Publishing/Writing: Insights, News, Intrigue

08/26/2011

Publishing as Manufacturing and the Tribalism of Literary Communities.


Richard Nash - Publishing Entrepreneur

Publishing needs to return to the basic concept of connecting readers with writers … and get away from selling book products to bookstores.

I like this concept! …  And, it is one discussed in an interview titled Revaluing the Book with publishing entrepreneur Richard Nash by Matt Runkle in the Boston Review.

Richard Nash “has created a social-networking platform called Cursor, which allows writers to form literary communities and post their manuscripts for members to read and react to.”

The interview:

Revaluing the Book

Richard Nash, former head of Soft Skull Press, insists that book publishing needs to return to the simple task of connecting readers and writers. He has created a social-networking platform called Cursor, which allows writers to form literary communities and post their manuscripts for members to read and react to. Nash also helms Red Lemonade, Cursor’s first imprint, which publishes work selected from its site. Matt Runkle spoke to Nash recently about publishing as manufacturing, the closing of Borders, and the tribalism of literary communities.

Matt Runkle: There’s a lot of worrying about the disappearance of the book as an object. Do you see the printed book in the same state of flux as the publishing industry?

Richard Nash: If people want something, why do they think it’s not going to exist? Not to get all sort of laissez-faire capitalist about this, but I’m going to have a moment of laissez-faire capitalism here and note that if people want to read the book in its printed form, then I predict there are going to be ways in which they can ensure that they will continue to get it in printed form because people are going to be willing to pay for it.

I mean the reality is that soon enough—even right now, technically—anyone will be able to get a digital version of a book and go and get it made into a physical printed book if they want. I mean right now, whether you’re using the espresso machine or—goodness gracious—3D printing, which is very, very, very much in its infancy, any kind of manufacturing over the next 10, 20, 30, 40 years is going to be able to be done as a hobby. So if you want a printed book, you will be able to get a printed book.

It has been a fascinating phenomenon in the discussion around publishing how adversarial people get around other people’s choices. So if someone says “I like an ebook,” a person will respond “Ohhh, I can’t believe—how can you do that?” It’s like that obnoxious person who you don’t want to go out to dinner with anymore because they can’t just order what they want, they have to comment on what you’re eating as well. What’s been epidemic in this discussion is that when both camps talk about their own preferences, they have to malign other people’s preferences too, and make grandiose extrapolations about the consequences of other people’s preferences for their own. If they like printed books, they should be buying the damn things instead of whining about other people’s preferred mode of reading. So I’m tremendously optimistic about the future of the book as an object. I think the worst years of the book as an object have been the last 50 years. 

What we have witnessed over the last 50 years is the progressive shittification of the book as an object.

MR: Why?

RN: When I started at Soft Skull in 2001 we were printing on 55-pound paper. By 2005, we were typically printing on 50-pound paper. By 2008, half our books were on 45-pound groundwood. And that’s because our print runs were going down. And even with publishers whose print runs weren’t going down, they were trying to save money. Because when the book’s primary purpose was not to be an object, but rather to be a mass-produced item for sale in big-box retail, then there’s going to be downward pressure on costs. And so what we have witnessed over the last 50 years is the progressive shittification of the book as an object—a process that is not external to publishing as it was practiced over the last 100 years, but has in fact been at its fore.

If you’ve got a manufacturing supply chain, then the dictates of manufacturing are going to be the ones that drive the business. And there’s certainly going to be some ad hoc occasional efforts not to do that: certain independent publishers will try to focus on quality, and certain individual books from other publishers might be tarted up for one reason or another, for marketing purposes. But those are the exceptions. Basically, when you’ve got an industry that is pushing out $25 billion worth of physical products into a supply chain, the vast majority of businesses are going to try to cut costs and increase revenues. And the simplest way to cut costs is going to be on the production side. So if the core of the business is no longer a supply chain, but rather the orchestration of writing and reading communities, the book is freed of its obligation to be the sole means for the broad mass dissemination of the word, and instead become a thing where the intrinsic qualities of the book itself can be explored.

MR: How did you come up with the idea for Cursor?

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