"With their large overheads, major publishers now have to do a minimum first run of 20,000 to 30,000 copies. For a smaller publisher, a title selling 5000 to 10,000 copies is very profitable. So the mergers keep opening doors; they have allowed us to form a more well-rounded list." ~ Dan Halpern
"Experienced small publishers cultivate the backlist like a vegetable garden, hoping its yield will sustain them. ... In an industry increasingly focused on the front list, small presses do almost everything with the back list in mind." ~ Bridget Kinsella
"What you always hear about are the immediate bestsellers, the books that sell over 100,000 copies in the first six to 12 months. ... What you don't hear about are the books that are selling 100,000 copies over time. We're [small publishers] selling a lot more titles than people realize, but we're doing it over a ten year period, and because we do it over ten years, our books will always stay in print." ~ Jan Nathan
"The roles of large companies and smaller companies are becoming clearer. The larger companies are good at publishing big books, but books that need more attention are falling more and more to smaller companies." ~ Peter Mayer
"Small publishing has a different economic base. The barrier to entry is much lower. They don't have to print to reach the masses with broad consumer books, and with on-demand printing they can do short runs. They don't have to feed the beast with a blockbuster selling 50,000 to 100,00 copies or sell through the large channels like Barnes and Noble." ~ Jeff Hayes
Small Publishers Association of North America
These periodicals and how to do it books are useful:
There is no standard definition for the "small" press or small book publisher. Sometimes, "little" is used instead small. Other alternatives are independent or alternative with independent increasingly popular. Small or little often refers to the size of the printings and of staff. For example, less than 2,000 copies for a typical print run and a full-time staff of two or three would qualify. Independent refers to the notion that the publisher is not owned by a large corporation and publishes what she believes in rather than what is popular or commercial. Alternative usually refers to books that express non-traditional values or are aimed at small, but thoughtful audiences. In both cases, publishing decisions are often made on the basis of the publisher's interests and beliefs rather than just profit potential. Major publishers and some critics sometimes think of small presses as the minor leagues. While there is some truth in this image, small publishers may well be the "big leagues" in terms of quality and eventual societal impact.
Publishers Weekly usually has a survey of
"Small Publisher Standouts" once each year. Here, the number of titles listed
varies from four to 75 and the number of employees from three to 45.
Many of the publishers mentioned in these survey articles seem to be
larger than "small." They are small in comparison to the large houses,
but are often medium-sized in comparison to most new small presses. A
recent estimate by PW said that about 7,000 new publishers launch each
year, most of these will be small.
COSMEP, the Conference of Small Magazine Editors and Publishers, emerged from the social activism and anti-war protests of Spring 1968 in Berkeley, California. It brought together many anti-establishment publishers. The organization's most notable product was the International Directory of Little Magazines and Small Presses which began in 1965 and eventually listed about 6000 publishers. COSMEP was Replaced by the Small Publishers Association of North America in 1996.
The other major organization is the Publishers Marketing Association. It has about 3500 members in the U.S. and Canada and has some focus on professional management. PMA estimates that there are between 8,000 and 10,000 "serious" independent publishers and as many as 50,000 in all.
There seems to be no persuasive estimate for the number of small presses in the United States. Self-publishing has become so easy that many people are now "publishers." Estimates vary widely. Some estimates are based on how many new ISBNs are issued, but not all small publishers apply for them. Some critics attempt to distinguish between "serious" and less serious publishers but that seems to be difficult. There probably are at least 50,000 serious small publishers and the number is growing.
A 2005 study of 63,000 small and independent publishers estimated that they constituted a $14.2 billion industry. Small publishers in business for six to fifteen years still sell 75 percent of all the titles they have ever published [backlist oriented]. "Small, independent publishers tend to hire their first employees once revenues hit $250,000 and significantly increase their payrolls when revenues top $1 million."
Typically, those involved in small press book publishing issue books that the care deeply about. Thus, there is a greater partnership with the author and more understanding of the needs of particular content. Many small presses are gap-fillers who publish in areas neglected by the larger, traditional publishers. New voices, translations of foreign authors, poetry, unpopular voices, niche content for enthusiasts in a wide variety of leisure-time areas are good examples.
Given the narrower focus and the quality of the work, small presses often develop strong relationships with a dedicated group of reader/enthusiasts. They publish for and to a community.
Many lay people assume that most small publishers are literary or counter-cultural. Library Journal perpetuates this stereotype with its "Small Press Roundup" of the best small press books of the year which emphasizes literary and non-traditional content. In fact, the majority of small publishers issue informational content. Most books issued by small or independent publishing houses are not literary or counter-cultural. However, they are often specialized and aimed at market niches.
While some federal government (National Endowment of the Arts) and foundation funding (Lela Wallace Reader's Digest Fund and the Andrew W. Mellon Foundation) stimulated literary and cultural publishing in the past, technology has been the major factor behind recent growth.
Desktop publishing on relatively inexpensive personal
computers and quick copy shops that produce paper editions of
reasonable quality make it relatively easy for anyone to create and
publish a book. More recently, rapid improvement in
publishing-on-demand technology allows affordable small press runs or
print when an order is received. Many of these publishers will publish
one or two books and then
disappear. However, a few are commercially successful and expand their
list over the years. An alternative is to create books that are never
manufactured, but are issued in PDF, RTF, or XHTML format and are
downloaded from a protected website, perhaps using the shareware model.
There is a close relationship between population and the number of small publishers in a state. California, New York, Texas, Pennsylvania, and Illinois are the leading small publisher states. However, you find small publishers everywhere. One is in Jelm, Wyoming, for example. One estimate notes that only about 15 percent of new small publishers are genuine businesses rather than a hobby or labor of love.
As major publishers have become more rational and less interested in specialized subjects or any work not likely to attract a large audience, there are more opportunities for the smaller publisher to issue works and authors that formerly would have gone to a larger publisher. Large publishers increasingly focus on the brand name author and the big book. Any book likely to sell less than 10,000 copies is at risk and that includes many mid-list authors. Thus, the smaller publisher has trade opportunities as well as those associated with specialized and local/regional works. Small publishers often market their books outside the trade. For example, gift shops, hotel newsstands, university bookstores, museums, and specialty stores sell small press books.
One of the attractions of the small press for the author is the ability to control the intellectual content and the format of their work. Another asset is that the small publisher is likely to focus more energy on one title at a time since few titles are issued. Typically, authors receive more personal attention when published by a smaller house.
We have come a long way from using IBM Selectric typewriters to create camera-ready copy. Xerox, among others, has developed short run printing technology based on laser printing that allows publishers to print a few copies of a work economically and quickly. Even more traditional offset printing can produce runs of less than a 1,000 copies economically. Publishing on demand is increasingly popular with publishers of all sizes. Managing print runs is crucial for the smaller publisher. Today, it is better to publish a smaller first run and be ready to quickly reprint. Returns management obviously has an impact on print runs. Technology allows manufacturing copies as needed and eliminates substantial up front costs.
Many small publisher titles have been best sellers within a particular category. Often, these are not recorded on the usual best seller lists, especially when books are sold outside the trade. Still, there are examples of small publisher books that have made the major best seller lists. Examples might include:
When self-published works are included, it is clear that small publishers have played a major role in the preservation and advancement of literature in the United States. Small publishers have been more willing to risk themselves by publishing new authors and new ideas or new ways of creating and communicating. What is critically successful is sometimes not at all commercially successful. Small publishers may be driven by passion rather than profit.
There has been a strong relationship between the two to three thousand serious literary small publishers and the specialist periodicals, particularly the "little magazines" where these books are reviewed and advertised.
While small publishers issue only a few books, they normally
keep their books in print until the last copy is sold and that
provides more opportunity for word of mouth to develop.
Many small publishers create a list built on their own
interests and taste. This can create a stronger relationship between
the firm and the list. Similarly, they are often more interested in
working with authors to insure that the book is successful.
Sometimes, literary small publishers seem to believe the notion that a work issued by a commercial publisher must be trash and any work issued by a small press must be good. This is not true. Commercial publishers have and continue to issue works of considerable quality. Some small press titles are not very good.
In the U.S., small presses became much more visible in the 1960s and external funding made non-profit publishing possible for some. While some funding is still available for literary publishing, it requires substantial and continuing effort to obtain it.
In Europe, there is a tradition of governmental support for publishing related to preserving and advancing national culture. While there has been some federal government support for publishing in the U.S., largely for historical works, it has been limited and has declined in recent years.
The most successful small publishers focus on a niche. They know the associations, newsletters, shops and other outlets where enthusiasts may be reached. These publishers are subject specialists with 25 years experience raising Russian Blue cats, building model railroads or whatever. They know the literature, including the gaps. What they publish is focused and important to particular, known users. These informational publishers are more market oriented than the literary and counter-cultural publishers. Many of their publications are financially successful. Press runs may be as small as a few hundred or as large as 3,000 copies. These books, often trade paper format, are reasonably priced and may be sold direct or via specialty outlets, specialty periodicals, and conventions. A strong back list is developed with steady sellers. These publishers are "brand names" within their particular field and have considerable visibility and recognition among their audience. Morning Sun Books sells books on railroad history and is well known to the railroad enthusiast. Amazon has had considerable success in selling books by smaller publishers [the long tail], but recent demands for greater discounts from publishers has created some discord.
Small publishers stimulate intellectual pluralism by issuing books including many views, including those that are unusual or controversial. They issue some work of outstanding quality. Often, the small informational publisher reacts much faster to changing information needs. For example, the explosion of titles on personal computers, new age themes, and various kinds of addiction began with small publishers. The small publisher may do the research and development necessary to identify and reach a new market before the major publishers take an interest.
Book stores prefer to deal with distributors since it is much easier, and more economical, to get books from several publishers from one place, in one shipment, with one invoice, and the like. Most small publishers are much more interested in creating books than marketing them so using a distributor is attractive. However, returns from distributors can be high as can be the fees charged.
The costs associated with fulfillment (another part of distribution) can also be high (space, technology). However, a distributor will not hustle as much for one publisher's titles as that press will IF it is knowledgeable and takes the time and effort to do it right. For example, returns are usually lower when the house handles its own distribution. Again, time spent on distribution may be time that can not be spent on acquiring and improving new works. Publisher distribution works best for those publishers with a specific, known niche beyond the book trade.
In late 2006, many small publishers were hurt when Publishers Group West went bankrupt because of accounting problems at its owner Advanced Marketing Services. PGW was in good shape, but its parent was not. Payments owed for the final quarter of 2006, including the big holiday season, disappeared. For example, Parallax Press, a small Buddhist publisher was owed $150,000. At the same time, publisher inventory remained in PGW warehouses. When the Perseus Book Group purchased PGW, it offered 70 cents on the dollar for monies owed publishers if they signed a four year distribution contract. Some small publisher lost enough to force them out of business even with this offer. While this particular problem was "fixed," many small publishers are even more concerned about the problems associated with distribution.
Although there are more ways for the small publisher to sell books today, it is still difficult for many small publishers to get their books into the book store, especially the national chains. One small publisher argues that the small press should "make believe there are no bookstores in the world" and then consider what alternatives exist. For example, books on health and nutrition might be sold in health food stores. Books on hobbies might be sold in the hobby store. These "non traditional" markets may be much better than the traditional book trade. Many titles will have potential in the gift market and that opens many retail opportunities.
The chain "super stores" have helped since such a large store requires many more titles and there is space for more small press books. Self-improvement and how to do it titles are most likely to find a home in the chain store. However, chains do not want to buy directly from small publishers. They prefer to buy from distributors that can batch titles. A few jobbers specialize in small publisher books, but they are not always effective and they require a larger than normal discount from the publisher, perhaps 20 percent to 30 percent, based on the publisher's annual net sales. Publishers Group West was the largest distributor of independent publishers, representing about 150. Other distributors include: Consortium Book Sales and Distribution and Small Press Distributors.The National Book Network also markets and distributes for independent publishers. Brodart's Books Division has created its GEMS database to showcase books from smaller publishers [about 4000].
Much has been written about Amazon.com and the "long tail." A
good
part of that long tail consists of small press books, including some
that are self-published. Amazon has been a major factor, along with the
publication on
demand shops, in making small press books much more visible and
reducing some distribution barriers.
Historically, independent book stores have been more open to selecting small press books. Word of mouth often begins when an independent book store begins to promote a title. Unhappily, the number of independents has declined dramatically in the last few years.
The WWW provides the publisher with an opportunity to showcase new books and provide potential buyers with an opportunity to preview books by reading chapters and learning more about the author. The major problem here is insuring that prospective buyers can easily find the WWW site.
Direct mail sales can work well for the small publisher, but postage costs have increased for both books and mailing flyers/catalogs. Too, selling books one or two at a time may not provide adequate cash flow.
Failing to provide enough attention and energy to distribution and marketing is the reason that many small presses have a short life.
The smaller house has much lower costs, especially if time and effort are donated. Office and labor costs are less. Space too is often inexpensive so that the small publisher has notable cost advantages. However, it may be much more difficult to raise capital and to generate cash flow. The small publisher often finds it difficult to bargain with manufacturers, distributors, and retail outlets. It may be much more difficult to gain the attention of reviewers and the media.
Websites and blogs are inexpensive and can build a community fairly quickly with the right content and design.
Most of these publishers cannot provide authors with substantial advances. However, better editing, more attention to sales and promotion, and a better relationship may compensate. The small press cannot pay the extra fees to the national chains for in-store promotion or better placement of new titles.
Since it may be difficult to sell books via the trade, some small publishers have had notable successs beyond the trade. For example, books may be sold via specialty retailers such as hobby shops, health food stores, craft stores and gift shops. These outlets are more likely to attract serious buyers for niche topics.
Small publishers are often more backlist oriented than some larger publishers. A steady selling backlist is a key to financial survival and success.
Traditionally, publishers sell to book stores who sell to readers. The WWW gives publishers the opportunity to sell directly to customers and bypass the book store. Direct sales often anger retail outlets and publishers don't want that. However, many potential small press customers will not go to the book store or other retail site, and these folks can be reached via the WWW. Selling books one or two at a time is a slow way to generate cash flow.
While most small press books are quite acceptable, a few titles are controversial and invite censorship, perhaps even legal challenge. Few, if any small publishers, have the financial and legal resources to win substantial challenges. The cost of litigation could put the small publisher out of business. Liability insurance may be needed by publishers with controversial titles.
Although the entry costs are declining, the new publisher still needs to raise some capital to pay for the costs associated with publication and distribution. Raising capital from traditional sources is almost impossible and borrowing money from friends and family or from multiple credit cards can create substantial problems. Cash flow is a related problem since books sell slowly and it may be quite some time before the cash flow will allow the publisher to repay debt.
While book manufacturing can be easy and relatively inexpensive, it is also easy for the novice book publisher to create a book that is not attractive and well-made. Modeling book design and manufacture after a well regarded book now selling in the marketplace may solve that problem.
It is disheartening for a small publisher to nurture an author or her work and then when success strikes have that author "poached" by a larger publisher who can offer more money and better distribution.
While public and academic libraries would appear to be the natural audience for small press books, especially the literary ones or those dealing with local or state history, most libraries ignore small press books unless they are reviewed in a standard source. While small publishers argue that libraries should support small publishers as an intellectual/cultural resource, most librarians remain unconvinced. One study found that only 5 percent of academic libraries acquired alternative materials. Often this is due to the lack of attention in standard reviewing sources, although BL and LJ are doing better. Other problems for libraries include the fact that many small press titles are not available from the usual vendor, some titles may require prepayment and others may require original cataloging/classification.
Ted Parkhurst began a writer's publishing cooperative, August House, in 1979. It began with $25 subscriptions to a list of six 48 page booklets of poetry and children's stories. Bill and Hillary Clinton were charter subscribers. Subscriptions were sold door to door. In 1985, August House was incorporated as a for-profit firm with Parkhurst as president and his wife as publisher. The house specializes in folklore and oral storytelling, sponsoring the National Storytelling Festival in Jonesborough, TN. Today, August House is one of the top 100 independent publishers, has a staff of 10, a back list of 100 titles, $1.5 million in annual sales and a 12 percent profit.
Ten Speed Press is best known for the classic What Color is Your Parachute? the company was established in 1971 by a former traveling salesman for Penguin. The publisher likes to issue self-published books because they have been tested in the market place. The house began with Anybody's Bike Book in 1971 which was soon selling a 1000 copies per day in bike shops. Today, their focus is on career and business books. By selecting books that can be revised and kept in print for a long time, Ten Speed Press has become very successful and is no longer a small press. In recent years, they acquired Celestial Arts which publishes New Age titles and posters and launched Tricycle Press (1993) for children's books
An office supply executive and book collector wanted to be a
publisher. In 1966, John Martin offered Charles Bukowski $100 a month
for the rest of his life if he would write full-time. By 1987, 40
titles had been published with over 1 million copies sold, and
Bukowski's work had been translated into 20 languages. It took eight
years of publishing and 12 books before the house became profitable.
The publisher's focus was to find someone who is good and then publish
all their work. For many years, staff consisted of one assistant and
the owner's wife. Success required long hours, commitment, and
considerable energy. The Press
continues to focus on non-commercial poetry and fiction with quite a
variety of authors. The Press took considerable pride in publishing
authors of quality that no longer interest major publishers. The Press
is now closed. The owner was seventy-one years old and decided it was
time. Still, no other small press has had such an impact on the
literary world.
This firm began with one self-published title, Small-Time Operator (how to start your own small business, keep your books, pay your taxes, and stay out of trouble) by CPA Bernard Kamaroff. This readable guide on how to run small business has sold more than 500,000 copies and gone through 20 editions. It is now an annual publication. His second book Tax Deductions for Businesses and Self-Employed individuals is also an annual. Publish a work that can be a standard and revise it regularly.
Ken Keyes, Jr. has published more than 4 million copies of 15 personal growth titles. He began by self-publishing his Handbook to Higher Consciousness which was done on a typewriter with stapled pages. It has now sold more than 1 million copies and has become a classic in the field. It was rejected by several large publishers. He continued to publish books on his "science of happiness." He passed away in 1995.
Dorothy Leland wrote The Big Tomato: A Guide to the Sacramento Region when friends visited and she realized that the major guides neglected her region. She went through three printings of 10,000 copies. When a friend mentioned that her favorite childhood book, Patty Reed's Doll, was OP, Leland reprinted it successfully. The press grew from there.
Robert Kiyosaki, concerned with poor financial management, began a series of financial education seminars, including a board game called Cash Flow. Rich Dad, Poor Dad began as a brochure for the game. As it became more extensive, it became a book. Distributors were not interested until Ingram listed it in the 1997 holiday catalog. Word of mouth from those attending seminars took off. Amazon was an early buyer and the book sold well (ranked among the top 50 best sellers for more than a year). Cash Flow Technologies now produces another board game for kids, video and audio tapes and two additional financial management titles.
This press is sponsored by and housed in the Public Library of
Charlotte and Mecklenburg County in North Carolina. Focus is on
literary works. Modest financial success, but well-received critical
success. Fines and library fees pay for the publishing program and any
profit is returned to the library's general fund. There is an annual
Novello Literary Award winner. Book runs range from 1,000 to 3,500
copies. Paper rights are sold to larger houses where possible.
Technology facilitates small publishing. The Internet can be used to build a community with readers and keep in touch between books. It is also a good way to gather feedback about the books published. International exposure can lead to foreign sales. Sometimes, the publisher website may attract prospective authors. If the site appeals to a particular audience, the publisher may also be able to sell advertising space. Books may easily be sold via Amazon or other bookseller links.
Today, the number of copies printed of a new book may vary notably from none [POD] to a dozen or so at a time. Publishers no longer need to print 1000 or 2000 copies of a title to make it economically feasible. For some titles, that might be a ten year supply.
Eventually, more small publishers will sell their work in
digital editions directly from their website, eliminating many of the
costs associated with book manufacturing and distribution.
As an author, discuss the assets and liabilities of being published by a small press.
As a thoughtful information professional, identify and discuss situations in which it would make sense to become a small publisher. If you were to be a small publisher, which books would you publish? Would you begin with a book of your own?
Distribution remains a major problem for the smaller publisher. Create a book and discuss how you might make it visible to likely buyers.
As an academic or public library collection developer, discuss the degree to which you should support the small press by adding small press titles to your collections [and hoping to stimulate demand and interest].
The back list may be forever, but the back list title package needs to be refurbished from time to time. How would you do this?
