What Publishing Can Learn From The Music Business
The recent kerfuffle over ebook pricing led a lot of people to equate the publishing business of today with the music business of yesterday. There are some basic ways in which the businesses are similar, and given that, the book business can look at mistakes the music industry made and try not to duplicate them. At the same time, there are enough differences that the book business needs to find it’s own unique way forward.
Big publishers and big record companies are largely the same kinds of companies, they both have an IP based media product that is made and sold in similar ways. In some cases they are the exact same conglomerates, and the collection of imprints in a publishing conglomerate are actually structured pretty much the same as the collection of labels in a music conglomerate was through most of the 90′s – real integration came as the industry reacted to shrinking sales. Both types of companies, because of their integration, have the same hypersensitivity and vulnerability to market conditions, to the power of retailers, and to consumers choosing the ‘free’ option. The ‘evil music cartel’ meme is the same as the ‘evil greedy publisher’ meme. And, if the hue and cry on the Internet are any indication, the similar memes seem to enjoy the same appeal.
The publishing industry now faces a lot of the same problems that the music business did in the 1990′s. Those problems largely have to do with the wave of consolidation that went through media companies, starting in the 1980′s. Small companies quickly became the exception rather than the rule, and came to be referred to as ‘independents’ in publishing and ‘indies’ in the music business. In the book business, independent publishers have about the same minority share of the market that the indie labels had in the 90′s, and the problem for the indie labels twenty years ago wasn’t the big companies or even the distributors (an indie could get picked up, even if the distributor was owned by Warner, in fact, Warner’s distribution subsidiary reached out to indies) the main problem was retail consolidation – dealing with limited shelf space and the pricing demands of giant retailers – the same problem the book business is dealing with now. Although often referred to as ‘cartels’, the only real monopolistic action taken by the big record companies was when they tried to fight back against Best Buy – who was selling the product at a big loss, as a loss leader. Sort of like discount ebooks at Amazon, or discount hardbacks at Wal-mart.
One mistake the music industry made was not finding a (legal) way to wrest control of prices away from the big box retailers, who started selling the product at a loss – like Amazon does with ebooks. The big chains put all the little guys out of business – like Amazon is doing now – and they started dictating to their suppliers – like Amazon tries to do now. The U.S. government convicting the labels of ‘price fixing’ was pretty much the death rattle of the music business – there weren’t enough outlets for their products and the price was being depressed by the ‘free market’. Pretty soon, the record labels couldn’t afford to put out any music that wasn’t a huge hit, and all the music had to sound like Britney Spears.
Unable to get more than a relative few products on the shelves, they had to sell more of each one, and that made them more vulnerable to flops – and end user piracy, because they relied on fewer titles that had a mainstream appeal and failed to foster a culture of important music and music collecting as they had in the 60′s and 70′s. Most younger people were only buying a few cd’s a year, and when they started downloading the songs they wanted from Napster and Kazaa instead, there was no new base of collectors to keep the industry floating long term. Granted, that’s part of the nature of the corporate media beast, but they could have handled it differently and thought more about getting life-long fans for artists, even in the face of the retail consolidation and artificially falling prices.
One of the mistakes the music industry made was thinking it could compete with ‘free’ based on price, so they started selling songs for a buck. One assertion made by anti-copyright activists is that pricing has a direct relationship to piracy, that people download because they won’t pay the price that a product is offered at. I think it’s more likely that people who won’t pay simply won’t pay. Selling songs for a dollar as an ‘impulse buy’ was a mistake because it doesn’t matter if you charge five cents or fifty dollars, you can not compete with free based on price. Brigning the purchase price that low only a) devalues your product in peoples minds even further and b) creates that situation where you are competing on price, and if you do that people will always choose the lower price – free. The publishing industry needs to keep the prices of ebooks higher, not only to prevent cannibalizing their hard copy sales but to maintain a higher rate of return in the future if and when ebook use displaces hard copy use, and piracy increases accordingly.
The book industry can only use the music business as a model to a certain extent, however. The main difference between the music and publishing business is the product. It could be the audience for books will remain attached to the interface they are used to – whereas with music the interface doesn’t matter so much, because by and large people do other things while they listen and it’s a less intimate, more passive experience. People decided that their experience of MP3’s on their portables or in their car was the same as their experience of CD’s except more convenient. The interface for books by it’s nature demands more from the person enjoying the media, and may prove to be integral to the experience that most people want. The paper book has a much older and deeper cultural significance (500+ years) than do shiny silver discs (25 years) or handheld gadgets for that matter (about 50 years). Ebooks are seen as less valuable than ‘real’ books which isn’t exactly what happened with recorded music where people feel that it is only the ‘content’ that matters. Also, unlike CD’s which are the ’security hole’ for music, the existing book product is analog and much more secure, due to the effort required to copy it, while it’s the newer product (the ebooks) which can be easily copied.
So while the publishing industry can get some insight by looking to the plight of the music business, in my opinion it’s important to realize that the products are different and along with that, the audience feels differently about books, and the businesses are in a different position. The publishing business does not need to make the last resort decisions that the music business has had to make. The ‘access model’ that Google tried to foist on the book world as a foregone conclusion in their ‘Book Settlement’ would mean less income for everyone involved and the ghettoization of their whole business. Authors would have less leverage unless they were really star attractions, and you could bet on a reduction in author’s rights, and an increased role for packagers paying authors on a work for hire basis. Exactly how the economics and rights issues might play out will be seen in the music business as it clutches at straws and attempts to rebuild itself in some form. The book business is not where the music business is, and if they play it right, they never will be.