invested in inventory.
In my opinion as a long-time retailer, this is about ten years too late for B&N, and I doubt it will fool their investors.
My analysis from October remains the same. If you’re a writer who wants to be traditionally published so that you have high visibility, you are making a bad choice. With B&N reducing shelf space and putting the final nail in the coffin of what once made their brand unique (having so many books on the shelves that readers could find almost anything), most traditionally published books will not be on the shelves in a brick-and-mortar B&N.
. . . .
The other cloud hovering over the horizon, at least for traditionally published writers, is the possible merger between the two remaining large distributors in the United States. On December 4, Shelf Awareness reported that the Federal Trade Commission is doing a “preliminary nonpublic investigation” of a merger between Ingram and Baker & Taylor, the two big distributors to see if such a merger would violate antitrust law.
If this merger goes through, the United States would be down to one major book distributor for the entire country. Shelf Awareness opined in its article that the single distributor would have a role that would “be all the more significant because of the closure of most regional book wholesalers over the past quarter century.”
Shelf Awareness also wonders if the changes at Barnes & Noble, and the possible sale of Baker & Taylor by its parent company Follett are related. Shelf Awareness believes that Follett is one of the possible buyers of Barnes & Noble, saying:
Follett may want to sell B&T if it aspires to buy B&N, an approach that would lessen FTC concerns and avoid B&T’s non-B&N retail customers objecting and possibly taking their business elsewhere.
For traditionally published writers, the merger could be a serious problem. If, for example, a writer’s traditional publisher gets into a pissing contest with the merged distributor (Ingram Baker Taylor?) the way that the Big 5 got into a pissing contest with Amazon a few years back (a contest that continues on a small level even today), then many books won’t get into the major print distribution channel, and the very reason the writer went to a traditional publisher disappears.
. . . .
More likely, however, for traditionally published writers in this scenario is that their book is the fourth or fifth on the list published that month by an imprint. Publishers invest a lot of money in the top of the list, but rarely invest in the books farther down. Some of those books don’t even make it into the current distribution system, and might be shut out entirely of a single distributor who might mandate that they only take three books per imprint from a publisher. (These things happen all the time.)
If a writer is going to lose control of her copyright for the life of that copyright by going to a traditional publisher, then the writer needs guarantees that the book will visit all the possible store shelves, and get enough visibility to make such a loss worthwhile. But that kind of guarantee is getting harder and harder, and the physical store shelves have gotten smaller and smaller.
. . . .
The consolidation of the distributors will harm the sales of the blockbusters more than it will harm the smaller titles, further causing problems for the big traditional publishers. And you can already see some cracks in that blockbuster façade. For example, when Simon & Schuster released its year-end letter to stockholders, there was no discussion at all of increased sales of the front list (new) titles. Instead, CEO Carolyn Reidy’s claim that 2018 was S&S’s most successful year appears to be based on the growing audiobook division and a new attention to backlist sales. (And the audiobook division news will be part of the copyright discussions we will have later in this series.)
S&S is developing its own distribution line, which, in turn, will have a benefit for smaller publishers and indie writers. The more the big guns run their own distribution systems, the more they train booksellers to order direct from the publisher, cutting out the middleman.
Which means that small publishers and indie writer/publishers will benefit from the willingness of booksellers to order direct.
. . . .
Retailing is changing. The experience is becoming king. Besides, readers have discovered (remembered?) that it’s fun to go into a bookstore to find a book they didn’t even know existed. It’s easier to browse a brick and mortar store. And it’s not just about buying the book.
According to Washington D.C. economic development planner Ryan Hand (quoted in MarketWatch):
Shopping for a book is an emotional experience. The future of bookstores are small and mixed concept stores. [They will be] social spaces where you develop that emotional connection by books that are curated by literature nerds.
I had just such an emotional experience as I was researching this post. I stumbled upon an article in The Wisconsin State Journal about A Room Of One’s Own Bookstore in Madison, Wisconsin. Even though I culled my book collection way down on our move, I still have several books I purchased at A Room Of One’s Own decades ago, and I have very fond memories of the store.
. . . .
In many ways, these trends in bookselling mean that each bookstore will have its own unique inventory. A Room Of One’s Own in Madison won’t have the same books on its shelf as Writer’s Block here in Las Vegas. Some small booksellers will be amenable to carrying print titles from local authors; other small booksellers will not. Some, like a rabid anti-Amazon bookseller that I know in Oregon, refuse to take a book from any writer who publishes through Amazon. As one of those writers, I stopped recommending that bookstore.
The bookstores will develop personalities again, so that when readers travel, they’ll want to stop in the local bookstore—not to pick up the latest bestseller, but to see what kinds of offers that they might have missed in their own hometowns.
. . . .
As ebooks disrupted traditional publishing, traditional publishers have not figured out how to deal with libraries. When a traditional publisher sells a hardcover book to a library, that book gets only so many check-outs before it literally disintegrates and the library has to replace the book. Traditional publishers, faced with unlimited downloads of an ebook sold to a library, had no clue how to price the damn things.
And so began a quiet little war between traditional publishers and libraries that hit its zenith last summer when McMillan decided to “embargo” Tor science fiction and fantasy titles from libraries for four months after release.
Or, to put it in clearer terms, McMillan believed (based on no evidence at all) that library users would spend those four months buying the books they couldn’t get at the library. No journalist asked why they chose to make this move with their Tor book line only.
I suspect the reason was twofold: Tor’s sales have never been all that great, so they’re probably on an internal bubble (about to be chopped off if they don’t become profitable by a specific date) and some stupid logic that all businesses seem to have about science fiction and fantasy—that their consumers are cutting edge because those consumers read about the future.
Traditional publishers have long seen libraries as their enemy. This is because traditional publishers are a B2B (business to business) entity not a B2C (business to consumer) entity. In other words, publishers believe they sell their books to bookstores and retail outlets, not to readers. The bookstore is the B2C business, not the publisher.
. . . .
Let’s look at some information, shall we? This is from the U.S. based Institute of Museum and Library Services, for fiscal year 2016 (the last time these statistics were available):
(The IMLS annual Public Library Survey) shows that public libraries continue to evolve to meet changing community needs. More than 171 million registered users, representing over half of the nearly 311 million Americans who lived within a public library service area, visited public libraries over 1.35 billion times in 2016. Public libraries offered half a million more programs in 2016 than in 2015; 113 million people attended 5.2 million programs in 2016. In addition, the number of electronic materials continued to grow, with public libraries offering over 391 million e-books to their patrons in the United States.
The Library Journal reports that 25% of the collection materials in public libraries are ebooks. Potash told LJ that the publishing industry’s B2B problem means that it has no idea how many (paper) books libraries ordered because the orders were fulfilled by paper distributors.
…prior to ebooks, even the publishers never knew which libraries bought their books or how many copies, because [library orders] were being fulfilled by the traditional wholesale distributors…. Authors and agents aren’t appreciating that libraries are spending hundreds of millions of dollars…in print and digital, which is contributing to their earnings.
That shows up in the behavior of traditional publishers. They continue to treat libraries like a problem rather than an important part of the book ecosystem.
Link to the rest at Kristine Kathryn Rusch
If you like the thoughts Kris shares, you can show your appreciation by checking out her books.
A few weeks ago, PG posted a bit about his interaction with an early book wholesaler many years ago. He suggests that the long period of time it has taken for traditional publishers to decide to cut out these middlepersons and ship direct is Exhibit 2,507,438 in PG’s ongoing indictment of what terrible business managers inhabit the world of traditional publishing.
Publishers’ inability to understand the benefits of the marketing and promotional exposure their books gain through libraries is #2,507,439.
PG is less optimistic about the future of physical books and physical bookstores than Kris is.
PG has a long association with physical books. He was fortunate as a child that his mother took him and his siblings to the closest library on a regular basis and made certain there were always books around the house. PG worked in a large university library during his freshman year in college and became an expert at quickly locating books in the huge stacks where few mortals ever trod. When the PG offspring were young, the family visited a Borders on an almost-weekly basis to acquire more books and frequently stopped in at the local library as well.
When Mrs. PG was first published, PG attended a great many book signings at physical bookstores with her. For a period of about three years, the PG’s lived about 10 minutes away from a classic and well-known bookstore, a frequent stop for major authors traveling on national book promotion tours. Mrs. PG did a number of book signings at the store and the PG family frequently visited that bookstore on shopping trips as well.
Even after aggressive culling of the family book collection, PG still sees eight jammed bookcases, each 6 feet tall, whenever he walks out of his office. There are three other large (and jammed) bookcases elsewhere in Casa PG plus books on every coffee table, nightstand, etc., and a few corners where books are stacked on the floor.
PG has inserted that long history as a prelude for saying he doesn’t want to acquire any more physical books, in part because he knows he won’t read them. He can see several examples of unread physical books from where he sits. He much prefers to read ebooks now. The only time he is likely to touch a physical book these days is when he reads poetry to some of the third generation offspring (who are each extremely adept with an iPad).
On those rare occasions when the PG’s enter a physical bookstore, he’s pretty bored and neither of them have purchased a physical book other than as a gift for several years. PG feels no emotional thrill while wandering around looking at the books.
Perhaps PG is an outlier, but he doesn’t think so. He has not been inside a busy bookstore for several years now.
Even assuming that PG’s generation includes many who feel the excitement Kris describes when she discusses some of the attractive and unique bookstores she mentions in the OP, what about the younger generations?
PG submits that music stores were not all that different than bookstores a few years ago, with people of varying ages going in to feel the ambiance, listen to the latest releases and discuss artists and songs with other music aficionados. On Friday and Saturday nights, it wasn’t unusual for a local band to play at some of those stores. Buying a record or a CD in a music store was undoubtedly an emotional experience for many.
What happened to those music stores?
Today, only a small fraction of music enthusiasts buy or care about music on physical media. Everybody downloads music from iTunes or other online music retailers. How would you play anything but downloaded music on your smartphone?
PG is informed audiophiles believe that the quality of downloaded music is not as good as music written to CD’s or vinyl, but how many music lovers are interested?
PG would love to hear a reason why digital music and digital books are inherently unlike each other and why physical books will have a unique ability to survive as a mass medium when music in physically recorded form has not.