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FALL 2001 (VOL. II, NO. 2)


Maria Bustillos

“The behavior of hoarding”, according to the Los Angeles County Department of Mental Health Hoarding Fact Sheet, “is seen in various illnesses.” Online mental-health resources class hoarding variously as a subset of Obsessive-Compulsive Disorder (OCD), of General Anxiety Disorder (GAD), and as a Social Phobia.


The latter is the most convincing, if you ask me. I and the many other victims I have met are not so much anxious to keep stuff, as they are to avoid dealing with it .


Just as an aside, there is a twelve-step program for “clutterers” (Clutterers Anonymous) with a truly terrifying quiz to help you identify the disorder:

  1. Do you have more possessions or items in your life than you can handle comfortably?

  2. Do you find it difficult to dispose of many things, even those you haven’t used in years?

  3. Do you rent storage space to house items you never use?

  4. Do you spend time looking for things that are hard to find because of all the clutter?

  5. Do you find it easier to drop something than to put it away, or to wedge an object into an overcrowded drawer or closet rather than find space for it?

  6. Do you bring things into your house without establishing a place for them?

  7. Is your clutter causing problems in your relationships?

  8. Are you embarrassed to have visitors because your home is never presentable?

  9. Do you hesitate sharing about this problem because you are ashamed of your cluttering?

  10. Are you constantly doing for others while your own home is out of order?

  11. Do you miss deadlines or abandon projects because you can’t find the paperwork or material to finish the work?

  12. Do you sometimes get buried in details, making projects take much longer than is really necessary?

  13. Do you procrastinate about cleaning up because you believe you must do it perfectly or you won’t do it at all?

  14. Are you easily side-tracked, moving from one project to another without finishing any of them?

  15. Do you have problems with time management and estimating how long it takes to do things?

  16. Do you believe there is all the time in the world to clean your house, finish those projects, and read all those piles of old magazines?

  17. Do you use distractions to escape from your clutter?

  18. Have you tried to clean up from time to time but find yourself unable to stick with it?

  19. Does the problem appear to be growing?

Oddly enough, though there is a specific name for the fear of fog (Homichlophobia), I have been unable to find a particular name for the quite common disinclination to part with valuable objects. I would venture to say that this fear is present in most book dealers to some degree, however small. Which would go a certain distance towards explaining the fact that, while nearly every book dealer finds it easy and pleasurable to acquire books, most find it less easy, and even somewhat painful and unpleasant, to sell them.


This is where peniaphobia, the fear of poverty, sensibly and nobly leaps into the breach and saves the day. Additionally, the average book dealer is also provided with an ample number of equally worthy and useful phobias, such as agateophobia (fear of insanity), clithrophobia (fear of enclosure) and atephobia (fear of ruin).


This long preamble is by way of introducing the subject of turnover. The dealer in out-of-print books is in a somewhat different position from that of other retailers, for he does not simply buy his wares from a wholesale supplier and pop them onto the shelves of his shop. The acquisition of his inventory is an arcane process, full of mystery and personal drama; of knowledge painstakingly gathered and stored; of passion, intelligence and daring. Another element which makes the plight of a rare book dealer different from that of other retailers is the fact that much (though not all) of his stock is in fact silently appreciating in value.


The psychological moment of such nuances in the context of operating a retail business can scarcely be overstated. And yet, a dealer in rare books is a retailer like any other; and turnover is still what retail is all about.


Inventory Turnover = Sanity  The book dealer is faced with limits on many resources, but the ones he really needs to watch are two: space and time. If these two are husbanded with order and method, the rest, including money, will take care of themselves.


Given that the amount of shelf space is limited, book dealers can and should arrange their affairs so that every inch of shelf space produces the maximum profit. Briefly stated, any book that won’t sell should be removed with dispatch and according to a set schedule, and another more productive book should take its place. In classic retail terms, this means putting stuff on sale after it’s been sitting around for x period. Book dealers tend not to follow this practice, but it is a doozy for maximizing profits, because profits for an out-of-print book dealer are currently limited mainly by the number of books available for purchase—a figure which has suddenly become almost without limits. Indeed, the Internet, by perfecting the rare book markets, has made it possible for book dealers to take advantage of what ordinary retailers have known all along: it’s better to make a sale now and reinvest the profits and the free space than to invest in a lot of inventory that doesn’t make a profit until much later, or that doesn’t sell at all.


If you already have all your books available, either online or in an open shop, our congratulations. We venture to wager that your business is profitable, your bank account pleasantly swollen, and your evenings long, relaxed, and finished off with Valrhona chocolates and maybe a little port.


Inventory Turnover = Profit  A handy way to consider your investment in inventory is to gauge dollars spent on inventory against dollars spent on an ordinary investment, like a T-bill. Say you invest $10,000 at 6% for two years. At the end of year one, you have $10,600; at the end of year two, $11,236. Compounding is an easy illustration of the time value of your return on inventory investment. In other words, if you can sell a book faster, you can reinvest the upside in more inventory, more T-bills and so on, and take advantage of even more upside, faster, etc.


Book dealers who can learn to minimize monthly carrying costs, improve turnover rates and lessen the ratio of dead stock will be more profitable book dealers. Here are a few easy steps to take to help increase turnover ratios (adapted, somewhat, from my previous life as a designer of overpriced tchotchke):


Get more stock online  The larger the proportion of your stock that is “live” and available for purchase online, the better your business will be. Consider skipping that next library sale in favor of an extra day or two of cataloguing per month. Tedious? Bah! Tell me that from the beach at Wailea, where you’ll soon be sipping something frothy from a coconut, and being fanned by a few love slaves.


Reduce prices on dead stock  Again, the Internet has changed the way book dealers do business. Your results may vary, but I think it is reasonable to say that, except for very high-end material, no book should last above three years on your shelves in the online environment (remembering, again, the T-bill factor). Spend some time researching the going rates on your oldest stock, and prune accordingly. Every inch of shelf space is there to create profits for you!! Consequently, every bit of chaff should be removed.


Create a sale catalogue  A printed Sale Catalogue with attractive prices, and emailed or snail-mailed to your customer list, will help free up cash and precious shelf space.


Sell on alternative venues


Study alternative venues such as Tomfolio, Used Book Central, Half.com, eBay and, of course, Popula. Many of these growing sites have a unique customer base and can provide a valuable supplement to your regular sales venues. Try them out by uploading your oldest inventory … you might be surprised at the results.


Design for Selling  Analyze your previous results, so you can plan for the future. Make sure you take current trends into account. What has changed? Have you new competitors? More or less storage space to pay for? How much more do you need to produce in order to help pay the wages of a new employee? Try to develop a plan based on previous years’ results. That way you’ll be less likely to overspend, and more likely to achieve target levels.


In closing, any book dealer could do worse than study a few basic retail books for ideas on how to increase profits.


Salud, amor y pesetas, y tiempo para gozarlos, everybody.

 

Jill Morgan of Purple House Press

Q: Jill, you’ve posted several times on book-related lists about starting Purple House Press because of a recognized need in the area of baby-boomers wanting copies of their childhood books and those books being too expensive now for most non-collectors.  How did you recognize this need?  Were you a seller of children’s books before?


A: I sold out of print books for four years, concentrating on hard to find children’s titles. I noticed different people were requesting the same titles over and over again. Since the demand was growing as more people came on the net, the prices of these books rose dramatically, placing the books out of most people’s price range.


Q: And how did you originally get into the bookseller business?


A: I quit my job after 13 years as a software engineer, to spend more time with my children. After being at home a few months, I began collecting the books I had enjoyed reading over the last 25 years or so. I began buying so many books that I had to start selling some of them to pay for new books I wanted, and this led to bookselling!


Q: What first brought the idea into your head that you, personally, could be capable of being a publisher of books?  Did you have a background in any type of publishing?


A: Well I naively thought I knew about books, since I sold them. I learned quickly that I knew nothing about making books, but with the help of the net and trial and error, I’ve learned a good deal over the last year and a half. There will always be more to learn in this job!


Q: How did you get started on deciding to be a publisher did you approach it as any start-up business, with a business plan, budget, and financing?


A: When I saw the price of my favorite childhood book, “Mr. Pine’s Purple House” by Leonard Kessler, hit the price of $300 on ABE, that was when I decided to do something to save all these great old stories from extinction. Because if a little children’s book costs $300 only few people will be able to afford it, they won’t let their children hold the book or sleep with it, so I knew these stories would die out with the generations that grew up with them when they were more accessible. It is very important for children to be able to handle their books, sleep with them, color in them, get them sticky with peanut butter! I did do a business plan and had a rough budget, using money from my bookselling savings and a family loan.


Q: What steps were involved, as far as finding an experienced  book printer to work with a start-up publisher?  Were there minimum print runs required?


A: Most printers are more than happy to help new publishers. They can be found easily on the internet. There are a few publisher’s organizations out there to help independent publishers too, PMA, SPAN and I find the pub-forum email list (similar to Biblio but for publishers) to be the biggest help. With print on demand (POD) there are no minimum print runs, but I prefer the traditional method of printing and binding so that I can choose all the elements that go into our books. All of our hardcover chapter books are Smyth sewn – not just glued to the binding, they are covered in cloth and not paper over boards, and I choose thick natural color paper. I usually print between 3000-5000 books per run, pretty small in the publishing world! We try to offer signed limited editions of 200-250 books for the collector, when the author is willing.


Q: How did you first contact authors, and did you find the authors receptive to the idea from the first?


A: I sent letters to their previous publishers, I contacted author’s guilds, I located some through genealogy web sites, I had my lawyer find one author and I also used switchboard.com! Most authors like the idea of their books becoming available to a whole new generation, but when I was starting out it was tough. I had nothing to show the authors except my desire to revive their stories. A few turned me down in the beginning, later one author said he talked it over with his character and she decided she belonged to another place and time. This one really threw me, because I wanted to bring the character back so much, that when he said no it was like a death in the family. I grieved for her.


Q: Are all your authors living and are all of the books you’ve produced or plan on producing still under copyright Protection (if not, are there any procedures that have to be followed on works on which the copyright has expired)?


A: No all of our authors are not living, unfortunately. I would love to have talked with all of them, because working with these wonderful people has been a great benefit that I never expected. They know so much, have such great stories to tell about their books, and about publishing decades ago. I know how the ideas for some of these stories came about, I know Leonard Kessler had to make 26 complete dummies of his first book before it was accepted! Even if an author’s work is under copyright protection and I have an agreement with them, I  am not allowed to print their books until the publishing rights have been returned from the original publisher. Even if the book has been out of print for 50 years, in most cases the original publisher still has the rights to them! When authors request the rights to revert back to them, it can be a long process – one book took seven months.


Q: You’ve been remarkably good at getting advertising for your publishing business.   Would you care to give us any tips on how to do this (all of us could stand to advertise our own businesses, I’m sure)?


A: The one ad I took out was a total flop. Susan Halas taught me how publicity works and has been a lot of help in attracting publicity for Purple House Press (of course I’ve learned how to do this too, but don’t always have the time!).


Anyone can sit down and write an email telling a magazine, web site, news station, or newspaper an idea they have for a story. And if your story idea is unusual, you are likely to get a call back. Of course the story idea is about you or your business; most important it mentions how what you do is of interest to their audience.


Find the person to send the email to on a web site’s “Contact Us” page. Send it to anyone who might be interested in what you’re doing. Keep your email brief and snappy. I don’t just write to the book review section in newspapers, but the lifestyles, family and science/technical sections as well. The coverage they provide will be better than just a book review, and they are more likely to be interested in bookstores. Is your store different? What services do you offer to the community? Do you have a store mascot? Start with your community paper and build up from there. Once you have something in print, send it to the other places you are contacting. And don’t give up!


Q: Do you plan to get into publishing other types of books?


A: I plan on sticking with only children’s books. I enjoy them the most and there are so many good books out there waiting to be saved! I honestly believe that there will always be a market for these stories which are from a simpler time, without the gimmicks associated with them – no tv show, no line of clothes, no toys – just a great read.


Q: Do you have any plans on publishing original, new books, rather than only doing reprints of previously published books?


A: Well Leonard Kessler is writing a new adventure for Mr. Pine so we’ll see what happens with this story! I would love to print an all new Mr. Pine book for the world to read. I don’t have any plans right now for doing any other new books, although people frequently ask how they can submit their manuscript! I’ll never say never, but for now we are concentrating on older titles.


Q: Along the same lines as the question above, are new, unpublished children’s book authors contacting you now about their books (you could end up being the Helen Gurley Brown of children’s book publishing!), rather than you having to seek them out?


A: Well I guess I touched on this in the previous question, yes I am asked frequently about how to submit manuscripts, I’ve had agents contact me and authors themselves, but I have to be pretty choosy now on what we reprint. I plan on reissuing 6-8 books per year.


Q: It was quite exciting about one of your books being featured on Amazon. Can you tell us a bit about how that came be?


A: The book is Mr. Pine’s Purple House, it was my favorite as a child. I enrolled it in the Amazon Advantage program for publishers in September 2000. It was doing fine there, then in June I got a call from Amazon saying they would be placing a large special order for the title! They reviewed it in an Amazon.com Delivers email sent to 500,000 customers, mentioning it was Jeff Bezos’ favorite as a kid! Just this one little sentence zoomed Mr. Pine all the way up to #15 on their bestseller list, it stayed in the top 100 for several days, and now six weeks later it is still at about #600. This little book, in which Mr. Pine makes his house stand out from 50 identical house by painting it purple, teaches children about nonconformity. As Amazon says, “it is for readers who will one day grow up and dare to be different”! It is wonderful to know that Mr. Pine may have influenced Jeff Bezos as a child and started him on the road to build Amazon!


“Dare to be different” is now our motto at Purple House Press!


Q: Well, do you plan to remain a bookseller, or is the publishing end of your business going to take over (and which gives you the most satisfaction)?


A: As an out of print bookseller I loved reuniting people with treasured memories from their childhood, now I do that on a larger scale! I always plan to sell books, but I am concentrating on our new books now. This is a time consuming job! I do the book design, handle the printing, distribution, packing, publicity, etc.


The part I enjoy most, aside from working with our authors and talking with people who’ve been searching for one of books for years, is the book design. I love, love, love taking a tattered dj and restoring it using Photoshop. Sometimes I have to spend several weeks on each one, but it is worthwhile when I see the finished product. I also enjoy adding a picture of the author to the jacket, and having the author write a new foreword to the book. I feel like its my contribution to the history of the book.


Q: Any comments, tips, hints, advice, “I told you so’s, or just words of wisdom for us about where you see the children’s market heading?


A: When I first started last year, one printer stupidly kept telling me over and over, “I don’t see how you’ll make any money.” Another company did some prepress work on a dust jacket for me and so totally screwed it up that I had to hire another company to fix it. It was so expensive, that I went out, bought a Mac, Photoshop, and Quark (a typesetting program) and taught myself book design. It was a large investment but paid for itself after just one book, I also believe I spend more time on the books getting them “just right”. So that is my big “I told you so!”.


I don’t think ebooks will take off in the childrens’ market although a lot of people are gearing up for it. I think children have to touch and hold their books, and turn real pages. Print on demand may be the way of the future, but they have to offer options, like color, glossy paper and lower prices!


My advice is that if you believe in something, believe what you can offer is different or better than what is out there, then give it a try and don’t give up!


Interview by Shirley Bryant

 

book-stack

So, let’s us make the assumption that commercial value is a driving force in the bookseller community, and that most, if not all, booksellers would prefer to not “undersell” a book, where it is understood that “undersell” is defined by the individual, and the definition of which will run the gamut of the individuals doing the defining.


What then confers “commercial value”? The answer, in theory, is easy: nothing more than the forces of Supply & Demand.


Determining such for a book not known to you… well, therein lies ‘the rub’, does it not? However this situation need not be too daunting if approached in a systematic manner. One just need evaluate the 4 basic factors that affect the commercial value of a given book: Edition (a Supply & Demand factor), Condition (also a Supply & Demand factor), Availability (a Supply factor) & Desirability (a Demand factor). There are then 3 subsequent factors, all pertaining to the individual bookseller, that will influence the price that bookseller actually establishes for the book to be sold: (1) the amount the bookseller paid for the book, (2) the bookseller’s desired profit margin, and (3) the bookseller’s customer base. Let’s begin by looking at, in greater detail, the first 4 factors…


Edition

In Book Collecting, the “name of the game1“, is ‘First Editions’. Let’s take this as a given, and just accept that book collectors [in most cases] prefer the first edition (which we understand to be the first printing) of a given work. Though one qualifying remark need be made at this juncture…when determining commercial value, one must always look at the book from the perspective of the book collector, e.g., a Rackham collector will want the first printing with his illustrator’s work contained therein, which will not necessarily be the true first printing of the title in question, yet, to continue with this example, the ‘Desirability’ factor of Rackham illustrated books is such to give these works a significant commercial value, perhaps even greater than the true first printing of the title.


So the question now becomes one of determining the edition of the book under consideration…there is no easy answer to this question, as different books from different periods require different approaches. However, this is key — don’t guess! Have some rationale or reference that substantiates your assertion that the book in question is the edition you state. And here is probably a good time to relate that, in my experience, reference books soon pay for themselves, and the old adage of using 10% of one’s annual profits to build a reference library is still valid today, despite the availability of information, and misinformation , on the Net.


For the booksellers reading this essay, this last issue regarding reference books can be approached from another perspective, and can be conversely expressed via the question, “What price your reputation?” Do you wish to be known as someone who “wings it” or as a professional who “knows what they’re about”? Not to say errors won’t be made, we all make them, but in my experience the conservative approach, in the long run, will better serve.


Condition

“Condition” in Book Collecting is analogous to “Location” in Real Estate, i.e., it is everything. Book collectors are little different than collectors of other material goods — they, more often than not, wish their collected pieces to be as close to “original” condition as possible. Simply put, the better the condition of a given book, the higher the commercial value. And remember, it is NOT a straight-line relationship…e.g., there are significantly fewer Fine/Fine 1st edition copies of GONE WITH THE WIND than there are VG/VG copies; as such, the Fine/Fine copies command a premium, and consequently are worth significantly more.


And at this point, we should probably mention dust jackets…they first appeared on the scene in the 19th C. but until the mid 20th C. they were viewed as ancillary to the book, and were usually discarded. Hence dust jackets from the late 19th C. or early 20th C. are quite scarce, and this factor is recognized by market forces in the values assigned these uncommon pieces…e.g., an early 20th C. A. C. Doyle title usually sells for $3000 or so — a few years back one was auctioned with dust jacket (1 of 2 known as I recall). It pulled down over $100,000.00.


Availability

Supply of a given work is primarily a function of initial print run, and other subsequent factors such as initial popularity, time in existence, etc., etc. ‘Availability’ can be sub-divided by condition & edition — e.g., if your client is seeking a Fine copy of a given book, the ‘Availability’ pool will be smaller than if a VG copy is acceptable. Edition can also affect this factor when Issues & States come into play…let’s consider Dickens’ OLIVER TWIST which has a famous issue point with respect to the title page — the first issue has the Dickens pseudonym ‘Boz’ on the title page. When Dickens saw this, he requested an author name change be made by the publisher, so the Second issue states ‘Charles Dickens’ on the title page… both are First Editions, but which one will your customer prefer? If Issue is not an issue, then the ‘Availability’ pool of First Editions is larger. Either way, the rule of thumb is that the 1st issue item will command a higher price, both for reasons of primacy and availability.


Desirability

This is simply answering the question of ‘who cares, and why?’, and is probably the most influential factor in determining a given book’s value. The determination is relatively easy for some books (e.g., Hemingway’s THE SUN ALSO RISES), & more difficult for others (D’Anvers CRAFTSMAN)…but if you can’t ascertain any market whatsoever for the book under consideration, then rarity is strictly academic, and the book has little-to-no commercial value. Conversely, a book such as the NUREMBERG CHRONICLE that has recognized great historical significance with high demand and relatively low availability will command a significant price (5 figures for this particular book).


Summary

So then, how does one arrive at a price? A methodology I employ is a series of questions & answers… First, what do I have? After determining the two factors that answer this question (e.g., edition & condition), I note whether or not it has any special attributes, such as ownership signatures (author or otherwise) or publication specialty (e.g., ARC). NB: Research signatures in books! I have more than once made a significant sum because the bookseller from whom I bought a book did not take the time to look at, much less research, the signature/inscription in a book.


Next comes an idea of availability…Are copies currently available (e.g., AddAll.com), and in what quantities? If yes, how does my copy compare to those currently on the market? Where do I want to position my copy with respect to the others available? Who’s at the high end…what are the copies like at the low end? Etc., etc.


If no copies are currently on the market, then a determination of track record is in order…here one can look at old bookseller catalogues, price guides, and auction records. If found, then one need to do no more than extrapolate to current conditions.


Finally, if the book held has no history, at least as far as we’re able to determine (recognizing that extremely few books have absolutely *no* market history), then questions on importance to society & an estimate of desirability are in order…chances are if we’ve arrived at this juncture, then the market segment interested in the purchase of the item is perhaps quite narrow or the book is quite rare…but either way, with an item not currently available, one is still able to establish the price…simply make a value judgment on what is held, think of a price, and mark it on the flyleaf.


Lastly, we need acknowledge individualistic factors in ‘marking that price on the flyleaf’…what was paid for the book? Booksellers cannot sell at a loss, and expect a long business life! Which presupposes that the book was bought at a price that allows for markup does it not! Second, how much profit margin is desired? Is the price to be set at the absolute top of the market? Somewhere in between? And what customer does the bookseller have for the book…for example, does a bookseller known for reading-copy mysteries have credibility with a buyer of Aldine imprints for that 1513 Cicero that came in a box of books? Probably not. So, all these factors warrant consideration by a bookseller looking to establish a price for a book. But, as you might imagine, there is no ‘pat’ answer, and each individual must decide their respective position on each book.


In conclusion, & speaking solely from a personal philosophy, I don’t worry too much about ‘making a mistake’, i.e., underpricing. For, if I follow the above methodology, chances are I’ll be “close”, and I’ll certainly make my profit margin on the price I’ve established…and unpriced books do no more than take up space. Which, afterall, is in-and-of itself a cost…not to mention — there are always more books, and space is something I’ll definitely need for that next batch that walks in the door.

1For the most part — as with most rules-of-thumb, there are exceptions, with many coming in the Americana genre, where the addition of maps, etc. in later editions may challenge the first printing of a title in desirability and, consequently, commercial value.
 
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