Librarian-Publisher Dialog: Katie Dunneback Talks to Josh Marwell of HarperCollins
By Katie Dunneback
Aug 18, 2011Welcome to the second installment in our new Librarian-Publisher Dialog series. Our aim is both simple and complex: to close the communication gap between two major publishing players. Last month, Kate Sheehan launched us with her wide-ranging conversation with Madeline McIntosh of Random House. Now Katie Dunneback of the Bettendorf Public Library (IA) speaks with Josh Marwell, president of sales at HarperCollins.
To his credit, Marwell has made himself highly visible at regional and national conventions in the wake of the 26 loan cap announcement (he was also the only publisher to respond to Francine Fialkoff and Brian Kenney's editorial last fall about ebooks in libraries). As a result, of course, he's taken most of the heat. No less than author J.A. Konrath tossed a barb at HarperCollins at Digipalooza last month in Cleveland. On a publishers panel there, Marwell maintained his cool as well as his position that the cap is not cemented and that communication lines remain open—librarians need only place a call, turn out a tweet, or send an email (see the link information below). As is evident in Dunneback's conversation, the theme of openness continues.
Next month, Jim Carmin of the Multnomah County Library (OR) illuminates the workings of Brooklyn indie Melville House. Our thanks in advance to Melville House publisher Dennis Johnson and marketing manager Paul Oliver.—Heather McCormack, Editor
KD: For the librarians not familiar with publishing terms, would you offer a description of what is meant by "trade publishing"? How much of HarperCollins makes up the trade market?
JM: Trade publishing is distinct from scholarly, technical, medical, and textbook publishing. HarperCollins publishes only for the trade market. Our books are for general readers and cover a myriad of genres and topics, including fiction, mysteries, romance, science fiction, poetry, business, self-help, inspirational, Bibles, cookbooks, illustrated books, YA, picture books, middle grade, early readers, and juvenile. We publish in all formats, including audiobook, hardcover, trade paperback, mass market, ebook, enhanced ebook, and downloadable audio.
In the United States, we are blessed with a highly diverse array of places where consumers find trade books: libraries, national and regional chain bookstores, Internet retailers, independents, warehouse clubs, discounters, airport shops, supermarkets, specialty retail, schools, colleges, and Christian bookstores.
HarperCollins truly values what libraries bring to this book ecosystem. Whether the services they perform are called curation, discovery (the current buzzword), or, in library speak, readers' advisory, librarians play an integral part in connecting authors to readers. To paraphrase an old saying, "If you can get a single person to love a book, you have gained a single reader. If you get a librarian to love a book, you get a village of readers." Each season we count on librarians to spread the word about our authors' good works to the nation's readers. Librarians are way ahead of the game in updating this critical role to the new marketplace with their embrace of social media and willingness to find new ways of communicating with your patrons. We applaud them!
KD: Which genres and/or subject areas are leading ebook sales, both retail and library, for HarperCollins? Do you see this market domination changing in the next year or so? Why or why not?
JM: The irony of the early days of the ebook revolution is that older readers, often the most voracious, have led the way. (In this case it is your grandfather's e-reader!) It has also been about what some call "pleasurable" reading or "genre"—specifically romance and mystery. These devoted readers have taken to ebooks in a very big way. We're now seeing the trend continue with general fiction, teen fiction, and on a case by case basis with nonfiction. The introduction of children's early readers and picture books with audio synced to text has just started and is off to a promising start.
KD: Does HarperCollins have any transmedia projects in the pipeline?
JM: Since 2010, HarperCollins has been offering enhanced ebooks that include video, still photos, and audio. We have just launched children's picture books and early readers in formats that include audio synced to text, animation, and activities. Coming up, we are also releasing on August 23, Rise of Freedom: The New World Trade Center, an enhanced ebook that will include profiles, time lines, original animation, and many videos, including some shot just for this publication.
In November 2011, HarperCollins Children's Books will launch Patrick Carman's Dark Eden, which includes a downloadable app with 13 segments that will enhance the hardcover story through digital images, audio recordings, videos, scans, and text entries. We have more such projects planned for 2012. We have also launched already this year some very successful apps, including one for Weird Al Yankovic's children's book When I Grow Up.
The market for these new formats continues to grow at a healthy rate despite the fact that only a limited number of devices is currently capable of displaying these titles. We believe enhanced ebooks and other transmedia projects represent an exciting opportunity to broaden the ways that writers tell their stories and readers think of ebooks. We are committed to growing our catalog of titles.
KD: Since the 26-checkout limit on ebooks took effect, has HarperCollins seen any changes in sales of ebooks and other formats to libraries?
JM: Much has been written, said, posted, and tweeted about the specifics of our new ebook policy. We welcome this feedback, have tried to respond to all of it, and invite more as we continue to explore the always exciting and often challenging new landscape in which we all find ourselves. The model remains a work in progress; while we have no set deadline for reevaluating our current terms, it remains an ongoing conversation within our company.
Without offering specific sales numbers, we have been pleased that many libraries are opting to use our new model to fill their burgeoning demand for ebooks. In June, we saw a significant uptick in volume among some libraries ordering for the first time. We have seen several libraries choose not to order ebooks from us, but that number is shrinking a bit each month, and we hope those libraries will reconsider their decision not to buy our ebooks as we know there is patron demand for them. We want our books to be available to as wide an audience as possible.
KD: You refer to the checkout limit as "a work in progress." Are you able to comment on other types of business models you are exploring (e.g., a select catalog of titles to which libraries would purchase unlimited access for a limited period of time)?
JM: This is probably not the forum to get into too much detail about specific business models. There is nothing magical or set in stone about the 26 circulation cap. It's really about finding a solution that answers some of our vexing concerns about selling in perpetuity and preserving a diverse marketplace for our books and authors that we think benefits all stakeholders involved. We want to sell ebooks to libraries, and to that end we are open to other business models as long as they speak to our stated concerns.
Prior to announcing our new terms, in our analysis we took into account budgetary constraints, catalog lifecycles, and overall demand in the library channel. Our work led us to consider a number of models, including a term of sale based on time. Our conclusion was that the circulation cap provided the best value, since it is based on actual usage and not an arbitrarily set period of time. A HarperCollins ebook will remain on a library's e-bookshelf until the maximum number of circulations is reached, and for many books 26 circulations could last several years.
We understand that the 26 cap is most challenging to libraries when it comes to best sellers and children's books. We have also had several queries about what happens to the catalog record of a title after the cap is reached and how our books are showing up in catalogs. We've also heard concerns about the permanence of the collection. This kind of feedback has been very helpful in our ongoing examination of the issues involved. We are actively engaged in exploring responses to these questions. We also look forward to getting more data on how the profile of library patrons might be changing due to ebooks.
KD: Would HarperCollins consider a direct relationship with libraries for digital content? What kind of distribution system would have to be in place on the library's end for this to be a feasible venture? Do you think it would make relations between the parties any easier?
JM: The combination of publishers, libraries, and third-party wholesalers has always worked well to serve the library channel, and we don't see that changing anytime soon. Most publishers lack the resources to serve thousands of libraries adequately from a logistical point of view, and most libraries lack the infrastructure and capacity to house, protect, and distribute ebook files from a myriad of publishers.
We want to have as productive and beneficial a relationship as possible with every library that supports HarperCollins authors and titles, print or electronic. Even though third-party wholesalers are involved, we have always felt that libraries are our customers and together we all serve the reading public. We have always had excellent links to libraries through our library marketing departments, but clearly now there is room for much more direct dialog with libraries re: strategic and business issues. We have intensified our outreach to libraries this year and welcome more of it as the ebook transformation continues to play out.
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KD: A lot of readers complain about the intricacy of Digital Rights Management (DRM). Is HarperCollins investigating alternatives?
JM: Intellectual property is the core of our business. For our authors, it is their life's work and their livelihood. Though far from perfect, DRM plays an important role in protecting the work of our authors. We are not considering changing this position at this time.
That said, we also want to make sure that the reading experience of our titles is easy and accessible to consumers. Our ultimate interest is to protect our titles from theft—certainly not to frustrate readers and librarians. As such, we welcome any technology developments that make the process easier. It is our hope, and belief, that the process will become simpler and more seamless as the market develops.
KD: At least within the romance community, there are vocal readers on ebook issues. How does HarperCollins incorporate reader feedback generally? Do you include questions/research about them as library users?
JM: We crave reader feedback and try to make it as easy as possible for readers to share their thoughts with us. We have active Facebook and Twitter accounts for most of our imprints; romance in particular gets a lot of reader comments. Of course, our library marketing departments are active in social media. We are adding a feature where librarians can suggest titles to be added to our ebook or digital audio collection.
For more general questions about ebooks and libraries, we have set up a dedicated email account which we regularly read and try to respond to its queries.
KD: HarperCollins has a fabulous library marketing team led by Virginia Stanley, so I know input from libraries is being gathered on a regular basis. Has HarperCollins considered setting up a more formal focus group or advisory group to discuss collection management issues?
JM: This is a good idea that we have used in the past and will consider. For the past several months, though, we have taken a wider approach and spoken to a variety of librarians serving different kinds of communities around the country as opportunities have arisen. We have spoken to at least half a dozen major consortia, two ALA committees, the Urban Library Council, and many librarians at ALA and Digipalooza, as well as held lots of ad hoc discussions along the way. This has been a valuable experience, and we think we have gained a lot of insight (if not a few more friends!) than if we had begun with a specific focus group. We plan to continue reaching out to these folks as we go along. As things settle down a bit, we will give the idea of forming an ongoing formal advisory group some serious consideration.
KD: As the management of digital collections in libraries is evolving, especially in smaller libraries with limited budgets, how would you view an entity such as the Digital Public Library of America if it included trade titles as part of its mission?
JM: We understand that equal access to materials for all is at the heart of the library mission. The Digital Public Library of America is one of many new imaginative concepts that are launching right now. Since it is still very much in the planning stages, it is probably premature for us to comment, but we plan to follow developments closely.
KD: A concern for many libraries is the lack of ownership of ebooks. The State Library of Kansas is challenging the loaning model by considering to port its content from Overdrive to 3M's Cloud Library. Would HarperCollins ever be amendable to ownership if libraries offered demonstrable means to connecting books with readers; say, a guarantee of author events? Or readers' advisory for a month on lead HC titles?
JM: We understand that "ownership" is especially important to some librarians, while others are more comfortable with models that have similarities to the traditional leasing programs that have always been available to libraries. Clearly, more discussion and clarification on this complex issue is needed. We have had several conversations with librarians on this topic and plan more.
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| Interviewer/Interviewee Information |
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Katie Dunneback (@younglibrarian on Twitter) is a librarian at the Bettendorf Public Library (IA). Her primary interests in librarianship are reader’s advisory, collection development, and popular publishing. She has written or co-written book chapters on the romance genre and has also published a number of short stories, novellas, and a novel under a pseudonym, primarily with digital-first/-only publishers. Josh Marwell is president of sales, HarperCollins. |
