Showing posts with label Cost of Goods. Show all posts
Showing posts with label Cost of Goods. Show all posts

Wednesday, September 14, 2011

Quality


One of my recent bosses, who came to publishing via another industry, once commented that for a business that talks so much about quality, it's surprising how ill-defined and controlled it is. With the recent errors abounding in e-books, I hate to admit that I agree with her.

Yes, publishing is no longer an old boy’s club where the wealthy enter it for the prestige—or for something to do—and yes, whether for profit or non-profit, it is a business and needs to make money. But what is a publisher’s core value and what value do we provide our customers and authors if quality means so little to us?

Here’s what got me thinking about this:

  • Just this week a romance author had to publicly apologize for a blatant and embarrassing typo in her e-book. You can read her post here, but basically “shifted” became “shitted.”
  • PIA (Publishing Innovations Awards) have announced a new quality seal of approval for e-books: QED (quality, excellence, design).  Since when do we need an award to ensure quality and that we’re doing our jobs?

And here are just a sampling of posts/articles that I came up by typing “ebooks” and “errors” into my Google search:


I’ll stop now, but you get the picture.

So how can publishers keep costs down without it being at the expense of quality?

  1. First and foremost, every manuscript needs both copyediting and proofreading, and this should be done professionally. Writing, editing, and proofreading are distinct skill sets and just because one can do one does not mean that one can do the other well.  And even if you are one of the rare few who can, it’s a good rule of thumb to have a second fresh set of eyes to review anything you’ve written. Even professional copyeditors and proofreaders know to put things aside and go back to it with a fresh perspective.
  2. Every time you change formats, a quick proofread is necessary: whether you go from hardcover to paperback or from paperback to e-book, errors are bound to happen when words reflow. It's far better for your future sales and reputation if you, the publisher--and not the author or customer--catch the mistakes. Think how quickly mistakes can be publicized today? Between tweeting, blogs, and even social media now built into e-books, the word will be out before you know it.
  3. Build copyediting and proofreading into every P&L. Consider these required, non-negotiable costs of doing quality business and protecting your core values and brand.
  4. Reevaluate other costs to streamline workflows, eliminate redundancies, and remove activities which do not add to your core value or business.
Maybe the QED award is necessary to remind publishers that they are meant to be gatekeepers of a higher-standard.


Sunday, December 21, 2008

47 Tips for Cutting Costs Without Cutting Staff

(Book Business, James Sturdivant, 12/1/08)

With a battered economy dragging down just about every retail sector, a salient fact making headlines has been the ability of discounters to maintain sales growth—a sure sign that the “Wal-Mart Effect” has permeated every corner of the business world, and that raising prices is probably not the way to realize profits. This leaves cost-cutting, which, for obvious reasons, book publishers would like to pursue aggressively without sacrificing either product quality or valued employees. Here are some tips from a cross-section of the publishing world for reining in costs without sacrificing too much in the process.

Tips from...
Dwight Baker, president, Baker Publishing Group
Baker Publishing Group instituted a series of cost-cutting measures this fall and plans to review their effectiveness after 90 days. Baker says the company has not been forced to lay off staff despite the trying economic climate and is doing “everything possible” in formulating a comprehensive strategy to prevent future layoffs.

Short-term:

1. Reduce employee travel.

2. Reduce marketing budgets.

3. Freeze all hiring for new and vacant positions.

4. Reduce inventory levels.
The company is moving to smaller first printings and reprint quantities in offset. “We usually print a 12-month supply of trade books, and a 12- to 24-month supply of academic books. We’re reprinting smaller quantities lately,” Baker says.

Baker Publishing also has a digital component that handles about 15 percent of backlist titles, he adds. “We call the program short-run, because it is not technically an ‘on-demand’ model. We carry stock through the entire year, but never more than one carton,” he says.

5. Reduce book-packaging enhancements.
These include fancy covers with foil or embossing.

6. Reduce exposure at trade shows and conferences.

7. Make a push to sell overstocked inventory more rapidly.

8. Transfer work from outside suppliers/freelancers to in-house staff.

9. Hold off on all new equipment purchases.

10. Prohibit all overtime hours.

Long-term:

11. Avoid high-risk and expensive book projects.

12. Pace new book releases to match capacity of current staff.

13. Defer publishing expansion into uncertain sales categories.

Tips from...
Cären Yang, creative and production manager, Saint Mary’s Press

Winona, Minn.-based religious publisher Saint Mary’s Press has worked with vendor Transcontinental to realize savings in manufacturing and production by adopting lean manufacturing principles. “It affects how we make decisions,” Yang says, “by considering what’s the best way to implement [a practice] so it’s efficient for my upstream and downstream customers.”

14. Add a print-on-demand (POD) center.
For some publishers, it makes sense to add an in-house POD center, which reduces inventory and simplifies order fulfillment. (Saint Mary’s maintains its own shipping/fulfillment area.) “Eighty percent of the products we produce are produced internally,” Yang says. “So it’s a huge cost savings. We keep about one to two weeks of inventory on our shelves for those products.”

15. Set up an electronic inventory and warehouse management system.
Smaller publishers benefit from this as much as bigger ones, Yang says. It allows publishers to coordinate efficiently with printers in order to ship to their docks only what they need at a given time.

16. Use software to streamline workflow.
Saint Mary’s Press saves time and money by uploading documents via the Web for proofreading and other preflight work, eliminating costs for mailing hardcopy proofs. The system also allows errors to be fixed quickly and efficiently.

17. Drop the off-site warehouse.
Thanks to a well-coordinated printing, shipping and fulfillment program, Saint Mary’s now uses a small warehouse in its own facility rather than paying to rent a larger off-site facility.

18. Standardize your paper stock.
With so much volatility in the paper market, Saint Mary’s has worked to standardize the paper it uses. “We are ordering larger quantities of one stock for our products. … That’s been huge,” she says.

19. Print during off-peak times.
Work with a printer to utilize equipment at a discounted rate when not much business is coming in from other clients. With peak times tied to the religious/education schedule rather than other seasonal determinants, Saint Mary’s has gained significant savings this way.

20. Create more efficient PDFs.
Yang recommends asking your printer to share its PDF settings with your preflight specialist. Being in synch with a printer on settings for a print-ready file allows for smaller file sizes and fewer steps in the production process. “These are just little things, but sometimes the little things really add up,” Yang says.

Tips from...
Jim Kalajian, president & COO, Jenkins Group Inc.

Jenkins Group is an independent custom book publisher in Traverse City, Mich. President Jim Kalajian believes a cost-cutting campaign should be coupled with (and hopefully mitigated by) renewed efforts to boost sales—in his case, through lowering margins, offering new services and giving special incentives to smaller publishing clients that might be slashing their promotional budgets. “The bottom line, we have had to look at everything we do and determine if we can save money in some areas without affecting client service,” he says.

21. Ask for cost concessions from freelance designers and editors.
“Essentially, we have said, ‘If you want to keep getting work, you will need to do it for 20- to 30-percent less than last year.’ These changes are hopefully temporary during these slower times,” Kalajian says. Gaining a small concession on freelance costs can greatly improve margins and allow the company to keep in-house staff employed without reducing salaries or benefits, he says.

22. Shift work from freelancers back to salaried staff.
Staffers are now covering some design and editorial work that a year ago would have been sent to freelancers. Kalajian’s creative director will begin helping the marketing team with promotional material, rather than sending it to outside designers. “We also write 24-30 press releases a month for small publishers as part of our publicity-service offering,” he says. “Instead of sending all those to a freelance writer, we now have an in-house staff member write half of them.”

23. Reduce UPS costs bysending files to printers via FTP.

24. Use digital proofing more often to save on the cost of creating and shipping proofs.

25. Cut marketing spending that is not showing a positive return.
Kalajian recommends giving campaigns such as lead-generation or Google AdWords no more than six months to show results.

26. Switch Web site-maintenance services to a firm that bills in quarter-hour increments.
Jenkins Group has found that some firms charge $100/hour in half-hour increments, while others charge the same hourly fee, but allow quarter-hour increments—a significant savings when only a small tweak to the Web site is needed.

27. Cut office cleaning staff from once a week to twice a month … and do more clean-up yourself.

28. Modify a phone plan.
Money-saving measures can include cutting unused 1-800-number fax lines, and eliminating cell phone and pooled minutes across the company.

29. Reduce monthlycompensation of principles.

30. Reduce travel costs.
Kalajian reports a dramatic reduction by eliminating all marketing trips to New York.

Tips from...
Susan Spilka, director, corporate communications, John Wiley & Sons

STM publisher Wiley has been on the cutting-edge of cost-cutting, lately forming partnerships with other publishers and institutions to deliver services and information efficiently.

31. Electronically disseminate comp copies.
Working with other higher-education textbook publishers, Wiley has developed CourseSmart, a service providing digital course materials to consumers. Spilka says Wiley saves money by using Course-Smart to fulfill comp-copy requests, rather than having to mail print copies.

32. Offer supplementalmaterials on-demand.
Wiley has put textbook supplement transparencies in an on-demand program, whereby professors choose a transparency online, and orders are printed and shipped one at a time. This avoids inventory obsolescence for these expensive-to-produce items.

33. Institute a well-functioning content management system (CMS).
“Developing a companywide content management system … allows us to cost-effectively repurpose our assets” Spilka says.

34. Offer online options.
For journal customers, Wiley promotes the option of online-only subscriptions, which helps move toward shorter print runs and lower materials costs.

35. Move CD content to a Web site.
Some publishers have found savings by taking expensive four-color graphical elements and putting them on accompanying CDs. Wiley has taken this a step further by moving such content to Web sites associated with textbooks and other releases.

Tips from...
Dan Tucker, president, Sideshow Media

Sideshow Media is a small, independent book producer, creating illustrated books for publishers and corporate entities.

36. Expect more from your employees.
With today’s efficiency tools at hand, publishers should expect employees to wear more hats than in years past. Sideshow hires smart people and trains them well, says Tucker (who is also president of the American Booksellers Association), allowing them to work more efficiently and do more in less time than would have been possible a few years ago.

37. Keep an eye open for new suppliers.
“We are always looking for [lower-cost] suppliers,” he says. “We do a lot of manufacturing in China, and with costs going up, we are looking at other possibilities, such as India and Egypt.”

Tucker says he is willing to consider suppliers closer to home if the value of convenience and time/cost savings in shipping equals or exceeds the lower manufacturing costs available in Asia.

38. Be flexible.
Smaller publishers should leverage the assets that come with maintaining a leaner, more malleable supply chain, Tucker says, meaning they should always be on the lookout for better deals in printing or shipping, and ready to take advantage of these, especially in a volatile world market. “The difference between how we operate from a [major publishing house] is that, for them to alter the supply chain, I imagine is like trying to turn an aircraft carrier around in a pretty narrow straight. We are more like a small powerboat.”

39. Consider alternate staffing arrangements.
Sideshow has had success with employees working in remote locations and other positions being converted to half-time. These arrangements have led to some cost savings, according to Tucker.

Tips from...
Alex Holzman, director, Temple University Press

Temple University Press specializes in books on the humanities and social sciences. Holzman says university presses are used to operating frugally, but nevertheless can be subject to unexpected budget mandates from their parent institutions. “When cuts have to be made … they aren’t always made wisely,” he notes.

40. When you cut, cut judiciously.
Holzman advises thinking through the impact of any cuts on net revenue, noting that an in-house efficiency that results in declining sales is not a good idea (unless it somehow increases margins). “This probably sounds mundane and obvious, but it’s necessary to at least make an effort to avoid encountering unexpected consequences,” he says.

These consequences can ostensibly be non-monetary, yet affect sales and profits in the long run, he warns. An example would be a cost-cutting measure that damages author relations.

41. Embrace POD.
POD and “born digital” printing allow for tighter inventory control and fewer write-downs, Holzman says. “POD [also] helps with distribution overseas as one can print a book … [overseas] rather than shipping across the pond.”

42. Use electronic marketing tools.
Holzman reports success in steering people to online seasonal catalogs, thereby reducing runs for printed versions. Temple has also experimented with sending PDFs to book reviewers, though Holzman notes such practices must come with appropriate safeguards to avoid the risk of piracy. Marketing efficiencies are also realized by having books on Google Book Search and Amazon Search Inside the Book, he says.

43. Incremental workflow efficiencies add up.
Temple University Press uses Blackboard technology to transmit projects to its editorial board, cutting paper use. It also utilizes electronic copyediting tools and is starting to use XML workflows. “The former, of course, saves time and paper; the latter saves coding later,” Holzman says.

44. Leverage institutional talent.
University presses can sometimes benefit by drawing expertise from other departments, avoiding expensive consulting or service fees that commercial publishers often face when introducing new efficiencies. “For example, a university IT department can often provide very helpful guidance whether or not it also implements any change being contemplated,” Holzman says.

45. Trim paper costs.
There are many ways to incrementally decrease the amount spent on paper, such as, in manufacturing, considering alternative stocks and eliminating jackets for some hardcover titles. For in-house paper use, he says, “We use two-sided copying wherever possible. We try to send electronic files rather than create and then have to ship printed manuscripts. None of this is earth-shattering; you just take every bit of incremental saving you can get.”

Tips from...
Larry Bennett, vice president, Spanish language materials and POD, Replica Books

Replica Books, a division of Baker & Taylor, provides solutions for publishers looking to combine short-run printing of older titles with marketing and distribution services.

46. Use POD to automate the reprint process.
Work with a digital printer to save money by setting up an automatic reprint system for some “long-tail” titles, whereby books are printed and orders fulfilled without passing through a publisher’s hands. Bennett says this makes the most sense for expensive, low-volume titles such as textbooks and art volumes. “Your cost savings comes in avoiding inventory obsolescence and remaindering, and in the inventory-carrying costs. The more expensive the book, the more it makes sense,” he says.

47. Shop around for the best POD solution.
Different publishers have different needs, and one printer’s fee structure, manufacturing and shipping capability, and distribution network may make more sense from a cost-saving standpoint than another’s, Bennett points out.

Thursday, December 4, 2008

Don't judge a book by it's cover...or by it's container

I recently finished a spin-off series by an author I've been following for a while, and since I enjoy her books so much, I logged on to find and buy the original series this was based on. To make a long story short, the publisher--a major publisher who I will not name--let this go out of print and did not reprint her backlist when this new series came out.

I understand that in this economical climate publishers cannot print as much, nor necessarily print backlist that makes sense, but what I don't understand is why this was not made available via POD.

And then I read this blog entry by TOC which perfectly captured the problem.

Publishers: Let the Containers Go

In a guest post at Boing Boing, Clay Shirky says publishers who focus on book lovers rather than readers are setting themselves up to fail:

Businesses don't survive in the long term because old people persist in old behaviors; they survive because young people renew old behaviors, and all the behaviors young people are renewing cluster around reading, while they are adopting almost none of the behaviors tied to cherishing physical containers, whether for the written word or anything else. Can you imagine a 25-year-old telling a publisher "To get my business, you should stick to a single, analog format? Oh, and could you make it heavy, bulky, and unsearchable? Thanks."

I know change is scary and oftentimes hurts, and I personally will always prefer a printed book to an e-one, but that doesn't mean that the printed book need be printed before I pay for it.

The publishing industry finally has a chance via POD and e-books to right the two wrongs that have been slowly bleeding the industry dry--returns and having to pay for COGS prior to any sales--and I'd think the large houses that could afford to experiment would be the first to do so... Instead, Amazon Marketplace got my dollars and probably several other readers' dollars.

Saturday, September 20, 2008

Publishing and the New Yorker

So all week I kept hearing about this article that foretold the death of publishing as we know it. I first heard it from an editor at work, then several NYU alumni at our meetup. Each time I made a mental note to Google it as soon as I could and then forgot, given the crazy week I had. So after forgetting it for the third time, I was surprised when my husband pulled our copy of The New Yorker out of the recycling bin (and I have to admit that I didn't even remember that we have a subscription) so that I could read this great article about publishing.

So I read it...Most of what it mentioned I had read about elsewhere to various degrees, and I didn't find it alarming at all. Yes, publishing as we know is is changing, not dying, but what industry can survive so long without evolving? And yes, print may not remain the primary medium for the industry, but that does not mean that it will only be a rare and expensive commodity either. What if instead of POD as a transition, it becomes another option for the consumer? What if the consumer of the future can easily decide which medium he or she prefers to have their content delivered on, and that the price difference is so small, if any, that everyone can afford it all?

I think instead of people worrying about something that will never die, that they embrace the change and the freedom it could eventually give us, both as publishing professionals who won't have to worry about ever-increasing cost of paper and production and as consumers. And if this new model means consumers pay before a book is "produced," whether in print or online, and then cannot return them, than the publishing industry will actually be healthy and strong enough to focus not on cost of goods sold, but on content.


Saturday, August 30, 2008

Facing Today’s Manufacturing Woes

(By Alex Brown of Publishing Executive)

Publishers are being buffeted by cost increases on all fronts, and while there are no magic wands to wave, we can gather round to share our sorrows and consider a few basic cost-control tactics.

The latest blow is a 10-percent to 12-percent increase in ink prices announced by ink suppliers. Printers will differ in their implementation of this, but if yours is delivering bad news in the form of higher prices, you can accept it as a true reflection of the market. The costs of raw materials and freight have indeed affected the selling price of ink.

Your printer may spare you this increase, or you may hear of another publisher that has gone unscathed. There are good reasons for printers to differ in applying ink escalations.

First, some printers have an ownership interest in an ink supplier. They can let overall business strategy rule their decision on a price hike, and they can do it customer by customer.

Second, printers that are not tangentially in the ink business vary in the markup they initially impose on the ink they sell to you. Once again, a critical customer relationship may be important enough for a printer to absorb some or all of the escalation blow, particularly if he has a comfortable markup to cushion it.

Third, printers sometimes delay imposing an escalation. Your vendor may not be sending out the bad news quite yet, but it doesn’t mean you’re off scot-free.

Finally, ink costs generally represent 5 percent to 8 percent of a manufacturing invoice, not including paper. With today’s tight margins, that’s a significant amount, but printers may still have some negotiating room.

With all this in mind, the smart print buyer will look at a change in ink prices as an opportunity for negotiation. But tread carefully: The printer’s costs really are going up. What you’re negotiating is how much it will affect you. Keep your guns in their holsters and start out with sympathy for the printer’s situation. Then look for a fair way to absorb the rising price together.

The greater the printer’s ink markup, the more leeway it has for giving the publisher a break. You can look for a compromise on a lower percentage increase or a delay in its effective date.

The Bigger Problem: Paper
The ink increase, however it finally hits you, is small potatoes compared to the rise in paper prices. Mills are generally announcing a $50/ton increase for the third quarter, but with demand so weak, there’s reason to hope this will work its way down to the $30/ton zone.

The overall message, however, is clear: The mills want to keep hiking prices to compensate for the increases in their own costs, and they are not letting low demand dictate price policy. What they don’t get in July, they may well try for in October.

The wise paper buyer needs to understand that the mills are driven by two loud voices in their ears. First, the rising costs of energy and transportation are affecting mills, and price increases are necessary just to tread water. Second, strict profit goals are in place at all mills today, with the sternest tests at those held by private equity investors. The days of waiting out a market downturn or sharing a customer’s burden are over. If you can’t make money selling paper today, you shut down the mill and take your capital elsewhere. The lost jobs and lost customers don’t have a place in the equation.

The classic cost-control move when paper prices go up is to downgrade specifications. Cutting basis weight, trim size or paper grade are still useful moves, but not every square on the chess board is open.

Mills have gotten pesky about making basis weights they consider less profitable, and the spectrum of paper types is shrinking as mills consolidate. The nastiest news is the closure of Katahdin Paper’s supercalendared (SC) machine, announced for July. The loss of 180,000 annual tons of SC will mean that buyers trying to downgrade from grade 5 won’t find SCA easily. In turn, SCA shoppers may have to upgrade, making the price increase that much more likely to stick.

Meanwhile, our favorite price safety valve—importing paper—doesn’t work anymore. Mill consolidations have put a distinctly global face on the paper market, so there’s no more exploiting small pockets of unbalanced supply and demand. Globalization levels such anomalies. The weak dollar undercuts our buying power, so we can’t pit imports against domestics. And even if we could, shipping costs would gobble up all the savings.

The rising cost of fuel sits at the center of all the price increases swirling around us. You see it in fuel surcharges for overnight mail, the petroleum components in ink, postal increases, and freight allocations for paper shipments. And it’s buried only a little deeper in the power used to make paper and run presses. In short, the cost of a barrel of oil ripples through every manufacturing move we make.

Because this is affecting all publishers, all printers and all consumers, a price increase is easy to justify. But it’s going to be hard to collect. The hard-pressed consumer will resist, and publishers tremble at giving readers any reason to say no to a subscription renewal or a newsstand purchase. And raising ad rates can be equally perilous.

Printers in a Bind
There’s another constituency with nearly the same problem. Printers are hit directly with increases in operating costs, but customer demand is flat or falling, making it tough to impose increases that could drive demand still lower.

The prevailing price for printing is riding on some very gusty winds. Pushing it down is low demand that forces printers to compete hard for every job that can keep the presses turning. Pushing it up is the reduction in competition from a shrinking pool of vendors. With their own costs rising and profit pressures mounting, printers are twitching their escalation trigger fingers. If ever there was a textbook time when print prices should rise, this is it.

Or is it? A healthy publisher can absorb an increase in print prices, but a weakened one will switch to digital delivery. If there’s a large economic message here, it’s that making and moving printed pages is inefficient compared to putting images on screens—so much so that the current wave of increases in every manufacturing cost center should be enough to drive a lot of printing demand away.

Printers can scale down their capacity to compensate, but it’s not going to be an orderly march that publishers and catalogers lead. For now, printers must try to retain customers who can flee not just to another printer, but to another medium. Setting print prices has never been harder. Should prices be high enough to let printers evolve into artisans serving a micro-market? Low enough to prevent the market from shrinking that small? Or some spot in the middle that might, at least, prolong current conditions?

The tough lesson is that doing nothing won’t allow things to stay the same. Oil prices aren’t going to return to 20th-century levels, so this cost gauntlet we’re running through right now is not a drill. New energy sources will rewrite our economic equations, but all the variables in the formula will change, too. Printers will have to evolve even more than publishers.

For now, however, your printer will try to pass along the increases he’s experienced through your contract’s escalation provision. You can respond by negotiating an advance renewal that could lead to a price reduction or, if you’re at the end of the contract term, soliciting competitive bids. There’s no guarantee you’ll find the types of bargains we’ve seen for so many years, but it’s crucial to try. Opportunities still exist in a market with excess capacity, but they don’t drop into your lap.

Today, there’s nothing a publisher purchases that isn’t affected by energy costs. But the still larger wave running through the economy is the uncertainty about what major energy and environmental changes will mean to buying decisions. It’s impossible to forecast trends too vast to detect, but we know they’re at work, and we’ll slowly shift with them. It may be small comfort, but every business and every consumer is similarly affected. We’re all in this together.