PUB 556 EDITORIAL MANAGEMENT

3 factors define trade publishing are :

Large print runs on offset presses
Trade discounts to distributors (55% or more) Generous return policies

 For a small fraction of trade sales, publishers can limit

the number of returns by selling books at a deep discount (60% or more) on a non-returnable basis. Some distributors require publishers to sign exclusive contracts to use them for distribution of their titles, then these master distributors will ship books to other distributors and wholesalers, in addition to direct bookstore sales. Niche distributors may only accept publishers they feel they can succeed with, and invest money and time marketing their list to bookstores

 Wholesalers fill the warehousing in and shipping

function for publishers who do all of their own marketing. Smaller chain / independent bookstores rely on book distributors and wholesalers to fill orders and handle centralized returns. Major bookstore chains such as Borders have their own warehouse and distribution systems, allowing them to deal directly with a large number of publishers whose sales volume justifies the relationship. Most distributors and wholesalers demand discounts of 60% to 70% from publishers, and often set minimum quantities for stocking and charge a warehousing fee for unsold books (until they return them).

 Frontlist
Publishers new title
The title their sales force will promote to book buyers at

shows, through catalog mailings and through trade advertising, usually before the titles are actually published. Goal of frontlist advertising:
To persuade bookstores and distributors to pre-order these titles

in quantity To help fix the size of the print run To make sure the books will be available on shelves for publicity

 Backlist
Books that remain in print for years and continue to sell

at a steady rate. E.g. : Classic novels A strong backlist is the backbone of publishing house because for some, backlist earns the majority of the profits and supports the frontlist. Any book that isnt being actively marketed can be lumped into the backlist category, regardless of the publication date.

 Major trade publishers use imprints as a way to

differentiate between the genres they publish and to lessen the mega-corporation feel for book buyers. Imprints at large publishers are frequently characterized by the backlist and by the theme of smaller publishers theyve acquired. Most imprints are a soft form of branding, based on long term reputation and consistency. Publishers sometimes redistribute books within their imprints for internal reasons.

 The easiest way to build a brand is around an existing

bestseller. Nonfiction brands are usually replete with common features known as elements to help reinforce the brand. Branded nonfiction titles are frequently proposed and produced by in-house editors in support of the brand concept.

 Some publishing houses allow authors to deliver

manuscripts in one installment, although the editor may keep tabs on the work in progress. Many non-fiction books are submitted piecemeal, from as little as a chapter at a time, to three or four major deliverable dates. Superstar authors and books receive better treatment, since the publisher can justify under utilizing the editor(s) involved based on the expected reward. In most cases, the responsibility for producing a quality book falls squarely on the authors shoulders.

 Publishers typically remainder books that are taking up

warehouse space with no apparent future, selling them in bulk. The traditional marketplaces for remaindered books in preInternet days were specialty mail order houses, traveling remainder shows and special reminder tables in bookstores. The Internet has irrevocably changed the economics of remaindering where the remaindering process was once a convenient way of reducing handling costs on returns, even for titles that were strong sellers, its turned into a tax on both publishers and authors. Remaindered books now compete directly with the new copies on Internet booksellers.

 New edition : a book that is changed or updated in a

substantial way and assigned a new ISBN. Successful nonfiction books usually appear in a new edition with updated material, are similar to bestselling novel on a backlist. The edition often lose their market share if minimal revisions are made just for the sake of refreshing the copyright date and slapping a new edition number on the cover. Any title going into edition will attract the attention of other publishers and authors and competing titles will certainly follow.

 The market can become so fractionated that none of

the individual titles from the original publisher sell enough copies to justify their precious spot on bookstore shelves. This allows a new publisher with a reasonable title and more focused marketing approach to get multiple copies onto bookstore shelves and take over the niche.