Originally posted on our collaborative site, Ourblook.
(Author-editor Thad runs The Future of Publishing, Inc. …www.thefutureofpublishing.com… what better guy to ask than him about the future of books?)
Newspaper circulation is declining, and fewer people are watching the TV networks’ evening news. What is the situation with books? Are any segments doing particularly well; any particularly badly?
TM: Book publishing is not suffering nearly as heavily as most other media segments. As another example beyond newspapers and TV news, after years of rapid sales increases, the computer gaming industry saw June 2009 sales decline 31 percent (emphasis mine) from the same month last year. (I consider all forms of publishing and media in my studies on www.thefutureofpublishing.com, as I believe that there are very important interrelationships between different media industries).
According to the Book Industry Study Group (BISG), total U.S. book publishers’ net revenues reached $40.32 billion in 2008, up 1.0 percent over 2007, while 2008 unit sales reached nearly 3.1 billion, down 1.5 percent over 2007.
Children’s book sales are often down when it’s not a “Harry Potter Year,” although Stephanie Myers and her vampires are picking up the slack. According to the BISG, sales of professional books showed strong revenue growth, posting a 4.0 percent increase between 2007 and 2008. Sales of Elhi and College books also continued to grow in 2008, seeing an increase of 4.5 percent in net revenue for each category. Meanwhile the religious segment underperformed the book publishing industry as a whole in 2008, with revenues declining 10 percent.
Book review sections at some major newspapers have been eliminated or curtailed. Your thoughts?
TM: I don’t see this as a major problem because the web is providing probably several thousand times the coverage of books beyond what newspapers ever did, and is engaging readers more deeply than just reading reviews. When you look at a web site like Canada’s largest newspaper The Globe and Mail, while its print coverage of books is down, its web site has greatly enhanced book coverage, of course in a far more engaging way.
It is easier than ever to write a book … if it’s ever easy to write one … in that e-mail makes interviewing and research more convenient, and word processors make adding to, deleting or shuffling content as efficient as possible. Yet many great books were produced in the past with laborious quill pen handwriting. Is there much of a correlation between the type of process and the quality of product? Are books better than ever or worse than ever or neither?
TM: Great question; tough to answer.
I recall that when the use of personal computers first exploded in the 1980s, many authors insisted they would continue to use pen, pencil or typewriter … that the ease of making changes made them worse writers, not better ones. I still occasionally encounter that sentiment in author interviews today.
I argue that creativity in writing exists completely apart from the tools used to create. All writers must use the tools that they are most comfortable with … good writers will produce good work; bad writers the opposite.
With nonfiction, there’s a significant distinction to be made. Probably more than two categories are required here, but to simplify the argument let’s say that there is literary nonfiction and there is informational nonfiction. As with fiction, literary nonfiction requires great skill with language, grammar, and also great intelligence in formulating arguments and presenting them persuasively.
Informational nonfiction is tasked mostly with being clear, comprehensible and accurate. The very good (and best-selling) computer journalist, David Pogue (from the New York Times), dictates all of his books using Dragon Naturally Speaking … excellent transcription software. I write a great deal, but find that my conversational voice is very different from my writer’s voice, and so stick with the computer (not however with pencil or pen!). I find that I type at roughly the pace that I compose reasonably clear sentences and am a great believer in rewriting and in good editors.
The extraordinary growth in self-publishing .. I estimate one million titles were self-published last year (although a significant portion were reprints of out-of-print books) … means that a lot of not-very-skilled writers are getting their work into print, generally without bothering to pay a good editor to help, so there is a lot more dross on the market than ever before. But the dross does not inhibit great writers to continue in their work, and while the largest publishers are cutting back on their total title output, I’d argue that any fine author can find a publisher who will bring their book into print. Marketing on the Internet: well that’s still a relatively new and developing skill (which even the largest publishers have yet to master).
Do you foresee any social media techniques … i.e., Twitter, texting … being used by people writing books in either seeking or receiving material?
TM: Certainly social networks are a great mechanism for reaching out to people, whether to source information, solicit input or comment, and to publicize the final product. Narrative is not well-served if constructed a sentence or two at a time; it favors more comprehensive forms. Yet apparently in Japan writers are finding some success with novels sent as numerous short text messages.
The overriding point is that the novel is as much an accident of history, technology and economics as the feature film is. The LP, cassette tape and CD in the music industry were convenient formats to manufacture, market and distribute and led to a particular form of music called “the album.” Wikipedia defines this as “a collection of related (emphasis mine) audio or music tracks distributed to the public.” But now that people can easily download single tracks from an album (CD, mp3, whatever), the concept has been revealed for the essential fraud that it was. Relatively few albums had any thematic consistency. They were just collections of music that could fill about 60 minutes. Back then selling “singles” was not as profitable, and so they were priced too high to become as popular.
There’s no question that the Internet and the web will create numerous remarkable opportunities for creative expression. The book has no monopoly on creativity.
Books have always been fixtures in our culture because they are personal, physical products that are lovingly kept in one’s home. Do electronic reading devices such as Kindle threaten that or augment that?
TM: Years ago one of my mentors, Neil McLean, began referring to books as “artifacts.” It was a prescient recognition that the physical object is just that; what’s contained within is what truly matters. At the same time, “book arts” should not be neglected. Designers are self-interestedly inclined to overemphasize the value of design and manufacturing in a book. But consider the alternative. What is “Alice in Wonderland” without the superb illustrations of Sir John Tenniel? What are the great dictionaries without their very fine and carefully-selected woodcuts? Many authors and designers feel that choices in typography can enhance the meaning or impact of their text.
The current e-reader offerings tend to drop illustrations and do a great disservice to typography (amongst other small crimes). Of course technology can address these issues over time. But I just do not think that the notion of dedicated eReaders makes any sense. Those who read almost always are interested also in some combination of film, music, e-mail, phone, texting, Web-surfing, etc. The winning technology will find a single device to offer optimal user-experience for each of these varied but connected interests.
Is there anything else you’d like to say about the past, present or future of books?
TM: When the U.S. media look at the changes in media consumption trends, naturally enough, they tend to focus on the United States. This is terrifically misleading. Newspapers are thriving in countries such as India and China. Pirating is a even larger challenge in those countries than it is here. The increase in literacy in the Third World drives greater demand for books: on what medium remains to be seen, although paper is currently most cost-effective in those countries.
On my thefutureofpublishing web site, I focus on the interconnectedness of all media and on many external influences. Right now a lot of the energy driving the demand for e-books is a belief that electronic books are more carbon-neutral than paper books, although this argument is highly suspect when you consider the power demands of the enormous computer server farms that facilitate their distribution, and the non-biodegradability of most of e-reader components. But of course it’s easy for people to think that digital = eco; paper = destruction.
I say to my friends and colleagues: “You should feel blessed. You are part of a revolution in how information is distributed far greater than the invention of the printing press, and certain to have more far-reaching effects. Yes, it can be wearying to keep up with it all, but think of it as adventure, not as threat.”
(Thad says about himself: “Writing and publishing are in my blood. My father, Kim McIlroy, was an author, playwright and broadcaster. My great-uncle, Gordon Hill Grahame, was a novelist (his first novel, “The Bond Triumphant,” won Hodder and Stoughton’s Canadian Prize Novel Contest in 1922). My great-great-great (etc.) uncle was Kenneth Grahame, author of the children’s classic “The Wind in the Willows” (remember Toad of Toad Hall?).” For the rest of his bio, go to … http://www.thefutureofpublishing.com/pages/about_thad.html )