Of course, much of this is due to a change in perspective:
how we approach things and direct ourselves; the models and designs we use as our
vehicles of expression; and how we apply them in relationship with our world.
So, what I’m saying is that the publishing industry is
changing because we are changing, not the other way around. We are directing
that change. We are directing that change every bit as much as we are directing
changes in other important elements in our lives.
You don’t need to embrace new-age spirituality, mystery
school teachings, non-locality particle physics, quantum entanglement or “intuitive
science” to appreciate that our entire existence as a species, a living
community and a planet is in upheaval.
You know what I mean. Wherever you look, it’s crazy (put
your own examples here; there are too many). And in the midst of all this,
miracles happen. What does this have to do with indie publishing? Well,
nothing…well, everything. Let me tell you a little about me and my books…
I’ve had over a dozen books published with small to
mid-sized presses as well as my own small press, recently started up. My first
book made it to the shelves of big bookstores like Chapters/Indigo and Barnes
& Noble. I’ve seen my books on the shelves of small indie bookstores in
Toronto and Vancouver areas and in a Paris bookstore. I’ve also had the
heartache of seeing too many of my books returned from these same large
bookstores, no longer “stocking” a particular title (although they kept it in
their online catalogue). Over the years my thinking as both writer and
publisher has shifted: mostly to do with what bookstores are doing; who to
publish with; and what formats to provide my readership (e.g., e-book, print,
audiobook).
Along with that shift, my definition of “big thinking” also
changed. The possibilities are endless in a world where an unknown individual
can achieve worldwide fame through a single twitter feed.
In the first in a new series of articles devoted to “Killing the Top Ten Sacred Cows
of Indie Publishing” Dean Wesley Smith recently shared some interesting facts
and opinions about how changes in book production along with reader technology
has affected the industry.
He dispels the notion of many indies that their books can’t
easily get into bookstores. Distribution channels for books, particularly indie
books, are more than arcane. Smith advises indie publishers and writers that, “If
you are already doing some things correctly, there’s a big chance your books
are already in bookstores and you don’t even know it.” He’s right. I’ve
published several of my books with indie publishers and both my publisher and I
were unaware of some of the bookstores my books ended up in all over the world!
I only found out because I frequently google my books for just such surprises.
“And of course, in this new world,” Smith continues, “you don’t even know what
it means ‘to have your books in a bookstore’.”
What does it mean to have your book in a bookstore? It’s in
the store if it is sitting on one of the shelves, says Smith. It’s also “in the
store” if it’s in the bookstore’s online database, which is where most indie
books end up—virtually there, if not actually there. Considering how most
people shop for books these days, and the inadequacy of shelf exposure (only so
many books can appear on the shelf with their covers visible as opposed to
their less compelling spine), this is not necessarily a lesser thing for the
indie writer and publisher.
Ten years ago, says Smith, most bookstores used to order “to
stock”. Today smart bookstores order “to replace”. This is now possible because
of quicker distribution, and swift and high quality digital POD methods of book
production (including neat quirky things like Espresso Book Machines or EBMs). Along
with this new policy comes another potential change in the transaction
model—that of returns. Smith reports
that the returns system is “drifting away and is now under 18% standard and
still dropping.” They were more like 50% not too long ago, which can be
potentially disastrous to a small publishing company or self-published author
with small revenue-base. Smith reports that many large publishers are even
offering no-return choices, usually with higher discounts, which bookstores are
accepting. This is great news again to small and new publishers, who cannot
afford the uncertain and sudden cost of returns. Of course, returns will likely
remain as a reassurance to booksellers when picking up unknown titles. In fact,
this practice was adopted to permit booksellers to carry more new and untried
authors without putting them at grave risk.
Smith confirms something I envisioned a while ago: that
bookstores won’t disappear; instead they will morph into a more diverse set of
small and specialized stores, stocking less numbers of any one book (one or two
copies tops) for show with the ability to order new books and get them quickly.
This is the new model Smith talks about: stock low and order to replace. So,
“instead of ten of the last Patterson, there are two of the Patterson and eight
other author’s books in the same shelf space,” says Smith.
So, for indie book publishers and writers, and bookstores
who carry them, we are seeing the rise of a new paradigm; new trade
arrangements that include consignment agreements, small but diverse inventory,
and huge opportunity.
Nina Munteanu is an
ecologist and internationally published author of novels, short stories and
essays. She coaches writers and teaches writing at George Brown College and the
University of Toronto. For more about Nina’s coaching & workshops visit www.ninamunteanu.me. Visit www.ninamunteanu.ca for more about her writing.
