Mark Gilroy

Bringing Books to Life!

Books

Mark has been a book man since he learned to read. Why did he get in trouble in elementary school? Because he was reading a book when he should have been doing his math. Mark shares insights on questions you might have. How are books written? How do books get edited? How do books get published and distributed? And what are some great books that have something unique and compelling to say?

The Professor and the Madman – The Making of a Dictionary

The making of the Oxford English Dictionary.

Simon Winchester. Harper Collins. Published in 1998.

The prompt for writing a quick review of this book is that I just started a third title by the same author, Simon Winchester, The Crack at the Edge of the World, and couldn’t help but remember with fondness – yes, I used the word ‘fondness’ in regard to reading a book about how a dictionary was written – when I read The Professor and the Madman. Winchester is to my knowledge the developer and foremost practitioner of an immensely entertaining historical-narrative literary style whereby he lures us into turning page after page (rapidly) of a history book by telling a truth-is-stranger-than-fiction story that reads like pulp fiction, and yes, which is set within a larger historical context and moment.

Erik Larson followed the pattern in Devil in the White City , introducing us to the 1893 Chicago World’s Fair and how it changed the history of America through the lurid tale of a serial killer who was as big as Jack the Ripper before Jack found his first victim. In some parallel ways, Sebastian Junger employed this model, telling us about seemingly mundane things – the deep sea fishing industry, the physics of waves, the types of North Atlantic storms, and a little of the history of Gloucester, Massachusetts – through the sensational story of the crew of the Andrea Gail in his book The Perfect Storm, even better known for the George Clooney movie.

What is the historical setting and importance of the Professor and the Madman? The writing of the Oxford English Dictionary (OED), of course. Now, without making any claims of being an academic, I must admit that topic kind of, sort of interested me anyway. I like the history of words and their definitions. But enough to read a book? I’m not sure. Even if it’s less than 300 pages? Still not sure. It may never have reached the top of the stack. But even if you aren’t that interested in what made the OED the finest reference work of its day – and perhaps the greatest reference ever created – the story of Dr. Charles Minor, the man who contributed thousands of entries, all painstakingly researched and neatly written from his home in Crowthorne, England, just 50 miles from Oxford, just might hook you.

What tied Minor to the OED and made his role so remarkable? Was it that he was an American creating something so peculiarly British? Nope. There was no snobbery as a sub theme. That he was a veteran of the Civil War, where he was surgeon for the troops of the North? Interesting, but not interesting enough to bring a dictionary to life. Was it that he maintained a long distance relationship with Professor James Murray – strictly by correspondence – for decades, despite numerous invitations from Murray to attend fundraising dinners or just stop by the office to meet due to his prolific 10 thousand entries? Not even close. Was it that he thought Irishmen were … and that one night he went out and … and because of that he ended up living in … ? Yes. Yes. And yes.

Spoiler alert. If you don’t want to know what each “yes” represents, now is the time to stop! [Read more…]

Q: How Well Do Publishers and Booksellers Work Together?

A: Publishers and retailers work together well in some areas – but there is a huge disconnect based on competing self-interests that make it difficult to help each other succeed.

What makes for a successful retailer? More revenue than expenses, of course, but not just a simple profit and loss reckoning, but profitability within a biz model that includes a positive monthly cash flow. Healthy cash flow is achieved through healthy inventory turns. What are turns? For a bookstore that mean ordering copies of a title on payment terms (often 60- and more often 90-days to pay) and then hopefully selling those copies and getting money for them at the cash register before writing a check to the publisher.

How likely is that to happen if you are stocking 200 thousand inventory items in a big box national chain? Not likely. But hot selling titles will hopefully push overall performance numbers up. But what happens if there’s no new Harry Potter or vampire title to average in with the laggers (and even help them move more briskly because of increased consumer traffic) on the aggregate? What if you are a retailer and your inventory piles up to the point that you don’t have the funds to buy new books (referred to as ‘open to buy dollars’)? Simple. You return slow-moving titles, of course.

Store buyers place their orders with publishers (and/or distributors) based on projections of how many copies of a book his or her stores will sell in the first four to six weeks. How does the buyer come up with those projections? He listens to the publisher’s sales rep give the key selling points, comparable titles, and publicity plans. He then combines the sales rep’s projections with what his reports on the comps and his own gut tells him, and then places his order a couple weeks or months later. With the large chains the buyer will get a personal report card based on how well his titles met those projections. He has the further accountability of a finite dollar number in his corporate check book. Once that number nears zero without being replenished, his ‘open to buy dollars’ are done. So not only will he return books if they are not coming close to meeting forecasts, but he may be forced to return some borderline performing titles in order to have more dollars available to purchase a hot-selling title. To the publisher this feels like the retailer is paying his bills with returns.

The preceding paragraph sums up what is in a book retailer’s best interests – and what their challenges are. What about the publisher?

A publisher feels like she will do well on a single title when she adds up pre-press expenses (cover and interior design and editing), manufacturing expenses, direct marketing expense, overhead, a return reserve (usually an aggregate percentage applied to each title that assumes not every copy printed will actually sell and will have to be disposed of as an overstock or remainer), and royalty expenses (including advance against royalties), and then subtracts that number from sales projections – usually three-month, six-month, and 12-month projections. How does she come up with those projections? She reviews the performance of comparable titles and considers the author’s ability to help promote sales of the title to come up with her own number. She then shares her thinking with sales and marketing teams who will listen and agree or disagree in some measure and come up with their own projections. Different companies settle those differences in different ways. The publisher will do well on a single title in reality when the retail buyer brings in the number of titles projected (sell-in) and consumers buy enough copies of that title off the shelf (sell-through) to generate reorders. The publisher will get her report card on the basis of meeting or exceeding the original projections. She will do particularly well when overall sales pay off any advance against royalties and re-orders are frequent enough to keep inventory levels down (books sitting in a warehouse are like bananas – they can go bad overnite!).

The common success denominator for retailers and publishers is managing inventory levels. The retailer tries not to over order in the first place and is quick to return laggers. Both dynamics hurt the publisher who saves money on higher press runs and gets killed by returns. When publisher and retailer both get too conservative in order to combat this, another negative occurs. Stock outs. What happens when a customer comes to the store and the book he is looking for isn’t there? He forgets about it – or if he is persistent, he orders it online and waits for it. That kills brick and mortar retailers. Another less obvious impact of conservative buying patterns is the lack of merchandising. There was a day when you would walk into a bookstore and there would be numerous titles stacked high to capture attention and send the message that this was a book that just had to be purchased. With a few notable exceptions, like the afore-mentioned Harry Potter example, title emphasis is more subtle – and much easier to miss (or ignore).

Two relatively recent technological developments that are helping publishers more than brick and mortar retailers are print-on-demand and the e-book. Print-on-demand vendors provide a pretty high quality book (and the print quality is getting better all the time) – though without bells and whistles like foil and embossing – overnight and at a reasonable price. Not as good a price as printing 100 thousand books on an offset press, but a good enough price that beats the heck out of an excess inventory fall bonfire! An e-book is never out of print. Add those two dynamics together and any book is technically available within 24-hours to a retailer or individual consumer without the risk of large print runs.

But back to the publisher-retailer relationship. Even print-on-demand can’t totally mitigate the damage to performance numbers that occurs because the two parties have conflicting interests when it comes to inventory management.
Is there a solution? If you follow the financial reports of major publishers and retailers, neither side of the equation is doing well enough to give much in the give and take of business.

The solution for the author who wonders why his or her book isn’t selling like it should is to look in the mirror and ask him or herself what he or she can do to build demand. The book publishing and selling environment isn’t currently emulating the Fields of Dreams. Just because you wrote it doesn’t mean it will sell.

What Must I Do to Copyright (and Protect) My Writing?

Q: What must I do to copyright my writing?

A: Nothing.

The moment you write something original as an idea or expression on the back of a napkin, in your journal, or any other sheet of paper (or any other textile or surface) – or input it into your computer, you own the material. Unless you sell your copyright to someone else (i.e. a Work Made for Hire Agreement).

what must I do to copyright and protect my writing?Outside of that nebulous area called “Fair Use” no one else can publish your material without your permission. You created it; you own it. When publishers offer you a book contract (and “book” is very inadequate term to convey what they want), they are purchasing your permission to own exclusive sales, distribution, territorial, and publishing rights to your material. Publishing rights means they have all control over the printing of your work, whether on paper with ink, whether in audible voice, whether in dramatic presentation, whether in workbook form, whether in electronic medium – or in any other medium that exists now or will in the future exist in all the universe. And so forth. (Get the idea?)

But YOU will still own the copyright. It is your intellectual property. You just can’t do anything with that property. Unless you reserve certain rights, you no longer are allowed to do anything with your material that is not allowed by your publisher. If you want to donate three chapters to your church for a ministry booklet, that’s fine – if and only if it’s fine with the publisher.

One of the classic historic battles between writers and publishers was over copyright ownership. Even into the 1990s many boilerplate contracts indicated that the publisher was acquiring ownership of the copyright and that the book would be copyrighted in the publisher’s name. That battle is mostly over, with most publishers agreeing to register a book with the U.S. Copyright Office (or the country of origin) in the author’s name.

But I thought I didn’t have to do anything to copyright my work? Why would a publisher go to the trouble?

There are some smaller publishers who actually don’t go to the trouble and in most cases, it won’t be a big deal. It won’t change the legal standing to the work. But registering the material is an action that conveys a publisher is going to protect the copyright, which is a huge issue.

Protecting copyright is the source of much acrimony and confusion in the world. As an example, I lived in a city where a local high school copied a university’s trademarked logo (a trademark is different than a copyright, but you get the idea) for their football helmets. The university, after learning of the violation after several years of use, issued a cease and desist letter. The moral outrage and outcry by supporters of the high school team was loud and sometimes vicious – and wrong. If the university had not protected their trademark in this instance, they would lose the ability to control something essential to their identity and possibly lose millions of dollars in licensing fees in the future.

Does that mean you can’t let others use your material? Of course not, but I wouldn’t recommend it without requiring proper attribution, including the (c) designation with your name. In a church bulletin? Yes. As a chapter in someone else’s book? Definitely. If you don’t protect it that way, why would a publisher offer you money for it at a later date? Be generous all you want, but be consistent in protecting your ownership.

Bible publishers have done a good job of granting generous permission for authors and organizations to use the material from their translation, in many cases at no charge, but always with the requirement of proper attribution and copyright notification. Outside of the King James and a few other public domain translations, there will be specific guidelines set forth in the front matter of your Bible or on the publisher’s website. Check it out as a good case study.

There are a host of subplots surrounding the topic of copyright. I’ve already mentioned Fair Use, which deserves its own blog and is still too slippery to nail down. There are subrights issues, international and U.S. differences on the term of a copyright, tricks for extending copyright beyond its expiration date, review rights, Work Made for Hire issues, serial rights, and other nuances. This blog is in no way exhaustive, but is at least highlighting one simple application for you as an aspiring published author: protect your property.

How? You don’t have to put (c) Your Name on all your work. But why not do so anyway as an initial precaution. Make sure you establish when you created your work in case someone claims that you borrowed or stole from them. Let others enjoy and use your work before you are able to turn it into a payday, but only with proper attribution and notification – and any other conditions you would want to stipulate. And when you have a publisher ready to buy your work, make sure you understand exactly what you are selling. If you are a new author, the publisher is going to want to buy all rights from you to make sure he or she can “exploit” those rights in any way necessary to make your deal profitable for both parties. (Exploit sounds awful but it’s not a bad word in this context!)

The small things can save you big problems later. If you think disagreements over physical property gets brutal, wait until you see a fight over something that is a product of the mind!