I hope these Publishing Talks conversations will help us better understand the outlines of what is happening in publishing, books and reading culture, and how we can ourselves both understand and influence the future of books and reading.

I’ve had the pleasure of knowing John Sundman for only a brief period of time, but value my emerging friendship with him greatly.  He’s been a writer in a variety of forms, and a visionary thinker about many things I am interested in.  He’s been a self publisher for quite some time, and I thought his experience doing his own publishing would be a good starting point for a conversation about where publishing appears to be going.  Here’s his bio (from his Smashwords page):

John Sundman is a freelance technical writer, essayist, novelist, self-publisher, volunteer firefighter, food pantry co-director, former Peace Corps Volunteer, husband, father, and advocate for people with disabilities who resides on the island of Martha’s Vineyard, very near to Massachusetts, USA. He has spent more than 20 of the last 30 years somehow connected to the Silicon Valley/Boston high-tech/computer industry. He also has experience as a farmer, student of agricultural economics, and worker in rural African agricultural development. His books are more subtle than they appear.

John blogs with a number of other free thinking visionaries at Wetmachine (“we write about, mostly, the nexus of technology, science and social policy in the USA. We also write about software praxis, technoparanoia, the craft of writing, self-publishing, politics, and random bullshit. Sundman and Gray, in particular, are leaders in the “random bullshit” category.”)

John’s books are quite good and well worth reading (here’s a review of his first book, Acts of the Apostles, that more or less set him on a successful path of self-publishing, an early web story, which serves as precursor for so many other stories of discovery).  I could have interviewed him about one of his books, but I thought talking to him about publishing would give us a chance to talk more broadly.  Do take a look at his books (widely available in online retail stores).  And he’s finally doing a book with a publisher other than himself, an overhauled and rewritten Acts of the Apostles with the esteemed Underland Press.

John and I had a great talk.  I’ll be interested to hear from listeners what you think of some of his ideas.

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I hope these Publishing Talks conversations will help us better understand the outlines of what is happening in publishing, books and reading culture, and how we can ourselves both understand and influence the future of books and reading.

Miral Sattar is a young serial entrepreneur with roots in the publishing business.  She is the Founder of Divanee.com and Weddings.Divanee.com and has worked in the media industry for 10 years.   Ms. Sattar is a contributor for Time, teaches entrepreneurial journalism sessions at CUNY, and has contributed to Metro and Jane Magazine. She graduated from Columbia University’s School of Engineering and Applied Science, and recently earned an M.S. in Digital + Print Media.

In many ways Miral represents the future of the book business.  She’s had innovative and smart ideas for new products and new uses of digital technology to create new ways for readers and writers to interact.  Failing to gain any traction for her ideas within traditional publishing institutions, she set out on her own to build what she believes writers and readers want and need, a new and different publishing/reading platform called BiblioCrunch.   There’s alot to be interested in here if you are looking for ways that online publishing can be made simple.

From the BiblioCrunch.com website:

What is BiblioCrunch.com?
BiblioCrunch.com is a platform that empowers writers and publishers to create and market their own manuscripts, completed works, digital books and bookazines. Through our platform anyone – bloggers, authors, aspiring writers, students, writers, journalists, publishers – can share their stories.

•    You can create all your great books online through our easy interface in any format any eReader!
•    Once you’ve written all the chapters for your book you can either post it for FREE or start SELLING.
•    You can start SHARING your book via social media so others can download your book.
•    VOTE your book to the top by sharing it with all your friends.
•    Need to hire an EDITOR or DESIGNER? Why not connect with someone in the MEMBERS community to help edit your book and design an awesome cover.

Why use BiblioCrunch.com?
•    BiblioCrunch is the place for you to write, read, and distribute your favorite books in just a few steps.
•    Create virtual bookshelves, discover new books, connect with friends and learn more about your favorite books – all for free.
•    On BiblioCrunch.com you can connect with writers, publishers, readers, editors, copyeditors, and designers to create the best books.
•    We’re also cheaper than other services that take 30% of each book sold.
•
How can I share my books?
•    Each book has it’s own public download page that you can share on Twitter and Facebook.

Building tools that make it easy for people to publish their work and for readers to read it is really a publishing function.  As with many other sites, the idea here is that readers can decide for themselves what they want to read.  It will be interesting to see if, as some traditionally minded digerati have suggested, that the editorial or curatorial role will be needed, perhaps more than ever, but if so, my guess is that it will develop in different ways, based on the different understanding of the editorial function that today’s writers and readers have developed.

I wanted to talk to Miral about BiblioCrunch because I am always interested in new ideas and constructs, and also because I think the story she tells about the genesis and plans for this site will be instructive and valuable to others in the book universe.  And hopefully, her ideas might generate some additional thinking about how platforms, innovation and audiences for reading will develop in the near future. Creating a new publishing platform is no small feat, but the real challenge will be to attract readers and writers in significant numbers.  I’m hoping this site will succeed through innovation and creativity, as a healthy publishing ecosystem requires a wide variety of niches, large and small.

I believe that these Publishing Talks conversations can help us understand the outlines of what is happening in the publishing industry, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly and broadly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends.  These conversations give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by active participants in the book business.

I’ve known Peter Costanzo for a number of years (and have worked with him on a few projects) – I have always been impressed with his intelligence and his insightful understanding of online media and digital publishing.  Peter is now the Director of Digital Content for F+W Media where he is in charge of a diverse and creative set of digital initiatives.  Since he is now directing content and production for a publisher that has made a deep commitment to digital publishing, I wanted to talk to him in depth about ebooks, apps and online marketing, from his perspective as a producer as well as a consumer and keen observer of the digital publishing scene.

Peter has been involved in online bookselling for longer than most people in our industry.  He began selling autographed books online in 1996.  By 1998 he became the Online Retail Marketing Manager for HarperCollins.  He then worked at Random House as Online Marketing Manager for the Audiobooks division, and in 2001 became Director of Online Merchandising for Steve Brill’s Contentville, one of the first online retailers to sell e-books. After that he became the Director of Online Marketing for Perseus Books for several years, before moving to F + W Media.   He also teaches the “Introduction to Interactive Media” course at NYU.  You can follow Peter on Twitter @PeterCostanzo and read his personal blog BookCurrents.

Peter has a lot of important things to say in this discussion that anyone interested in digital publishing will find useful and compelling.

I’ve also started a new website I hope you will visit – it’s called New Book Media (newbookmedia.com) featuring a long list of digital book events around the world, and a steady stream of news and information about the wildly expanding world of digital publishing.  Livewriters.com now has more than 2500 book and author related videos, and is still the only website focused exclusively on video about books, along with an entertaining and original literary blog called LiveWires.

If you’ve read a great book lately I want to know about it.  Direct message your recommendations to @writerscast.

I hope these Publishing Talks conversations can help us understand the outlines of what is happening in the publishing industry, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Frank Rose is a journalist and author, most recently of a book called The Art of Immersion, How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories.  I could easily have interviewed him about that book, which is interesting enough in its own right (and later this year I plan to talk to him about it for WritersCast).

But for this conversation, I wanted to talk to Frank about how writers are adapting to the changes wrought in publishing by the advent of digital books.

Frank has recently reprinted another one of his books, one that has been out of print for a number of years; it fits the profile of a fine book from the recent past that cannot be published or re-published commercially anymore.  That book is called West of Eden: The End of Innocence at Apple Computer.  It’s about the power struggle at Apple that ended up with Steve Jobs being pushed out of the company he had helped found. West of Eden was originally published in 1989 at which time it was a national best-seller and was rated as one of the ten best business books of the year by BusinessWeek.

In 2009, Frank published an updated version of the book himself for Amazon’s Kindle, as well as a digitally printed paperback edition under his own press name (Stuyvesant Street Press) and the book has been doing quite decently.  One assumes that there are a fairly large number of people today who are interested in and knowledgeable about the history of modern computing and the computer industry.  Enough for an author, if not for a commercial publisher to make a reasonable profit from publishing this book digitally.

Currently Frank writes for Wired, where he has been a contributing editor for almost ten years.  Before this assignment, he was a contributing writer at Fortune, writing about Hollywood and global media conglomerates, he’s also been at Esquire, Premiere and Travel + Leisure, and has written for the New York Times Magazine among many other magazines.  And he began his writing career at the Village Voice covering the emerging punk scene in Lower Manhattan in the ’70s.

Chances are good that Frank Rose’s experience as an author turned publisher will be reflective of a myriad of similar authors in the next few years.  And perhaps will indicate some interesting opportunities for other segments within the publishing ecosystem. I think this conversation will be interesting to many in the book business who are thinking about how roles are changing in publishing, especially as digital publishing creates so many new opportunities for easy distribution to readers.

More on Frank Rose here.  More on West of Eden at Amazon.

I hope these Publishing Talks conversations can help us understand the outlines of what is happening in the publishing industry, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Dzanc Books is an amazing collaboration of a number of relatively young writers, editors and literary activists.  Founded only a few years ago (2006), it has now brought under its very broad umbrella, a large number of really interesting literary groups and activities, taking advantage of its nonprofit status to raise money for its work.  Here’s a brief description of all the projects they are involved with now (taken from the Dzanc website):

•    Publishes innovative and award-winning literary fiction, including short story collections and novels.
•    Supports several editorially-independent imprints and literary journals, including Black Lawrence Press, OV Books, Keyhole Press, Starcherone, Monkeybicycle, and Absinthe: New European Writing
•    Publishes The Collagist, a monthly online literary journal launched in August 2009
•    Recognizes the best stories, poems, and non-fiction published online each year through the Best of the Web anthology series, now in its third year
•    Provides low-cost writing instruction to beginning and emerging writers by connecting them with accomplished writers through the innovative Dzanc Creative Writing Sessions
•    Funds the Dzanc Writers-in-Residence Program, which places published authors in public schools to teach creative writing to elementary and secondary students
•    Conducts the yearly Dzanc Prize, which recognizes a single writer for both literary excellence and community service, as well as an annual short story collection competition
•    Offers the Disquiet International Literary Program, a writing conference held in Lisbon, Portugal
•    Creates internship opportunities for students looking to gain valuable experience in independent publishing

Dzanc has been on my radar for a while, and I subscribed to their really interesting e-book club, which is not only a cool idea for an independent press to undertake, but is also a great way for readers to easily find some new writers to read and enjoy.  This particular project represents some great new thinking about ways that digital technology can create new opportunities for publishers to interact with readers.  But Dzanc’s nonprofit model, and ability to foster new projects across a broad range of literary activities, and to almost amoeba-like, absorb new energy and ideas into its structure is a powerful organizational model that may offer hopeful lessons for literary writing across the country.  Another corollary may be McSweeney’s, which has a similar umbrella approach to innovative and energetic literary projects.

I talked to Matt Bell, who is not only Editor for Dzanc Books, The Collagist and of Dzanc’s Best of the Web anthology series, but is himself a very interesting writer, author of How They Were Found, and three chapbooks and a number of magazines and anthologies. His book reviews and critical essays have appeared in The Los Angeles Times, American Book Review, and The Quarterly Conversation.  We discussed the plethora of Dzanc activities, their overall business model, and in particular their digital publishing program, all of which I think is valuable for anyone thinking about how publishing and writing are evolving into a new and vibrant future.

I hope these Publishing Talks conversations can help us understand the outlines of what is happening in the publishing industry, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Philip Ollila (widely known as Phil in the book industry) is the Chief Content Officer of Ingram Content Group Inc., one of the largest distributors of book content and providers of digital printing in the North American book industry.  Phil is responsible for Ingram Content Group’s publisher facing business, and has been instrumental in leading the transformation of Ingram from a traditional wholesale service provider, into what is now a fully integrated solutions company for clients. Ingram combines wholesale distribution, print-on-demand, digital distribution, inventory management and comprehensive worldwide services for both physical and digital content.

Phil leads a number of Ingram business units including wholesale merchandising, Lightning Source, Ingram Publisher Services and digital distribution through CoreSource® and also heads up Ingram Content Group marketing.  Before joining Ingram, where he has held several leadership positions, he was Vice President of Marketing and Merchandising for Borders.

Anyone in the book business, and many people outside it know about Ingram.  It is one of the two large book wholesalers transitioning from a key role in the physical supply chain between publishers and retailers.  Perhaps earlier than any other large company in the industry, Ingram had the foresight to invest in a range of services that would enhance their offerings to both their suppliers (mainly publishers) and their customers (bookstores, libraries and many other retailers).  In many ways, it is only the two large former traditional wholesalers, Ingram and its competitor Baker & Taylor that have the unique perspective and ability to act as really powerful and influential transformative agencies as the book business evolves into a combination of print and digital products.

Phil Ollila is therefore now in a key role at a tremendously interesting and  fast moving business that possesses a great deal of information valuable to publishers and to anyone interested in how publishing, books and readers will interact in the future, both near term and much, much farther into the future.

I hope these Publishing Talks conversations can help us understand the outlines of what is happening in the publishing industry, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Mike Shatzkin, is the founder and operator of a well known book industry consulting business called The Idea Logical Company.  He’s also a blogger extraordinaire who writes incisively about issues in the book industry at The Shatzkin Files and who is never afraid to make public predictions about the future of books and the book business he knows so well, having essentially grown up in the business from an early age.  He is an organizer of conferences, and a frequent speaker at publishing industry gatherings large and small.

The description of Idea Logical on its website sums up Mike’s role pretty succinctly: “The Idea Logical Company consults to book publishers and their trading partners about the changes engendered by digital transformation to every component of the value chain.”  Mike has spent thirty years addressing all sorts of issues and problems for publishing and retailing clients of all sizes.  In recent years, his work has focused on the changes created for the publishing industry by a variety of new and emerging digital technologies.  He was an early advocate of digital publishing, and also established the concept of “verticality” or subject specific publishing as a way to organize publishing around digital technologies.

Beyond his interest and expertise in publishing, Mike is also a writer and an active entrepreneur.  In this interview, we did not discuss any of his baseball related writing, editing, publishing and website development – if we had, it’s likely we would have used up all our time talking about our mutually shared passion, a subject in which Mike has also had an entire career simultaneously with his consulting work and constant thinking and analysis about books, publishers, readers and the business that serves them.

In my opinion, Mike talks just as clearly and intelligently, if not more so, than he writes, which given his writing talents, is saying alot.  We certainly had a lot of fun in this conversation, which I think will be useful and interesting to anyone interested in the future of books and reading.  As Mike says in his latest blog post: “Sometimes, and it would seem quite often these days, the future comes faster than you expected it.”

I believe these Publishing Talks conversations can help us understand the outlines of what is happening in the publishing industry, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

I’ve known Rick Richter for a number of years.  He is smart, energetic and incredibly creative.  I am told he plays a mean guitar too.  He’s unusual in publishing for having been a leader in both sales and editorial, and for being at heart, an innovator and entrepreneur.  I have talked to him a number of times over the past couple of years about his thinking and ideas, and have been interested in his new venture, Ruckus Media since it was still a brainstorm generated idea.  Unlike many brainstormed ideas, this one has become real, and very quickly too.

Ruckus represents at least one budding trend in publishing for kids – which is to be born digital and to stay that way.  Print, ink and paper will be someone else’s job.  At a recent Digital Book World presentation, Rick’s signature statement about his new work was this: “books you can play with and games you can read.”

Rick is currently President, CEO, and Chair, Ruckus Media Group.  Previous to founding Ruckus, he was President and Publisher of the Simon & Schuster Children’s Division (1996 – 2008).  In 1990, Rick co-founded Candlewick Press, the prestigious children’s publisher based in Boston.

“The goal of Ruckus is to combine the most creative minds in children’s media with tremendously exciting new mobile devices. We’ll be satisfied when a mom or dad can hand their phone or tablet to their child without one ounce of guilt, knowing that the experience the child is about to have will entertain them, challenge them, perhaps make them giggle, and be utterly satisfying.” Beginning in May, Rick will be an adjunct professor at the NYU Master of Science Program in Publishing.

Rick and I had a great talk, not just about what he is doing at Ruckus to make change and create a new way of publishing for kids, but also about the future of digital publishing and much more.  Ruckus, along with a number of other new digital publishers are in the process of establishing new ways for children to experience books and reading in some very exciting ways.  And it looks like they are having alot of fun doing it.

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

A few weeks ago I read a piece by Betsy Lerner in Publishing Perspectives, the excellent online newsletter about the publishing business edited by Ed Nawotka.  It was called “Should I Tweet” and was adapted from the new updated edition of Betsy’s book “The Forest for the Trees: An Editor’s Advice for Writers.”  It’s a great piece, that says some important things about marketing and publishing aimed at writers (but good for everyone else in publishing to read too), and instantly made me want to talk to her (and buy her book).  This little quote from near the end of the essay really grabbed me:

“I’m not saying that everyone can or should be creating a personal literary dynasty, but it’s essential for authors to be thinking about how to market themselves. Always has been. Sometimes they cry, “but I’m no good at marketing,” or “Isn’t that the publisher’s job?” I think publishers should help authors think about what they can do early on in the process, whether it’s creating a blog, developing mailing lists, or getting speaking engagements lined up. If you’re lucky enough to be signed up without a platform, start working on one! Marketing and selling books is not for the faint of heart. Whitman knew that. Palahniuk knows it. Jay Conrad Levinson preaches it.

But no one knew it better than P.T. Barnum, “Without promotion something terrible happens,” he said. “Nothing!”

Betsy is herself of course, a terrific writer, as well as being a successful agent.  I admire her blog, where she extends the work she did in The Forest for the Trees.  She is funny and smart, entertaining and instructive, and obviously talented.  Her opinions are definitely worth knowing, and her advice for writers is always great stuff.  She’s a poet, and was for many years a successful commercial editor, and then became an agent with a great list of client writers; she is a partner at the Dunow, Carlson and Lerner Literary Agency.  She wrote another book called Food and Loathing about her issues with eating and depression. She received an MFA from Columbia University in Poetry and was the recipient of a Thomas Wolfe Poetry Prize, an Academy of American Poets Poetry Prize, and was one of PEN’s Emerging Writers in 1987. She also received the Tony Godwin Publishing Prize for Editors Under 35.  And Betsy also gives talks on every aspect of the publishing process from her perspective as a writer, former editor and agent.

We had a great conversation about books, publishing and marketing, during which I learned a few things and gained some valuable insights.  A key point she makes is how important it is for writers to understand their role in the publishing process.  While we are certainly in a period of heightened difficulties, the challenges writers (and publishers) face today are really not that different from what they have always been.  The specific tools we use may change, but the principles of marketing books remain the same.  Writers are in fact entrepreneurs, and not just “writers” and they must always be engaged in the public process of publishing, in a measure most likely equal to their own actual abilities.  And she also reminds us of the central matter: that the quality of the work must always be the focus of everything.  Everything else is secondary.

After talking to Betsy, I’m now looking forward to reading The Forest for the Trees – and sooner rather than later.

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Rich Freese is well known in the book business as a successful member of a very small “fraternity” of distribution experts who work in and understand the intricacies of sales, marketing, warehousing, logistics, and balancing customer and client relationships.  He has worked in publishing for his entire adult life.  He’s a smart, dedicated and forward looking professional.  Rich worked for independent publisher distributor National Book Network for a number of years, moved on to run Motorbooks International, a specialist publisher and distributor, then became President of west coast based Publishers Group West, and after a brief stop establishing a distribution division for the printer, Bookmasters, and has now returned to be the President of NBN, which is based in Lanham, Maryland.

Because book distributors stand in the middle of the supply chain, their worldview is often broader than other entities within the book business.   Rich’s breadth and depth of experience in publishing and distribution gives him a unique vantage point from which to view and understand the publishing industry.  I thought it would be interesting to talk to him broadly about his current perspective on the ongoing changes in the industry, with some special reference to developing e-book distribution models, the particular issues for independent publishers, and the evolution of publishing models.  This talk ought to be particularly useful for independent publishers and anyone interested in their future in a chaotic, challenging marketplace for books.

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

OR Books was founded in 2009 by two very experienced book publishing veterans, Colin Robinson and John Oakes, who realized that after many years, that the way books have been published and sold in the 20th century no longer applies in the 21st.  John’s description of their new venture (as told to O’Reilly Radar for their “TOC Evolvers” series) goes like this:

OR Books is driven by two concepts. Well, three. One: the current system of distribution and production, returns and discounts, in publishing doesn’t work for stores, authors, or publishers. Two: we will publish politically progressive and culturally adventurous work. Three: the classic rules of publishing still hold true: you need good editing, design, and marketing.

To address the first concept, we decided to scratch the Byzantine rules that surround the distribution and production of books: we sell straight to consumers, do intensive marketing, and then license the book to “traditional publishers.” We generally do not sell to wholesalers or booksellers, be they independent, Amazon, or Barnes & Noble. We are “platform agnostic,” offering consumers their books as ebooks or in physical, printed form. They choose.

I originally wanted to interview both John and Colin together, but the timing did not work out.  Colin was someplace exotic like London, so I talked to John in his tiny home office in Manhattan.  We had a great talk, as there is alot to talk about.  Alert to listeners, and while this is the longest Publishing Talks interview I have done, at about 45 minutes long, I think well worth the investment of time and you can always listen to it in more than one sitting.

OR Books was founded by John Oakes and Colin Robinson as a publishing company embracing e-books and other new technologies. They have already published some excellent (and timely) books, their first being Going Rouge (a great book to launch with), Eileen Myles’ riveting novel Inferno, and Doug Rushkoff’s new Program or be Programmed.  Their work is political, cultural, and literary, and so far has been terrifically interesting work.

John Oakes co-founded the publishing company Four Walls Eight Windows. When his company was purchased by the Avalon Publishing Group, he became publisher of Thunder’s Mouth Press, co-publisher of Nation Books, and vice president of Avalon. Among the authors he has published are Andrei Codrescu, Sue Coe, R. Crumb, Cory Doctorow, Andrea Dworkin, Abbie Hoffman, Gordon Lish, Harvey Pekar, Rudy Rucker, John Waters and Edmund White. Oakes serves on the board of PEN America. He has written for the Associated Press, the International Herald Tribune, and the Review of Contemporary Fiction.

Colin Robinson was until recently a senior editor at Scribner. Previously he was managing director of Verso Books and publisher of The New Press. Among the authors he has published are Tariq Ali, Noam Chomsky, Alexander Cockburn, Mike Davis, Norman Finkelstein, Eduardo Galeano, Eric Hobsbawm, Lewis Lapham, Mike Marqusee, Rigoberta Menchú, Matt Taibbi and Jann Wenner. He has written for a broad range of publications including The New York Times, The Sunday Times (London) and The Guardian (London) and has appeared on a wide range of broadcast media including NPR (“On the Media”), CNN, MSNBC, CBC and CSPN.

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

When I recently accidentally discovered the work of UK writer Andy Campbell, I was completely blown away.  First because the work is so good, imaginative, creative that makes full use of the digital environment to tell stories in a thoroughly new way.  But second, simply because I was so surprised that he had been doing this work for so long, and I had never learned of it before now.  It’s just proof that the creative world we inhabit is so vast and full of creative individuals, fragmented and as full of stars as the night sky.  And it is great fun to find new kinds of writers and writing, and learn so much from their own experiences.

Andy Campbell is a digital writer who has been working at the forefront of digital fiction since 1994. He is the author of Dreaming Methods, a website described by the UK’s Times Educational Supplement as “One of the most impressive purveyors of the new art of internet reading… a distinctive voice that couldn’t be replicated in print.” He is also co-director of One to One Productions Ltd, creating and facilitating multimedia projects for charities, arts organizations and others.

Andy is great fun to talk to, has some valuable insights and thoughts about the emergence and future of digital storytelling, and I hope this talk will gain him some new readers for his really exciting story telling.  I think his work represents a profound shift in the way our culture imagines and tells its stories.  (below a small screenshot from Nightingales Playground – “a young man attends a school reunion only to discover none of his old friends remember the same things he does”).  Do visit Dreaming Methods, it is well worth the time to explore (and support this digital innovator by subscribing).

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Peter Brantley is the Director of the Bookserver Project at the (totally cool) Internet Archive, a San Francisco-based not for profit library. He contributes regularly to several blogs on libraries and publishing, discussing transformations in media and information access. He serves on the board of the International Digital Publishing Forum, the standards setting body for digital books. Peter has significant experience with academic research libraries and digital library development programs, and was previously the Executive Director of the Digital Library Federation, a not for profit membership organization of research and national libraries.

As Peter pointed out to me recently, the word “rant” is a part of his name.  So we could expect him to have something interesting to say about almost any subject related to books and the digital landscape.  I think that comes across well in our talk.  He brings to bear his experience as a librarian but also has a broad perspective on many subjects simply because he pays attention to so many ideas and developments across a wide spectrum of subject areas and interest groups.  We had a lot of fun talking together, and hope listeners will enjoy our talk as well.

I am happy to say that this is the 100th post on Writerscast, a milestone of sorts, I suppose.

These interviews give people in the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends.
I believe these interviews give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed within the industry.

Eoin Purcell works and lives in Dublin, Ireland. He is a publishing industry analyst and commentator. He runs Green Lamp Media, a publishing and publishing services company and also edits Irish Publishing News.

He has worked as Commissioning Editor with one of Ireland’s oldest independent publishers Mercier Press and at Nonsuch Ireland (now The History Press Ireland). He writes occasional blog posts and columns on the Irish book trade for The Bookseller magazine.

I was prompted to talk to Eoin by his persuasive and cogent article that appeared in (Ed Nawotka’s highly recommended online newsletter) Publishing Perspectives called “E-Books are a Cul-de-sac: Why Publishing Needs to Rethink its Digital Strategy.”  In my view, Eoin consistently thinks and writes clearly about the unfolding future of a digital publishing future.  In this conversation we talked mainly about how publishers (and authors) can and must adapt to the emerging environment created by new technology (and new distribution models), including practical ideas and actions they can take to embrace new tools and methods of reaching readers in a profitable way.  He expressed his view that publishers need to focus on longer term trends, the values they can provide to readers (and writers) and then build their businesses around identifiable communities of readers.  We also talked about the differences in marketing paradigms that digital publishing establishes for publishers, the idea of “publishing as community” and much more.

Eoin provides a fresh, incisive perspective along with realistic ideas and strategies for publishers who want to embrace a new paradigm of publishing based on a web-centric environment.  I think this conversation will be valuable to anyone (publisher or author) who is interested in creating a successful digital strategy for the long term future.

These interviews give people in the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends.
I believe these interviews give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed within the industry.

Margo Baldwin is the co-founder of Chelsea Green Press, an outstanding and fiercely independent publisher now based in White River Junction, Vermont.  We’ve known each other a long time, and over the years, we’ve had opportunities to talk about publishing and politics on many different levels, so this interview is really a continuation of that ongoing conversation about books and ideas, and the role independent publishing can play in making real social change.  Chelsea Green’s work extends far beyond the books it publishes, to blogs, websites, video, political movements, and community involvement.  The company’s 2003 mission statement is a powerful – and sobering – expression of what a socially engaged publisher might be in the 21st century.

“Indeed, one begins to wonder what “living” really means or will come to mean in the opening decade of the twenty-first century. Can anything be deemed sustainable when life itself–in all its myriad forms–is threatened at so many levels?  Is it enough to focus on the how-to of ‘green living’ in the face of such overwhelming force, the ‘shock and awe’ of forest and ecosystem destruction, the rampant plundering of the world’s oceans, the terror of GMO-contaminated-food, and the unintended consequences of biotechnology? We wish to move the company forward boldly and with a new sense of urgency. While continuing our commitment to remain at the forefront of information about green building, organic growing, and renewable energy – the practical aspects of sustainability – we will also publish for a new politics of sustainability, for the cultural resistance that living demands of us now.”

In our Publishing Talks conversation, Margo talks about the history of Chelsea Green, where it is today, and where her vision of publishing will lead the company in the future as it tries to carry out its bold and important mission.  The recently announced partnership between Chelsea Green and Vermont’s Northshire Books is a great example of the creative thinking that Margo and her company are practicing.

These interviews give people in the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends.
I believe these interviews give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed within the industry.

Jan Weissmiller recently achieved her fifteen minutes of fame when President Barack Obama visited her store – and the picture of her selling him a book went viral very quickly.  But Prairie Lights Bookstore has more going for it than simply being the backdrop for the first  citizen’s book buying habit writ large.  It’s been a fixture in the strongly literary community of Iowa City since Jim Harris started the store there in the late ’70s.

As times have changed, so has the store, and today Prairie Lights has an active web presence in addition to its longstanding role as “the” local bookstore in one of the great small towns of middle America.  I’ve been to the store many times over the years, and deeply admire the vision and care demonstrated first by Jim and Jan, when she was the first employee of the store, and now by Jan and her current wonderful staff of book devotees.  Many towns no longer have the opportunity to experience the depth of knowledge that a great bookstore can provide.  What Jan and Prairie Lights show us about bookselling is important – people use technology to make life easier, but people need other people to make life meaningful.

In case you missed it, here is the link to the NY Times story about Prairie Lights. And here’s the now famous photo.

Jan Weissmiller was the first employee of Prairie Lights, beginning in 1979, and is now its co-owner.

How will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and its economics? Publishing Talks interviews help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds. These interviews give people in the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends.

I believe these interviews give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed within the industry.

Peter Broderick comes from an independent film background and has a perspective that I think is terrifically useful and important. Peter is President of Paradigm Consulting, which helps filmmakers and media companies develop strategies to maximize distribution, audience, and revenues.  His work now is completely focused on working with film-makers to utilize new tools in marketing and distribution, and his ideas are very much in concert with my own thoughts about publishing.  I strongly recommend reading his article “Maximizing Distribution” and his reports, “Welcome to the New World of Distribution” and “Declaration of Independence;” as concise and spot on as they are for film, they will be useful to anyone thinking about media distribution today and in the future.

I believe there should be more cross-discipline conversations like this one.

I hope that Publishing Talks interviews will give people inside and outside the book industry a chance to hear about some of the thoughts, ideas and concepts that are currently being discussed by engaged individuals within the industry.

Morgan Entrekin is the iconic publisher of Grove Atlantic, one of the most prominent and successful midsized literary publishers of the past couple of decades.  He has all the chops of a “traditional” book publisher: a great commitment to authors and their texts, a belief in the enduring power of a great backlist. But he is also an astute marketer who understands readers and the necessity for publishers to pay attention to what readers want and need.

Entrekin grew up in Nashville, graduated from Stanford in 1977,  started in the business at Delacorte Press, working under the late, great Seymour Lawrence and editing the likes of Jayne Anne Phillips, Richard Brautigan, and Kurt Vonnegut. In 1982 he moved over to Simon & Schuster, where he made his name by championing, acquiring and editing Bret Easton Ellis’s breakout novel Less Than Zero.  In 1984 he created his own imprint within Atlantic Monthly Press, Morgan Entrekin Books and a few years later he bought Atlantic outright; two years after that, he purchased Grove Press, which featured one of the great backlists that included D.H. Lawrence, Henry Miller, and Samuel Beckett.

Entrekin’s gained well deserved fame and credit for publishing Charles Frazier’s Cold Mountain in 1995. In the course of promoting the novel, Entrekin is credited with more or less creating the pre-publication tour, sending Frazier to meet book buyers in various cities before the book landed in stores. It paid off: Cold Mountain was a huge success, sold over 1.5 million copies, won the National Book Award, and was made into a big-budget Hollywood movie. Other notable Grove/Atlantic titles include Mark Bowden’s Black Hawk Down, Candace Bushnell’s Sex and the City, as well as the works of Sherman Alexie and P.J. O’Rourke.

We had a terrific talk, covering a wide range of interesting topics, from the current state of the book business, to the kinds of things that Entrekin is doing at Grove/Atlantic to stay current.  Morgan is thoughtful, intelligent and incisive on every topic he discusses; he cares deeply about the books he publishes, backlist and frontlist titles alike, and is clearly still motivated and excited by the same beliefs and ideas that brought him into the book business in the first place.   Anyone interested in understanding how a publisher can navigate the changing landscape of the business will benefit from listening to what he has to say in this interview.

In this series of interviews, called Publishing Talks, I am talking to book industry professionals who have varying perspectives and thoughts about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.
Publishing has been a crucial part of human culture for as long as people have been writing and reading.
How will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and its economics? Publishing Talks interviews help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds. Publishing Talks interviews give people in the book business a chance to talk about ideas and concerns in a public forum that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends.

I hope that Publishing Talks interviews will give people inside and outside the book industry a chance to hear about some of the thoughts, ideas and concepts that are currently being discussed by engaged individuals within the industry.

Richard Curtis, president of Richard Curtis Associates, Inc., is a leading New York literary agent and a well-known author advocate.  He is also the author of numerous works of fiction and nonfiction including several books about the publishing industry. His interest in emerging media and technology has enabled him to help authors anticipate trends in publishing and multimedia.  He has lectured extensively and conducted panels and seminars devoted to raising consciousness in the author and agent community about the future of communications.  He was the first president of the Independent Literary Agents Association and subsequently president of ILAA’s successor organization, the Association of Authors’ Representatives (AAR)  He blogs regularly on www.ereads.com.  He is also, uniquely among literary agents, a publisher himself, having founded the innovative digital publishing imprint, E-Reads almost ten years ago.

I have known Richard for a very long time, have done business with him, and collaborated with him on an experimental publishing project a few years ago,  But mostly, over the years, Richard and I have talked about the book business, the future of publishing and of authors, and particularly, the future of digital publishing.  So it made a lot of sense for me to talk to Richard as part of the Publishing Talks series, as I knew he would have a great deal of interesting and compelling ideas to share about these subjects, which he almost always does.

Publishing has been a crucial part of human culture for as long as people have been writing and reading.  How will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and its economics? Publishing Talks interviews help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds. Publishing Talks interviews give people in the book business a chance to talk about ideas and concerns in a public forum that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends.

This series of talks will give people inside and outside the book industry a chance to hear about some of the thoughts, ideas and concepts that are currently being discussed by engaged individuals within the industry.

Brian O’Leary is a publishing industry consultant with broad and intelligent experience in books and magazines and who operates Magellan Media Partners.  Brian is a thinker and researcher whose writing about publishing I have always found interesting and solidly grounded in data and its intelligent analysis and application.  As he says, he tries to help publishers work faster, better and smarter.  His (shortened) bio: In addition to his consulting assignments, O’Leary is the author of a research report on the impact of free content and digital piracy on paid book sales, as well as the editor and primary contributor for a study of the use of XML in book publishing.  Both reports were published by O’Reilly Media in 2009.  Brian was a senior executive at Hammond, and prior to that spent a dozen years working for Time, Inc.  He earned an A.B. in chemistry from Harvard College and an M.B.A. from Harvard Business School.

In this interview Brian and I talked in depth about his very interesting work in analyzing the impact of piracy on books sales, the lack of real data in the book business, and his compelling views about the future of publishing in a digital environment.