Micro-Business Project: Goals and Mission Statements

Readers,

It has been some time since our last meeting. That’s because for the past two weeks I’ve been hitting a writing wall. It has been challenging narrowing down the Micro-Business goals and missions. I never thought Goals and Missions were really that difficult. You are literally telling readers what your organization is designed to accomplish and telling them what they should expect from it.

Still for three long weeks I’ve struggled in accomplishing this task. Initially I thought having a leads generating website was a good site. Unfortunately my Plan A prospective partner did not share in my enthusiasm. Now I’m on Plan B, which may not be all that bad. While Travelers Travel Tales may not be a leads generator, it is designed to connect travelers with others.

The heart of Traveler Travel Tales is connecting nomadic souls through stories, music, movies, etc. In the end it may prove to be a better investment of time and energy. Plan B may not be what I plan, but I think it will prove to be a great adventure, which is what great traveling stories are made up of.

Yours truly,

An E-Publisher Confesses

 

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The Micro-Business Project

Readers,

I recently embarked on Climbing the Drupal Ladder, but regretfully I must press pause on those plans. Over the next 8 weeks I will be completing an exciting (big) project for my E-Publishing Theory and Practice class.  I’ve been tasked with developing a “micro-business” website, applying micro-advertising, selling clicks from my content and experimenting with search engine optimization. Although I’ve been blogging for almost five years, I’ve never developed a blog from scratch. This exciting course offers me a chance to have control over an e-commerce site and make executive decisions based on my audience interaction with my content. So I hope you will enjoy reading The Micro-Business Project as much I will enjoy writing it.

PROJECT FRAMEWORK

Goals/ Missions

  1.  Sites purposes/service/product? What is the costs and values can my service or product provide visitors?

Audience Analysis

  1. Who were you trying to reach and why?

  2. What cost-effective methods do you use to reach them?
    • Which plugins were the most effective? Which ones were the least effective?

Infrastructure & Features

  1. What Infrastructure/technical resource did you plan to use?

    • This will be broken down the technical resource by the development stages (wireframes, sitemapping,etc)
    • Did they meet meet your needs? If so, why? If not, why not?
    • What did you think would be the most popular components of your site? Were they?

Editorial Calendar 

  1. What was your content/product strategy?

  2. Were you able to deliver on your plan?

  3. What was the biggest challenge?

 

E-Publisher Climbs Drupal Ladder

Readers,

I’m a firm believer in never setting an expiration date on my dreams, so the decision to climb the Drupal Ladder was a no brainer. The time has come for this e-publisher to stop confessing about publishing and begin professing her love for learning Drupal. After almost two years of blogging about publishing’s uncertainties I feel it’s time to branch out. Two years living in Washington, DC has taught me to be flexible, be open and be receptive to change.

So while my blogs won’t entirely focus on publishing, they will reflect the many professional changes underway in my life. Over the years, I’ve noticed how much I enjoy managing diverse projects, meeting new people and tackling new challenges. To me Drupal offers new exciting challenges that encompasses these three things. Hopefully these entries inspire others to overcome their self doubt to learn this content management system.

DrupalLadder_LateshaFollow @epubconfesses for more news and updates!

Yours truly,

An E-Publisher Confesses


The Kodansha Files: Viz Media vs. Kodansha USA iPhone App (Pt.2)

CRITERIA #4 -RESPONSIVE
KODANSHA COMICS USA-BAD EXAMPLE
I ENCOUNTERED DIFFICULTIES  INITIALLY LOADING  THE APP.  EVERY TIME THE APP OPENED THE IMAGE BELOW APPEARED. THE LOADING TIME TOOK AT LEAST 5 MINUTES.
KodanshaSync
CRITERIA # 5 CONSISTENT
VIZ MEDIA & KODANSHA IPHONE APPGOOD EXAMPLES
CONSISTENCY IN THIS CASE IS REINFORCING HOW USERS SHOULD READ THE MANGA. VIZ MEDIA AND KODANSHA UNDERSTAND THAT AMERICAN END-USERS MAY NOT BE AS FAMILIAR WITH THE JAPANESE MANGA READING STYLE. CONSEQUENTLY, BOTH MADE EFFORTS TO ACCOMMODATE THESE READERS BY INSTRUCTING THEM HOW TO PROPERLY USE THEIR PRODUCTS.
VizMedia_4  
CRITERIA #6 ATTRACTIVE
VIZ MEDIA & KODANSHA IPHONE APP – GOOD EXAMPLES
  • BOTH USER INTERFACES ARE AESTHETICALLY PLEASING TO END-USERS. OBVIOUSLY BEAUTY IS IN THE EYE OF THE BEHOLDER (OR IN THIS CASE THE USER), BUT THE LOOK OF AN APP DOES INFLUENCE HOW I INTERACTED WITH BOTH PRODUCTS. INTERFACE ELEMENTS SUCH AS BUTTONS AND ICONS CAN MAKE A WORLD OF DIFFERENCE IN HOW THE USER FEELS ABOUT USING THE PRODUCT.
CRITERIA #7 EFFICIENT 
KODANSHA IPHONE APP – GOOD EXAMPLE
KODANSHA DEVELOPERS UNDERSTAND THAT YOUNG CONSUMERS MAY NOT KNOW HOW TO SELECT FREE PRODUCTS OR AGE-APPROPRIATE PRODUCTS. SO IMPLEMENTING THIS “AGE-RATING” SYMBOL HELPS. MOREOVER, IT HELPS TO CLEARLY OUTLINE WHICH PRODUCTS ARE FREE, FEATURED AND NEW.
  
KodanshaFree

VizMedia_3

 

CRITERIA #8 FORGIVING
VIZ MEDIA & KODANSHA IPHONE APP – GOOD EXAMPLES
  • LASTLY, I FOUND THAT BOTH MANGA APPS ALLOWS THEIR CUSTOMERS TO RECOVER FROM THEIR MISTAKES. FOR INSTANCE VIZ MEDIA GIVES CUSTOMERS CONFIRMATION MESSAGES ASKING IF THEY ARE SURE ABOUT THEIR PURCHASE. CUSTOMERS WHO ARE UNSURE OR NEED ADDITIONAL TIME MAY CANCEL THEIR ORDERS. VIZ MEDIA ALSO REQUIRES ALL CUSTOMERS TO REGISTER THEIR PROFILES IN THE SYSTEM TO BETTER TRACK THEIR TRANSACTIONS, WHICH HELPS IN CASES THERE ARE IDENTITY FRAUD.

 

The Kodansha Files: Kodansha USA iPhone App vs. Viz Media (Pt.1)

Good Evening Readers,
Hard to believe it’s been nearly a year since I last posted on The Kodansha Files. I get a bit nostalgic when remembering the long hours spent researching Kodansha USA‘s business model and articulating that in writing. When I last visited this world, the manga publisher had recently launched it’s iPad app.  At the time it was clear Viz Media was leaps and bounds ahead of Kodansha USA. It was evident then that its business model needed restructuring. Though Kodansha USA had immensely popular titles, Sailor Moon and Fairy Tail, its competitor Viz Media had many more.
To compete in the U.S. market, its executives could not just emulate Viz Media’s infrastructure, its business model had to surpass it. Launching the iPad was a small step in the right direction, evolving and expanding Kodansha’s reach is an even bigger one. Tonight is about comparing these two conglomerates iPhone apps user interfaces side by side. Who better to decide how successful these iPhone apps are then a U.S. consumer who is unfamiliar with manga? If Kodansha USA truly intends to dominate the manga market then its products must set the standard, not follow it.
8 CHARACTERISTICS OF SUCCESSFUL USER INTERFACE
CRITERIA #1: CLEAR
VIZ MEDIA IPHONE APP – GOOD EXAMPLE
  • LOOKING AT THIS SCREENSHOT BELOW IT’S EVIDENT THAT CUSTOMERS CAN EASILY FIGURE OUT HOW  VIZ MEDIA’S APPLICATION WORKS. VIZ MEDIA ALERTS CONSUMERS TO SIGN UP WITH THE COMPANY TO ACCESS A FREE PRODUCT. MOREOVER IT INFORMS THEM ON HOW TO CONTINUE RECEIVING ALERTS ON THEIR MOBILE DEVICE.
VizMedia_1
CRITERIA #2: CONCISE
KODANSHA iPHONE APP – GOOD EXAMPLE
  • THIS IS AN EXAMPLE OF A CONCISE GLOSSARY READERS CAN REFERENCE WHILE READING. KODANSHA’S DEVELOPERS COULD HAVE OVER-CLARIFIED THE DEFINITIONS AND CREATED HYPER-LINKED ALERTS THROUGH THE MANGA, BUT IN THE END IT WOULD HAVE BEEN INFORMATION OVERLOAD . KODANSHA’S METHOD IS MORE SUBTLE AND THEREFORE MORE EFFECTIVE. THE MANGA’S JAPANESE TERMS ARE EXPLAINED IN ONE OR TWO SENTENCES WHICH SAVES THE READER VALUABLE TIME AND ENHANCES THEIR READING EXPERIENCE.
KodanshaGlossary
VIZ MEDIA IPHONE APP – BAD EXAMPLE
  • PUSH NOTIFICATIONS ARE ALERTS GENERATED THROUGH APPS TO INFORM YOU WHEN AN UPDATE OCCURS. HOWEVER, IN THIS CASE IT SEEMS REDUNDANT IF THE CONSUMER WILL BE CREATING A PROFILE ON VIZ MEDIA’S WEBSITE APPLICATION. MOST LIKELY CONSUMERS WILL CHOOSE TO RECEIVE NOTIFICATIONS VIA E-MAIL, WHICH WON’T USE THEIR CELLULAR DATA USAGE.
VizMedia_2
CRITERIA #3-FAMILIAR
VIZ MEDIA IPHONE APP & KODANSHA   – GOOD EXAMPLES
  • MANGA IS THE JAPANESE EQUIVALENT TO AMERICAN COMICS. FORTUNATELY BOTH KODANSHA AND VIZ MEDIA KEPT THIS IN MIND AND USED THE FAMILIAR TERMS: STORE, MY MANGA AND SETTINGS. BY USING THESE SIMPLISTIC TERMS, BOTH COMPANIES ARE CONDITIONING THE USERS WHERE TO PURCHASE MANGA, LOCATE THEIR MANGA DOWNLOADS, AND THEIR CHANGE THEIR PREFERENCES.
VizMediaSynopsis
 KodanshaFree
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Book Marketing: Post-Print Era Pt.2

 

Tonight’s Confession:

10769745_sIn the era of Digital Books can a book marketing plan be successful without social media?

Judging by last week’s Book Marketing: Post Print Era Pt.1, I would say there could still be a glimmer of hope. Then again have you ever wondered why some books flop while others find success? Critics claim the difference lies in the quality of the writing. But, I think it goes beyond that—hello, remember Fifty Shades of Grey? I think we can all agree that the social marketing plan was the driving force behind its success.

Former Marketing Director Jeanne Crotty joins us again this time to provide insight about effectively marketing books with new and older technologies.

LG: What are your personal favorite marketing tools?

JC: I think emails are one of the most effective book marketing tools. When done well, they can move a huge number of books. By well, I mean they have an engaging subject line, are timed correctly, are going to the right audience, and that the format fits your audience. Remember that the most important component of a marketing email: is an engaging subject line. Other things to think of when creating an email: does your audience respond to direct marketing? If so then you should drive them directly to a store or online book seller. Does your audience respond to more indirect marketing? Then you should offer them free content or drive them to a social media account.

LG: HarperCollins hybrid model Authonomy gives fans the choice of which books get published.  Do you think this is the future for publishers? Should social media control which books get published?

JC: I think Authonomy is a great tool for both publishers and aspiring authors; I hope it’s the future for publishers. In my mind, HarperCollins has embraced social media and the power of self-publishing through Authonomy, and I think that’s the best way to survive as a publisher. I don’t think social media should control which books get published, but I do think it should influence what books get published. After all, as a publisher, you want to give your audience what they want and what they will buy.

LG:Jeanne thanks again for agreeing to be interviewed. Are there any parting words you would give new publishers? Any advice for self-publishers?

JC:For new publishers and self publishers, I would say find out where your audience and readers are, go there, and give them what they want through the channels they use. There is no longer one way to publish books or to become published. Embrace the new technology, marketing channels, book formats, and exploit them.

LG:I lied, there is one more question I have. Is there a difference between a marketing director and a sales director? Do the roles overlap?

JC:Yes, but they definitely overlap. Every publishing house is different though, so the division of responsibilities don’t always necessarily fall down along the lines I’m about to describe.

A sales director is in charge of making sure the sales force takes as many books as possible to ensure the book is in as many places—and on as many sites—as possible. Typical duties include selling-in books to accounts, working with a distributor and sales representatives, pitching books to buyers, helping set budgets, and bringing in custom projects. It is typically a bit more data driven than a marketing director’s job. The sales director also tends to deal with the trade more than with consumers.

In contrast, the director of marketing deals more with consumers rather than the trade. The director of marketing is in charge of figuring out the audiences for the book, the positioning and messaging of the book, and deciding which channels best convey that messaging. At some houses, such as mine, the director of marketing might also be in charge of marketing the books to the trade as well. Which involves writing and delivering sell sheets to the trade, working with publicity on picking out excerpts to send, collaborating with design on blads, and getting galleys made.

LG:When you explain in detail, the differences in the positions seem clear. Still they do seem to overlap a lot why is that?

JC:Both positions depend upon each other. The sales director often asks the marketing director for sales materials, such as sell sheets or sample content, in order to get accounts to order the book. The marketing director often asks the sales director for sales goals and expectations, so they can cater the sell sheet and marketing plan accordingly. Both deal with numbers, but the marketing director looks at more immediate numbers—how many books did x marketing campaign sell vs. y marketing campaign—and the sales director looks at overall profit and loss sheets as well as sales trends to determine how many books the trade should order and reorder.

LG: Thank you for clearing up that confusion and for taking time out of your busy schedule. I’ve truly appreciated this learning experience.

Join us on September 5 for an in-depth interview with The Atlantic Media Company’s Sr. Vice President of Finance & Digital Operations M. Scott Havens. He will explain why search engine optimization may be a thing of the past for book and magazine publishers.

 

Book Expo America: An EPublisher Confesses’ Recap


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So this Book Expo America post is long overdue, but here goes. If you’ve read my previous post A New York Remedy then you know my last trip to the Big Apple was less than stellar. Though good things eventually came out of it, my time there was spent braving New York’s winter at HI-NY. My June trip however, proved to me an emotionally rewarding experience.

Basics

What is Book Expo America?

Book Expo America is the Comic-Con for book professionals, publishing companies, and book bloggers. If you love books, then I recommend marking this event on your calendar.  Everyone from authors to celebrities attend this yearly conference.

Tuesday Madness

Book Expo began and ended for me on June 5. I opted for the Day Pass to avoid overwhelming my senses and missing too much school. I highly encourage BEA attendees to do the same. Honestly, the main draw for me was the BEA Education Panels, which  publishing pros and newbies rely on for updates about the industry. It might be easier to digest if I divide my trip into three portions: the good, the bad, and the ugly.

The Good

Adult Book & Author Breakfast - Bad breakfast. Great guests. So after getting less than five hours of sleep, the last thing I wanted to do was to eat cold bagels at 8AM. But Stephen Colbert helped me forget this minor annoyance. Or maybe I should credit Stephen Colbert’s penis, which he plugged about 20 times. Funny man!  Still, my award for favorite speaker goes to Norwegian author Jo Nesbo.  Talk about sexy and smart at 50. After Colbert’s naughty introduction, I was falling asleep. This is nothing against anyone, but I fell asleep at 1AM and woke at 5AM. So panelists keep it spicy, keep it funny, and keep me awake.

Clearly, Jo Nesbo was my fix. Not sure if it was the Norwegian accent or his stock trade/ rock star story, but I was mildly turned on by his delivery. More importantly, I was turned on to reading his books. What a great start to my morning!

Beyond The Hunger Games - At this point everyone knows The Hunger Games was pretty amazing! For a teen movie, you’re definitely getting you’re $15 worth. Seems everyone agreed because the session was jammed packed. Luckily, panelists anticipated this and fully delivered on my expectations. I honestly walked away with a clearer idea on how publishers successfully market YA titles. Next year, I highly encourage attendees to mark the Bookstores Today Track on their calendar.

Understanding Metadata In The Digital Age –  Absolutely loved this panel! By far one of the most educational sessions I have ever attended (including my GWU courses). Bill Newlin of Avalon Travel and Fran Toolan of Firebrand Technologies explains the metadata basics:what it is, why it’s important, and how to make sure the metadata on your books effectively enables both discovery and transaction. If you’re interested in further teachings on this subject please reach out to Fran Toolan directly.

BEA Floor Plan – Not much to add here. Just shouting out sales reps at amazing booths. Here’s to you Slice Books, Libre Digital, and Typefi Publish. And a special shout to James Patterson’s In-Booth Autographing Session. I didn’t get an autograph, but I did have a great conversation w/ a movie producer. Fun times!

The Bad

Discovery, Recommendation, Serendipity - My heart breaks to put this panel into this category. However, it was not good. While initially, I got grasped the idea of having emotions connect readers to new finds, I was lost in the last 30 minutes. Truthfully, I was not alone. In fact a librarian bluntly stated that the method was a waste of time and she would not recommend it to—anyone. Not sure I completely disagree with her. Discovering books through emotional book scenes sounds good, but I’m not convinced it’s realistic or profitable.  If this panel reappears at 2013′s conference, I would be interested in seeing how panelists directly address its critics. Sadly, this year this session left me with me more questions than answers.

The Ugly

BEA Floor Plan - Advanced Reader Copies are easy to get, but hard to carry. Why can’t Book Expo America invest in wheel carriers? It’s so much easier to have a discussion with a sales rep or author if your back is not breaking.Yes, FedEx ships your books, but what if you’re planning to carry your stack back to your hotel? Not sure why this system hasn’t been updated, but next year I’m renting a wheel cart. I would have stayed longer if my shoulders and back didn’t hurt so badly.

Javits Center Wireless - Bad, it was very bad. Internet went in and out…all day. I wanted to upload so many pictures, but a las no service. Not sure what I can do next year to resolve this. Just disappointing.

Self Publishers: Fifty Shades of Grey

9760448_sYou’ve heard the saying it takes a village to raise a child. In the case of Fifty Shades of Grey, it takes an experienced publisher. Self-publishing allows anyone to share a story, but it doesn’t enable them to tell one. Quality writing still remains a deciding factor in self-publishers’ success.

Bestselling romance authors Julia Quinn and Eloisa James have been known to recycle their storylines. And yet their novels garner both commercial and critical acclaim. Why is this?

Why does Fifty Shades of Grey have commercial success,  but not critical acclaim?  Perhaps the writing is to blame.

If I 8149279_swere just a single, 20something the sex scenes in Fifty Shades of Grey, would be enough. But I’m not, I enjoy quality writing too. Ms. Rihanna said it best, “sticks and stones might break might bones, but whips and chains excite me.” And on that end, E.L. James did not disappoint.

Her sex scenes were nicely written, but the storyline was missing. Too many times I found myself asking why anyone should care about Anastasia. Finally the answer surfaced–in the last 10 pages.

[Spoiler] She wants to be loved, badly.

Fifty Shades of Grey isn’t an original story, there is nothing novel about it.

Then again, to be well written, it doesn’t have to be.  A story doesn’t have to be novel for  readers to care about its hero and heroine. Reading about a billionaire’s sexual exploits should have been a win-win. My appetite should have been satisfied, but it wasn’t.

New publishing  technologies like Authonomy seem to take a hybrid approach. Evidently,  traditional publishers know that it takes more than an idea to create quality writing, it takes experience. The success of Fifty Shades of Grey proves that self-publishers can receive commercial success. The question is can they achieve the critical one? Without heavy marketing and a strong following, it’s doubtful this book would have been a New York Times Bestseller. Personally, I would have never read this novel.

This is not to say, I’m not a fan of self-publishing. I encourage new authors, new writing, but I support quality writing more. Sometimes I think traditional publishers have spoiled me. Perhaps I’m a spoiled child, who is too accustomed to certain writing styles. May I was too eager to pry open Fifty Shades and didn’t exercise caution. Perhaps I should have remembered that this began as fan fiction. Maybe.

An EPublisher Confesses

The Kodansha Files: Finale w/ Calvin Reid Interview

Tonight we are joined by Publisher’s Weekly Senior News Editor and PW Comics World Co-editor Calvin Reid. For the past three months I’ve followed Kodansha Ltd.’s subsidiary Kodansha Comics.  Ideally I would love if  An EPublisher Confesses inspired you to at least try a manga. Better yet if it got you to discover more about Kodansha. Nonetheless, I know my knowledge is limited, so I asked Mr. Reid to join us and help fill in any blanks.

Calvin Reid can be a helpful resource. Anyone interested in furthering your manga education can read his articles and follow up with him through Twitter @CalReidReid’s articles have taught me so much over the past three months. Trust me when I say, I had no idea about this Kodansha USA, until I he broke it down. 

Tonight’s about celebrating an end to The Kodansha Files. Hopefully tonight’s interview will mark a beginning to your journey into manga.


Latesha Goodman: Mr. Reid can you give our readers a little background about yourself? I’m curious about what drew you towards manga?

Calvin Reid:
I cover general book publishing news for Publishers Weekly, but I’ve always loved comics. In the U.S. comics have historically been a periodical industry, rather than a part of the book industry. At PW I’ve had the chance to raise awareness of graphic novel and comics publishing in the book industry. Indeed PW has been directly instrumental in making graphic novels an acknowledged part of book publishing. My interest in manga began to grow in the mid-1990s. I began learning more about Japanese comics and the differences between how Japanese created manga and the way they thought about comics. I noticed there were profound differences between the U.S. and Japanese manga/comics marketplace.

LG: Can you give readers a brief overview about manga in the U.S? When did manga “arrive”?

CR: U.S. manga publishing grew out of fan interest in anime in the 1980s.The initial focus of U.S. publishers was to publish comics they thought would work in the U.S. market which is dominated by superhero comics.

In the late 1990s publishers like Tokyopop, began to publish manga in its original right to left format and began releasing works like Sailor Moon, aimed at young girls, then the category took off. Thanks to growth of retailers like Borders, driven by Kurt Hassler, its graphic novel buyers at the time, Tokyopop and its “authentic manga” strategy, the growth of the internet, and the growth of a general worldwide interest in Japanese pop culture, the category began to expand, finding new readers.

LG: Kodansha Ltd is a large manga publisher in Japan, but it also has a presence in U.S. Why do you suppose this is?

CR:Kodansha is one of the largest publishers (manga as well as prose) in Japan and for many years it only licensed its manga to publishers like Tokyopop and others. However as the market has changed and declined, Kodansha appears to have taken a bigger interest in reviving the market for its titles in the U.S. It now is directly publishing its titles here and its books are distributed in the U.S. by Random House Publisher Services, the distribution unit of Random House. Although the US market for manga is a fraction of what it is in Japan, I believe Japanese manga publishers believe they can reverse some of the declines in what had been a growing manga for manga in the U.S. We will see.

LG: Let us talk about scanlations because this term seems to be thrown around quite a bit. Please tell us what it is and why publishers blame it for the decline in U.S sales?

CR: Scanlations are works of Japanese manga photo scanned, posted online and translated into English by fans on the Internet. It is also a violation of copyright. Many people believe we have created a generation of young fans who do not buy manga in stores, but instead read the latest manga from Japan online for free.

In recent years the scanlations fan sites have been taken over by commercial interests (sites like MangaFox) who offer illegally scanned manga to read for free and sell advertising to the site to make money. This is why scanlations are often blamed as the reason for the decline in manga sales in the U.S. They are not only stealing content, but making money off of it from online advertising.

LG: Mr. Reid, it’s impossible to ignore the introduction of new technologies such as the iPad and Kindle. Do these technologies help or hinder the manga reading experience? Does the format matter?

CR:Like everything else, digital delivery of comics is growing because it is a convenient and vivid way to read comics. I personally like reading comics on the iPad as well as in print. This does not mean print comics are disappearing or going away but digital comics of all kinds will become a bigger factor in the market.

LG: Do you have any favorite iPad manga apps? Or all they all created equally?

CR:All iPad apps are not created equally, but they are all pretty good. I think Viz Media has one of the best, but I also read manga on the Yen Press app. There is now a Kodansha app as well, but remember this is all very recent. Most Japanese publishers have been dragging their feet on giving their U.S. licensees digital rights but the decline in sales and competition for readers from pirated scanlations sites seems to have had an impact.

LG: Censorship is a hot topic for foreign publishers looking to expand into the U.S. Why is this? How do you think Kodansha is handling it?

CR:Yes, Japan has different cultural standards than the U.S. on things like sex and fan-service (panty shots are frowned in the U.S. but are no big deal in Japan) and nudity and can cause problems. Kodansha has much more experience after working closely with its U.S. licensee and I think they believe they can have an impact by publishing directly into the U.S. rather than through licensees.

LG: Last question: Do you think Kodansha Comics (or Kodansha USA) will help get titles into U.S consumer’s hands faster?

CR:I believe Kodansha having a U.S. office will help get more Kodansha titles into the U.S. and hopefully it will be faster. We’ll have to wait and see.

LG: Calvin thanks so for agreeing to this interview. I for one have learned much more about this intriguing publisher. Much appreciation!

I am indebted to Calvin Reid and other news outlets who dedicate their lives to educating publishers about Kodansha. Again If you wish to follow up on tonight’s blog, please follow on Twitter @CalReid . He loves Twitter, so he’ll respond.

Your Truly

An EPublisher Confesses

The Kodansha Files: A Retrospective


The Kodansha Files Sept.27, 2011

Why track Kodansha Ltd.?

I wanted to find out when or if Kodansha Comics intended to digitize its catalog. More specifically I wanted to see which digital format it would use. Sailor Moon was my main focus because my professor created an assignment that required me to pitch it as an e-book or an iPad app.

Main Goals

  • Introducing readers to manga – readers unfamiliar with publishing should know there is more than Stephen King titles at Barnes & Noble
  • Opportunity for readers unfamiliar with Kodansha Ltd to discover a new foreign publisher
  • A chance to discover how foreign publishers transition into new markets

Kodansha Files: Manga in Uncharted Waters Oct.18, 2011

Readers unfamiliar with foreign publishers may not understand how difficult it is for Kodansha to enter US markets. After several hours of research, I realized that foreign publishers such as Kodansha were trying to gain more control over their overseas titles. So I wanted articles that reflected this transition.

I really wanted to stress to readers why the traditional business model wasn’t working. In Kodansha Comics instance, the model was not working for numerous reasons.

Traditionally Kodansha Ltd used intermediaries TokyoPop and Del Rey Manga to publish translated content. Then in 2008, Kodansha changed the business model.

With Kodansha Comics, the parent company now had the ability to translate their content themselves.

After Thoughts

  • I didn’t mention this, but I should have included the rising scanlations incidents as a main factor. After speaking with Publisher’s Weekly Calvin Reid, I realized these occurrences contributed to Kodansha Ltd breaking from the traditional model.
  • I would have also mentioned that Sailor Moon was the only manga I was familiar with, but this project familiarized me with a number of titles.

Kodansha Files: License to Deal Nov.6, 2011

License to Deal tracked how Kodansha Comics progressed now that it acquired many of its US licenses. I chose articles that examined whether this subsidiary had the ability to supersede Del Rey Manga. Furthermore I was curious to see if the executives had finally decided to begin digitizing the titles. After researching, I noticed that Kodansha Comics had a difficult time overtaking its predecessors. Internal issues with retailers and consumers threatened to eat away at any progress it was making.

After Thoughts

This blog was by far the hardest for me to do. I was not sure if anyone was interesting in reading any of my entries since on Oct.15 Kodansha Comics created an iPad app. I was conflicted on which direction to take because my one of my goals had been reached. Eventually I stuck with my gut and did not touch that update. Was this a success? You tell me.

Kodansha Files: Print and Beyond Nov.27, 2011

This entry was aptly titled Print and Beyond because it examined Kodansha Comics current state. I was especially excited to analyze The Beguiling’s store owner Christopher Butch’s concerns about the subsidiary. I’m sure readers were curious to see if Kodansha Comics finally redeemed itself. Overall I can see that the altered business model is finally paying off. Executives are finally going to the drawing board, reviewing trends and positioning Kodansha Comics for battle. Currently its competitor Viz Media is dominating the playing field. In the future, I believe this will change. The long awaited iPad app supports this belief.

Main Goals

  • Introducing readers to manga – readers unfamiliar with publishing should know there is more than Stephen King titles at Barnes & Noble
  • Opportunity for readers unfamiliar with Kodansha Ltd to discover a new foreign publisher
  • A chance to discover how foreign publishers transition into new markets

    I believe my blog has achieved these targeted goals. Hopefully readers have learned more about Kodansha and manga altogether. I for one have learned that entering the US market is an arduous task. Publishers not only have to decide about digitizing their work. When Kodansha Comics took over Del Rey Manga’s remaining titles, executives had to determine if they had the budget to publish remaining titles.

    If they don’t then they run the risk of isolating their “new” North American readers. Kodansha Comics may have developed an iPad app, but it’s going to take more than that before it can begin competing against North American manga domineer Viz Media.

    Tracking a publisher has been wonderful! I absolutely loved this project. Please join me Dec. 6th for my last entry with Publisher’s Weekly’s Calvin Reid.

Yours truly,

Latesha Goodman

An EPublisher Confesses

What Tim Tebow Can Teach Publishers

In publishing the long tail consist of non-hit titles. They are the selections that barely sell out their first print run. They are often placed in low-traffic areas in retail stores. They are profitable even though they aren’t popular.

They are the underdogs, the outcasts and the unconventional MVPs.

What can aspiring publishers learn from Tim Tebow?

They can learn that non-hits are just as likely to surprise them as a high-risk quarterback surprised the National Football League.

Moreover, they can learn to never underestimate the long tail.

Like an NFL coach, every publisher hopes to have a winning season. That’s why publishers compile a roster of titles that they feel will generate blockbuster sales and beat out their competitors. Somewhere in their line-up they are hoping to have a MVP or best-seller that helps them strongly complete their fiscal year. Of course when this doesn’t happen publishers are forced to decide whether they can afford a title’s second print run or to take it out of print completely. In football coaches are forced to make the same choices. For years critics have doubted Tebow’s capabilities to transition from college football to professional ball. By all accounts, he is a non-hit quarterback who lacks the finesse of a traditional QB like Tom Brady.

Analysts knew that any NFL team that took him would have to work on shaping Tebow into a winner. Just as any publisher knows that creating a blockbuster title is an uphill battle without marketing and publicity backing it.  And yet Denver Broncos coach John Fox broke with conventionality and invested in Tebow.  Fox embraced his uniqueness, his religious “Tebowing” practices and arranged his game plans around his quarterback’s skillset. What were the results? Tebow broke John Elway record and showed critics he was not a half back masquerading as a QB.

I truly believe this can occur with non-hits too. Why?

New innovations like Amazon.com allow titles to have a second life.

Sometimes a title doesn’t sell well because the market is not its niche. For example it may prove difficult to successfully sell a novel about a poor black temp to an upper middle class region. However, if I removed that region entirely and opened the market online, the sales may improve. Tebow teaches me to have faith in the long tail, the “non-hitters”. Most titles in publishing are losses; very few are actual straight out the gates hit runs. As an aspiring publisher it would be wise for me to market losses’ unique traits to niche markets.

In a traditional market a book must sell X amount before it can be considered a hit. Now remove the renting and production costs, the sale is now revenue. Every sale counts on the Long Tail. However, none of this can happen unless I can see past a title’s lackluster sales. To become a 2.0 publisher, I must understand this logic.  When I’m faced with the choice to cut one of my players, I need to know why it might be wise to give a title new life.

Ultimately these unconventional MVPs are winners; they just need the right field to score their touchdowns.

An EPublisher Confesses