Quick Nav

 

Borders

From e-books to Borders: Trends and the Future of Publishing

January 12, 2011

Whether it's the upward trend of e-book sales, the growth of indie publishers, or the changes surrounding brick-and-mortar retailers, one thing is for certain--times they are a-changin'. Our very own Clint Greenleaf speaks to WritersCast.com about the current conditions and how things may change in the future. Read the article or listen to the broadcast here.

Are e-book trends sustainable? Will you ever part with your print books? Are authors starting to favor alternative publishing options over the traditional deal? Let us know what you think!

What's the Difference Between a Wholesaler and a Distributor?

July 29, 2010

Wherever you are in the process of writing or publishing your book, you’ve probably considered at some point how you’re going to get it out to all of your adoring fans. You might ask yourself: Once I’ve published my book, how will readers find and buy it? Wholesalers and distributors are the two main channels for getting your book into retailers like Barnes & Noble, Borders, and indie bookstores, as well as libraries and schools, but determining how these channels differ and which one is best for your book can be confusing.

Let’s start with wholesalers. Wholesalers like Ingram, Baker & Taylor, and Bookazine are the middlemen between you—the author or publisher—and most major book retailers. These retailers generally order books from wholesalers, which act as depots for your book. Retailers do this because it’s easier for them to order from a small number of trusted sources (wholesalers) rather than hundreds of individual authors and publishers (you). Thus, if you’re looking for national distribution to major retail channels, you generally have to be set up with a major wholesaler.

Although you may be listed with a wholesaler, it’s important to note that wholesalers generally do not market, pitch, sell, or push your book to retailers. Your title sits among thousands of other titles waiting for a retail buyer to take interest and order copies, and unless there is a compelling reason for the buyer do so, it’s unlikely that your book will be brought onto bookstore shelves.

This may be sufficient if you are not planning on marketing or publicizing your book. If, however, you are planning on aggressively marketing your book, you will want someone with connections to the national retail buyers to convince them that your title needs to be ordered from the wholesaler and put on bookstore shelves where consumers can see it, and hopefully buy it. That’s where distributors come in.
Distributors serve authors and publishers in two main functions:

1)    They set up titles with many wholesalers.

2)    They have an active sales force pitching and selling their exclusive line of titles directly to the retail buyers in the hopes of getting as many books as possible on shelves and in front of consumers.

“Why do I need a distributor to set me up with a wholesaler?” you might ask. Many wholesalers have an application process and require a minimum number of titles to be eligible. Ingram, for example, requires publishers or authors to have at least 10 titles before they will make their books available for order; if you have fewer than that, you need a distributor to get you set up in Ingram. You may also wonder, “What’s the benefit of having a someone pitch my book directly to the retailers?” As mentioned above, without someone actively and aggressively convincing buyers that your book needs to be on their shelves, in front of consumers, it will probably sit in a warehouse somewhere, never seeing the light of day. Distributors’ sales representatives often hold a certain amount of credibility in the buyers’ eyes as a trusted source of marketable, salable books. Good distributors and their sales reps are just as invested in selling your titles as you are, and their established relationships in the retail channel give you direct access to the desks of decision-makers at major retail chains.

So let’s recap: You want your book in Barnes & Noble, but you know you need to be listed with a wholesaler like Ingram before that can happen. Because you have fewer than 10 titles and are planning a publicity campaign around your book release, you realize you also need a distributor to get you into Ingram and pitch your book directly to Barnes & Noble. Your best course of action would be to hunt down a distributor who services Ingram and has a relationship with Barnes & Noble.

Clear as mud?

Understanding the fundamental differences between book wholesalers and distributors is important, but equally critical is establishing your distribution and sales goals for the book. If you’re not planning on doing any marketing to consumers and just want your book to be made available for your friends and family, a distributor probably isn’t necessary. If you’re planning on hiring a publicist and doing national media, you probably won’t get very far without one. Thinking carefully about your platform and marketing plans will help you determine realistic goals for your book’s distribution.

Borders Embraces Martial Art of Exclusive Distribution

July 13, 2007

2003_borders_logo.gif

Barnes & Noble made a business-savvy move when it began publishing those cheap, bland-looking editions of public domain classics and piling them high on prominent tables in 2003. No, no, they weren't trying to steal sales from other publishers––rather, the line "celebrates the genius of the human heart."

Borders announced its retaliation in this slo-mo battle of the titans this week: the publication of The Hammer, a collection of Sports Illustrated columns celebrating the life and times of Barry-Bonds-threatened grand slammer Hank Aaron. The Hammer is the second in the chain's plan to publish exclusive, proprietary books. Last month, the program's first book, screenwriter Nick Santora's Slip and Fall, became a Wall Street Journal bestseller despite being sold exclusively through Borders-owned outlets. And neo-soul fans rejoice: among upcoming titles is a John Legend tour book.

All this is a bit of Starbucks-inspired genius, of course, exempting Borders from distribution complexities and co-op space gouging and giving them the Oprahesque ability to select titles that automatically get gargantuan marketing support. Somewhere, Barnes & Noble lies in wait, plotting its entrance into the corporate tastemaking arena, and the fate of readers across the nation hangs in the balance.

Posted in:

When Shock Value Goes Too Far

November 22, 2006

shockvalue.jpg

ReganBooks, known for Jenna Jameson’s How to Make Love Like a Porn Star and José Canseco’s steroid exposé Juiced, has a long history of courting sensationalism. But the publisher—or more accurately, its parent company News Corp.—found the stopping point. Last week HarperCollins (owned by News Corp) announced that its imprint ReganBooks was to publish a book titled If I Did It by O.J. Simpson. The release would follow a two-part interview series set to air at the end of November sweeps on Fox (also owned by News Corp.).

The television tie-in immediately produced problems. Ratings and advertising revenues during sweeps help television networks set their advertising rates for the rest of the year. News Corp. decided to air the O.J. Simpson interview on Fox on two of the last days of sweeps and follow it up with the release of the book on November 30. Broadcasting companies often use outrageous ploys to pull in higher audience numbers and increase ad revenue.

This time, media buyers thought the sensationalist stunts had gone too far. Several buyers told Fox flat-out that their clients would not be advertising during the program. Some reports said Fox’s ad salespeople didn’t even try to sell the time because they knew the response would be negative.

Bookstores were just as reluctant. Although the book had hit Amazon’s top 20 list before it was released, Borders, Inc. announced it was going to donate all net profits earned on the book to a nonprofit organization for victims of domestic violence.

The message to News Corp. was that no one wanted to touch the project. Both projects were scrapped when News Corp.’s chairman and CEO Rupert Murdoch issued a public apology.

“I and senior management agree with the American public that this was an ill-considered project,” Murdoch said. “We are sorry for any pain that this has caused the families of Ron Goldman and Nicole Brown Simpson.”

The backlash is considerable, and the incident is unique in the history of the entertainment industry—although Simpson’s “hypothetical memoir” was something of a singularity as well. All the books that had been shipped will be returned and then destroyed.

The question that remains is the long-term effect on the industry as a whole. Is there such a thing as a limit to our sensationalist appetites—and have we discovered it?

Syndicate content

© 2010 Greenleaf Book Group, LLC. All Rights Reserved | Privacy Policy | Terms of Use