BookExpo, the annual booksellers
and publishers convention, has traditionally been the moment for media and
book-business observers to take stock of the industry. Like many things about
traditional publishing, BookExpo has shrunk in size and schedule in recent
years, though it now includes a consumer-oriented portion called BookCon. But editors,
sales reps, and booksellers still walk the floor and ask each other “how’s
business?”
So I thought I’d honor the tradition
and gather some impressions from colleagues. The natural place to start was a
ready-made panel of experts—the contributors to the forthcoming essay
collection WHAT EDITORS DO, edited by yours truly. (For more on the book, see
yesterday’s post.) I circulated a few
questions to my 26 co-authors. Interestingly, many of those who answered were
not attending BookExpo, probably because for those who are, this is a
crazy-busy week. But I got some thoughtful responses from editors representing
Big 5 trade houses, university, and literary indie publishing.
Herewith some brief
selections from their answer, with a few of my own comments thrown in. As
usual, different perspectives give us a variegated picture of the industry,
where cautious optimism is streaked with the awareness of challenges.
What was the first BEA you attended? What do you remember of BookExpos past or present, or what are you looking forward to?
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| Jane Friedman |
Jane Friedman
(Blogger, consultant and industry observer at janefriedman.com): My first BEA was 2004 in Chicago. I
don't remember much from that first year, but I attended every year after that
for about 10 years. The best part was always meeting and spending time with
authors. The worst part was always the lines, lines, lines, and crowding—and feeling done with humanity by the end. I'm not
attending this year, but I know it's partly a mistake. Some serendipitous
encounter always happens that makes the discomfort and exhaustion worthwhile.
Susan Ferber (Executive Editor, Oxford University Press): I have actually never attended the BEA!
Since I work for a university press, my highest
priority is the conferences in my academic discipline.
Diana Gill (Executive Editor, Tor/Macmillan): My first ABA was while I was still in college, courtesy of one of my very first publishing mentors. I remember being so very excited to see the booths and to
get ALL THE GALLEYS. I couldn't believe how cool it was. Your first BEA is a rush, whether it was many years ago or for the
new assistants just starting out.
Peter Ginna: I have written elsewhere of
memorable BEA experiences and characters. One that was happily not my own
was a peer of mine who
toiled in an imprint of Random House, back in the days when Random caused a stir by spending
a million dollars on a vast, elaborate BookExpo booth
featuring an actual “House” in the middle of it. Along with other low-riders on the corporate totem pole, he was stocking the
shelves in the booth when an unfamiliar-looking “suit,”
cocking his head to examine the custom-made fixtures,
said, “how does it look?” The new recruit said, candidly,
“I think it looks like a
French pissoir.” It was
then that he found he was speaking to Alberto Vitale, Random’s CEO.
 |
| Carol Fisher Saller |
What is the
most underappreciated positive development in publishing recently, or the most
overhyped negative one? What about the flip side—what is the most
underappreciated threat or challenge to book publishers?
Carol Fisher Saller (University of Chicago Press, author of The Subversive Copy Editor): From the get-go, I was amazed
at the hysteria over e-books and how they were going to destroy publishing.
Instead, we've seen publishing explode in many new directions,
with more kinds of things to read in more kinds of formats than ever before.
 |
| Katharine O'Moore-Klopf |
Katharine O’Moore-Klopf (Freelance editor specializing in medical &
life science books): I have
been concerned about the loss of respect for or loss of knowledge about the
value of developmental editing, line editing, and
copyediting. As publishing has become more about the financial bottom line than
about quality, editing has come to be seen as less of a necessity than it once
was. Part of this is because editors in general have been self-effacing,
thinking it almost improper to talk about the value
of their role in publishing. That must change. Editors of all kinds must speak
out in every venue possible to explain what it is they do and why it’s
important to the quality of books.
 |
| Diana Gill |
Diana Gill: I think it's
fairly clear that the big 5 will continue to contract
and tighten their programs, with all the commensurate effects and spinning of
publishing's own wheel of fortune for people at those houses, and for authors new and old. I
hope smaller and indie presses continue to provide some alternatives and ideally grow to counteract
the contraction.
Susan Ferber: I think we have taken for granted what an incredible
development print on demand has meant for publishers, authors, and
readers. There is no need to declare
books out of print anymore; we can literally make
work available forever, which is a development on par with the printing press
in my mind. I think the death of the
print book has been the most overhyped negative in the publishing world. This has been augured and feared for so long,
and for new generations of readers, it is so
heartening to see that they love the print form. It is enduring and old technology can and
does have value.
 |
| Susan Ferber |
Jane Friedman: I am encouraged by
the new data-oriented research and tools that help publishers and authors
better speak to, connect, and market directly to readers. Direct-to-consumer knowledge and
marketing has been the Achilles heel for traditional publishers, particularly
when compared to Amazon's capabilities, but it really feels like the industry
is making some progress.
As an
author-advocate, I wish publishers would take more
seriously the need to offer authors more communication and education on book
marketing. I know it's not possible for publishers to give all their titles
A-list marketing treatment, but by far the biggest complaint I hear from
authors is that no one told them or prepared them for
what the publisher would or would not do. Greater transparency would be so
helpful.
[BookExop photo via Chicago Tribune]
