On-Demand Publishing Is In Demand

On-demand publishing has overtaken traditional publishing in yearly title output, signaling a surge in products like customized print-on-demand books, according to a recent Publishing Business webinar, “Customized Books: What Is The Opportunity?”

On-demand publishing has enjoyed jaw-dropping year-to-year growth in market share. The number of on-demand titles published in the US in 2008 increased more than 200% from 2007 to 285,394, overtaking the publication of traditional titles (which dropped 3% to 275,232) for the first time, reports industry resource Bowker. According to Interquest, a digital publishing market resource, the books-on-demand market has increased from 20 billion pages in 2006 to 38 billion in 2009.

Barbara Pellow of market research firm InfoTrends predicted in the webinar, broadcast this month, that print-on-demand would continue to rise as on-demand book production costs continue to fall. Richard Adey, managing director at children’s UK book publisher Penwizard (www.penwizard.co.uk), explained the logistics behind his company’s personalized, print-on-demand children’s titles. The customer designs certain elements of the book, such as book characters, through an interface on the Penwizard website. Penwizard produces books using a web-to-print digital press that transmits data on customer-designed book elements, stored in a SQL server, to a remote printer. An individual customer’s order fulfillment takes up to three days due to the need to accumulate multiple orders for batch printing. Adey noted that, in customized book publishing, publishers form direct relationships with their customers, allowing publishers access to their demographic data but exposing them to the problems of customer service.

Rick Bellamy, CEO of on-demand manufacturing company RPI, described how a similar digital printing method was used by Against All Odds Productions (www.theobamatimecapsule.com) to produce their personalized Obama Time Capsule books. In those books, personalization was available through customer-uploaded photos and text and appears in several different places, including the front and back covers.

Penwizard’s Noddy books sold a respectable 10,000 in the UK within two and a half months. But RPI’s Bellamy admitted that his Obama Time Capsule books did not sell as well as expected and did not turn a profit. Though the exponential increase in the output of on-demand books is clearly encouraging, it’s not clear if consumer demand has risen to match.

TOC Pass: The Winner

Peter Garlid of LibriSource Inc. is the winner of the full conference pass to the O’Reilly Tools of Change for Publishing conference.

Congratulations, Peter! Please e-mail me back ASAP.

I’ve e-mailed Peter to let him know he’s the winner and will call later today. If I haven’t heard back by 6 PM on Monday, 2/8/2010, or if he is somehow unable to attend the conference, we will randomly select another winner.

We had 92 responses to the survey. We selected one using Random.Org, a random number generator.

The Data Is Coming!

After Ipsos/NPD, which provided consumer data to the Book Industry Study Group’s Trends, exited the market, publishers struggled to get timely—or detailed—data on their consumers, and because their customers were retailers, they had little idea of who their readers were. The data that existed was too generic and surveyors often used questionable methodologies to get it.

But that is rapidly changing. Three relatively recent entrants into the market are the Codex Group, which surveys Borders customers to discover about genre, author, and jacket preferences (see our coverage here, here, and here); Bowker’s PubTrack, which partners with MarketTools, Inc. to conduct surveys; and the latest entrant, Verso Digital, which relies on its access to numerous “deep vertical” sites and is now rolling out a new service, tentatively called Verso Flight Plan.

Flight Plan makes Verso Digital’s survey technology available to publishers on a subscription or à la carte basis. It lets publishers carry out their own title-specific consumer research and pre-publication testing of book jackets, titles, and copy. They can analyze author awareness and audience size, run online focus groups, and delve into various vertical Reader Channels (such as Thought Leaders, Women’s Romance, and Science Fiction and Fantasy). The service will launch by the end of March; for more information, contact Business Development Director Jack McKeown at jack [at] versoadvertising.com.

Recently, Publishing Trends interviewed Bowker Director of Client Development James Howitt about PubTrack Consumer. Howitt, who previously worked at BookScan, said he realized four years ago that Bowker, which at the time was attempting to compete with Nielsen BookScan, should “move away from POS in the trade market and [instead] directly survey the consumer.”

In the past, “it was easier to get a consumer to buy your product,” says Howitt. “All you had to do was get it into Barnes & Noble or Borders. But now, with e-readers, publishers becoming vendors, and search sites becoming publishers, consumers can go anywhere to purchase a book. Traditional tracking of core channels no longer reflects the whole size of the market.” Though Bowker is known primarily for its core product, Books in Print, the company is increasingly becoming known for following the demand chain of the book process—beginning with ISBN registration and ending with PubTrack Consumer, for publishers.

PubTrack Consumer, released in 2007, provides publishers with data regarding consumers’ book purchases, demographic, and behavioral profiles. Some clients include Random House (the charter subscriber), DC Comics, Zondervan, BISG, K-Mart, and Direct Brands. The cost of access to the service varies by client, Howitt says. Some companies, with complete toolset access to the data, can analyze information any way they want. Other companies have to rely on Bowker to come in to present it.

To obtain its data, Bowker works with MarketTools, Inc. (MTI), an online market research firm, using its ZoomPanel tool. MTI has a pool of 10 million active names of people age 13 and up (they receive rewards points for participation). Bowker tracks 3,000 unique individuals each month.

“In the past, companies like this were either doing phone-based or diary-based surveys,” says Howitt. “But if you try to get hold of a 13-year-old, they don’t have a household phone, they have mobile. If you’re doing diary-based surveys, you’re relying on someone with good handwriting, someone who’s able to distinguish Harry Potter #1 from Harry Potter #7.” As for internet access, Howitt says that since nearly nine people out of ten in the U.S. have it, “that bias…doesn’t affect what we’re doing.” (MarketTools weights the sample to eliminate any remaining bias.)

Panel participants answer 65 questions about their book-buying behavior. A participant is first asked to report on all the books she has acquired in the past month, including books bought as gifts. She types in each book’s ISBN (a diagram shows her where to find it; the ISBN ties back to the Books in Print database), which pulls up the book’s format, author, etc. Next, she answers questions about each purchase, such as:

How much did you pay for this book, excluding tax?
How was the book displayed when you first saw it?
What other items did you buy at the same time as this book?

“For the first time, the industry can see a book’s real average selling price,” says Howitt. “One of the things POS is great at telling you is that a book sold 20,000 units last week, but it’s not designed to tell you if that 20,000 is made up of 18 to 29-year-old females.” Kelly Gallagher, VP Publisher Services, notes that Bowker can also go back to previous participants and ask them more in-depth questions. The company also launched a Cover Analysis service last year.

Publishers have always had trouble attracting advertiser interest, and Bowker’s research opens up the opportunity to determine correlations between book buyers and brands. Now publishers just have to sign up for the service and learn how to use it.

Book View, February 2010

People Roundup

Lots of movement at Barnes & Noble: Liz Scheier has joined Barnes & Noble.com as Editorial Director, working with publishers to create “unique, exclusive content digital opportunities throughout our digital distribution platforms, including in store programs” and reporting to Theresa Horner, VP Digital Products. She was most recently Director of Publishing Relations at ScrollMotion and previously an editor at Random House and Penguin. Mike Ferrari has left the company. He had held several positions there, most recently Director, Digital Content at B&N.com.

Margot Schupf has joined Sterling Innovation as VP, Publisher. She was SVP, Editorial Director, Digital Publishing for the Morrow/Avon/Eos group.

With the demise of Air America, website Editor-in-Chief Beau Friedlander may now be reached at simnyc [at] rcn.com.

Ron Marshall, Borders CEO for barely a year, has resigned to join A&P. Michael Edwards, who joined Borders last fall as EVP and Chief Merchandising Officer, has been named interim CEO. He will report to Mick McGuire, Chairman of the Borders board. Also at Borders, Dan Angus has become VP, Customer Loyalty, and will be in charge of loyalty marketing programs and initiatives. Angus was formerly VP, Customer Relationship Marketing, for Guitar Center.

Scott Lubeck, most recently VP of Technology for Wolters Kluwer Health, Professional and Education, has been appointed Executive Director of the Book Industry Study Group (BISG). Lubeck has also held executive positions with Harvard Business School Publishing and Newsstand, Inc., as well as with Perseus and National Academy Press.

Nicholas Brealey announced that John Groton has been named Sales Director for the North American operations based in Boston. He joins Editorial Director Erika Heilman and Finance Director Jill Friedlander. He was most recently at Globe Pequot, following many years at Random House.

Whitney Peeling is leaving PublicAffairs to “volunteer for a few months in India and Bangladesh.” Jaime Leifer returns as Publicity Director. Leifer was at Perseus from 2001–07 and was most recently Public Relations Manager at The New Yorker.

Sydny Miner has been named VP, Executive Editor of the Crown Publishing Group after 26 years with Simon & Schuster. Read More »

Win a Pass to Tools of Change!

Publishing Trends is an O’Reilly Tools of Change for Publishing media partner, and we’re excited to announce that we are giving away one FREE pass to the conference sessions (a $1245 value)! The conference takes place February 22–24, 2010 at the New York Marriott Marquis.

To enter the contest, please complete this (quick!) survey about PT by Friday, February 5 at 12:00 PM. We will post and contact the winner (one randomly selected respondent) on Friday afternoon.

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The 2010 Contact Sheet Is Here!

Our invaluable annual contact sheet provides phone numbers and e-mail templates for publishers, direct mail and book clubs, accounts (wholesale/retail/online), associations, trade shows, and trade resources. Download it for free: [download id=”4″].

Trendspotting 2010: Peter Hildick-Smith

Peter Hildick-Smith is Founder and President of the Codex Group.

2009 will be remembered as the beginning of the digital tipping point for book publishing, the year our industry took its turn as the last of the major media to enter the digital transition, following in the highly challenged footsteps of the music, newspaper, magazine, and network TV industries.

The question is whether we’ve learned the lessons from those media that have gone before us, and are entering a profitable new age of digital growth, or are heading for the perfect storm of a soft market, product devaluation through 60% off e-book discounting, and ineffective digital marketing that combined may put book publishing on the fast track to long tail obscurity. The choice remains ours to make, but not for long.

Digital Marketing’s Limitations

  • Break-Out Novels, June 2009: Barnes & Noble selected debut novelist Katherine Howe’s The Physick Book of Deliverance Dane (Hyperion) as a “B&N Recommends Main Selection.” In August, Amazon selected 14-year-old debut novelist Cayla Kluver’s Legacy (Forsooth) for the premiere of its new AmazonEncore book break-out program. The bookstore-promoted Physick Book hit #2 on the New York Times bestseller list, not uncommon for a B&N Recommends title, while the digitally promoted Legacy sold only 1,000 units after nearly three months in market.
  • Social Network Marketing, November 2009: In an internet survey of fiction book buyers, Facebook was the single largest media outlet of any kind for book shoppers, with 54% having viewed it in the past week (only 14% read the NYT that week). But when these buyers were asked where they first learned about the new novel they had purchased last, only 21 out of 5,173 surveyed (0.4%) said they’d first learned about it from “social networks like Facebook or MySpace.”
  • Amazon launched the single largest all-digital marketing campaign in book publishing history with the debut of Kindle in 2007. But after a year of massive on-site advertising and promotion, an online survey of Amazon book shoppers showed that barely half (52%) were aware that Kindle existed. Amazon turned to Oprah’s TV support shortly thereafter, and now, two years later, to the single most expensive network TV advertising campaign in book publishing history to get Kindle on track. Read More »

Trendspotting 2010: Angela James

Angela James is the Executive Editor of Carina Press.

We live in an age of want-it-now, get-it-now technology, an age where people are used to being able to adapt their entertainment to suit their schedules: DVRs, movies on demand, iTunes, game systems that provide immediate access to products, other gamers, and even movies. Consumers expect news the instant it happens, online banking from wherever they are, and the option to pre-order pizza from any location. In addition to all this, there are digital books. Shopping and immediate availability for your reading pleasure, 24/7.

In truth, romance readers have been taking advantage of the convenience of digital books for years. Though it’s only recently that the larger traditional publishers have made books available in digital format, smaller publishers have been giving readers the opportunity to access content instantly, at any time of the day or night, for over a decade. The romance reader is an avid reader, often a woman on-the-go, juggling not only her own busy schedule, but those of her children, her spouse, and maybe a parent or other loved one. She has a passion for reading, but it’s a passion she has to make time for, whether it’s while standing in line at the grocery store, waiting to pick up a prescription, or late at night while everyone else is in bed.

Digital books allow romance readers—and now fans of all genres—to not only find the time to read when they want to, but to also buy books when they want to. Digital books are a customized experience: read when you want to, buy books when you want to, wherever and whenever you want to. Our children are growing up in an age of want-it-now, get-it-now technology and publishing is just one of many industries that will be called upon to grow and change in order to meet the demands of upcoming generations who aren’t going to want to wait for the book to be ordered in store, or shipped to them from online retailers.

The challenges faced by publishing in meeting these demands and moving into the digital age aren’t going to be easy ones, as we’ve already seen—pricing, format, DRM, and the timing of when to release the digital copy in relation to the print copy are only a few of the issues still being debated with no clear solution that satisfies all parties. One thing that makes these challenges even more interesting is that consumers are no longer content to have these decisions made for them—they want to be part of the decisions and have their voices (and purchasing power) be heard.

Digital-first publishers are in a unique position of having more direct contact with their customers—the readers—because most sell not just through third-party retailers, but also direct to readers. Whereas traditional publishing houses may see many parties as their “customer,” from the reader individually to the resellers as a group, digital-first publishers recognize the reader as the first and primary customer who must be served: any time, any place, so long as that service is immediate. We are living in an age of entertainment on demand, and digital-first publishers like Carina Press are positioning themselves to be wherever the readers are, with the content readers want, and content they can access on any device, at any time.

Trendspotting 2010: Anthony Forbes-Watson

Anthony Forbes-Watson is the Managing Director of Pan Macmillan (UK).

Grimly bookended by the collapses of Woolworths and Borders, 2009 was suffused with the smell of crisis and peppered with job loss announcements, but ended up being merely bad rather than catastrophic, with sales forecast to be only a little down on the year before. It was the mix that made the year tough: Fiction brands hit their targeted chart spots only to be knocked off the top quickly by the next blockbuster, their sell-on curtailed by anxious consumers, and with the demise of Richard and Judy, no mid-market surprises to compensate. In broad terms, the big houses suffered while the smaller ones flourished, and the end of Borders, with its support for the unusual voice or quirky angle, only made more selective the already Darwinian bottleneck in our channels to market. Stephenie Meyer and Dan Brown sucked much of the oxygen out of the rest of the fiction market and in the run up to the holiday season, out of the nonfiction celebrity market too, leaving the industry with a fresh legacy of unearned advances. The polarizing effect of risk aversion increased and in general, advances reduced for all but the most surefire bestselling brands.

I heard some marketing guy once opine that Price = Cost + Emotion, and the 70% discounts offered by some retailers this Christmas suggest they’re not all that confident about the Emotion bit. What Emotion there was came in the shape of Immortals, Angels and Zombies, the familiar roar of the biggest brands and the promise of substantial sales at last from digital publishing. In a year full of new devices, price wars around those devices, all sorts of new apps and enhanced editions, Kindle was finally launched, while Google and Apple came closer to doing so, and an intensified focus on piracy hinted at the promise of real business to come, and soon. We can hope that what we lose in bricks and mortar we may more than gain in digital sales, the overwhelming majority of which are made so far to those over 35 years old: Now all we need to do is get people to pay a reasonable price for them.

Book View, January 2010

PEOPLE ROUNDUP

In December, Jenny Frost stepped down as President and Publisher of Crown, after a reorganization that split off the information and audio units. She may be reached at jennyfrost [at] verizon dot net. Doubleday Canada’s Maya Mavjee will relocate to succeed Frost overseeing the smaller Crown division.

Bonnie Ammer has resigned from her position as Random House EVP, International Sales. Also at Random House: Andrew Stanley, VP, Sales Director for Special Markets, Proprietary Sales will be relocating to London in January, where he will take a position with Random House UK. His replacement will be appointed in the new year.

Brant Janeway is leaving his advertising positions at The Daily Beast and Book Movement.com to join Macmillan Audio as Marketing Director. He was Director of Advertising at Random House from 2006 to 2009. Read More »