An interesting conversation developed today around the the topic of High School yearbooks being delivered today as the current school year winds down.  Traditional school annuals have been and today still are printed volumes issued in hardcover bindings.  They are filled with student photos--the traditional studio pose and those related to the student's various out-of-class activities: sports, glee club, photography club, gamers unlimited and so on.  The conversation turned to possible future delivery systems for class yearbooks given the rapid shifts in the ways other forms of entertainment have evolved in the last twenty years.  We've seen music go from vinyl, to 8-tracks, to cassettes, to CDs and currently digital downloads.  Movies have gone from theaters, to video cassettes, to DVDs, to Blue-Ray, and now digital downloads.  Photography has seen the same major shifts from tangible film to digital.  With the change in each format, there has been a concomitant change in the necessary delivery system to accommodate the new medium.  You couldn't play an 8-track tape on a cassette player or a record player or watch your Video version of Gone with the Wind on your DVD-player.  With each shift in delivery mode you needed to change your delivery system; if you wanted to keep images or data on a previous format you had to have it transferred to the newer technology to save it.

So what does the future hold for school yearbooks?  Will they go digital and made available as a DVD?  What if in twenty years, DVD players are as antiquated (and unavailable) as 8-track players are today?  How will you be able to go back and view your 2012 school yearbook?  You will have to hold onto your current player, box it up and keep it in the garage for potential future use.  Or you will have to have the content transferred from DVD format to, let's say, the new Interactive Holographic format so you can revisit your high school chums.  But will the two mediums be compatible i.e. transferable in the future?  Will any of the "new" techies, who are not even born today, even know what a DVD is or was?

All of this brings me back to the yearbook's original format i.e. a bound book.  A book is a self-contained content and delivery system.  No matter what changes come in the future, the book will still be effective in delivering the content in a usable format that does not have to be updated or reformated in order to use it.  You will not need a new piece of technology to view it; you will not need a techie to transfer it for you into the latest delivery system that will change again in ten years.  The bottom line is: THE BOUND BOOK STILL RULES.  Yes it is antiquated and old school, but it is self-contained and needs no other technology to use it.  In an era of shifting technologies, it is comforting to know that some technologies that don't change are often the most enduring technologies. 

David Gregor

Collecting Charles Bukowski--A Primer

I wrote this article on collecting the works of poet & novelist Charles Bukowski for Firsts Magazine. It appeared in the January 1995 issue. While the values ascribed to his collectible books, chapbooks and ephemera have changed over the years, the facts of his life and the unfolding of his writing career do not suffer from the winds of change. Enjoy.
http://www.scribd.com/doc/45812489/Bukowski-Collecting-Article

You can view my current inventory of Bukowski material, much of it signed by Buk, at the following link to my secure website. We gladly ship anywhere.
http://www.gregorbooks.com/cgi-bin/gregor/results.html?searchfield=keywords%2ccat1%2ccat2%2ccat3%2ccat4&searchspec1=Charles%20Bukowski

Black Expatriates in Paris in the 1920s Part III

Here is the third and final installment of my series of articles on the expatriate experience in Paris in the 1920s. This piece focuses on the black expatriates who migrated to Paris between the wars and were forever changed by the experience. Enjoy.

Paris in the 1920s Part II

This the second installment of my article in Firsts Magazine on the expatriate experience in Paris in the 1920s. Enjoy.

Collecting Paris in the 1920s part I

Here is a link to the first part of an article I wrote some time ago for Firsts Magazine on collecting material related to the expatriate experience in Paris in the 1920s. I will post part II shortly. Your comments are welcome. Enjoy.

Comment from John:
Thanks for the comments David. I just refused a set of three miniature books today, partially on the basis of your comment "how particular you are in the quality of your inventory." Need to work on keeping the quality UP!

My reply:

John, that is a good aspect to pay attention to. I pass on about 95% of the material offered me, because it is either just "stuff" or it is in such poor condition that I don't want potential customers to associate me with what is basically junk. It is interesting how many sellers crowd out their good stock with a ton of dreck out of the notion that they need stock even if it's inferior stock that most discriminating buyers will not even consider paying good money for.

Trade Posting #3.

I should add that Portland, OR for many years had a small but successful fair that ran in opposite years from Seattle's fair. The original producers sold the show to a lone bookseller who worked very hard by himself for three years but with the slow demise of open shops and the lack of support from Powell's it gradually lost momentum and ended with the producer's untimely death. Book fairs are part sales venue, part advertising mechanism and part educational opportunity whereby new buyer/collectors learn about, physically handle and discover the world of books. Far too many exhibitors put too much emphasis on just one leg of this three-legged stool, especially those without an open shop. The Portland show is sorely missed but I'm afraid it would be a steep uphill struggle to re-institute it given the lack of open shops and the existence of the 800 lb gorilla that has no desire to have 50-75 booksellers come to town and threaten their bottom line.

Response from John:
"If I understand you correctly, David, you are suggesting that dealers who get discouraged after one or a few fairs and drop out, are missing out on 2/3 of the benefit of doing fairs, because they only f...ocus on the first aspect of the three you mention. If your fair costs are charged to advertising and marketing in your expense account, you will not be doing any advertising or marketing if you are not present. The educational aspect I guess is where the charisma (or lack thereof) of the dealer comes into play. I have always thought that dealers who are successful at selling high-end material are those who can impart their enthusiasm for any given piece to their buyers. I reckon this is what you mean by the "educational opportunity?"

My reply:

John. The advertising aspect of a book fair is all encompassing. First you get to put 'a face' to your book operation; very important today given how many 'faceless' book operations exist on the net. Your personality, your enthusiasm, your knowledge, your scholarship all get a chance to separate you from the herd of faceless entities. Visitors get a chance to see your material, how particular you are in the quality of your inventory, how broad or diverse your holdings. Your have the opportunity to 'sell' potential customers on why they shop with you over anyone else. None of these aspects are possible in a static display ad, phone book listing or database listing. The other 'educational' aspect goes to the point that there are fewer and fewer open shops where customers of old used to drift into, chat up the owner, learn about editions, condition, points of issue, the importance of a particular tome, the difference between an original print and a copy, an important writer in the vein of other writers the customer enjoys and on and on. So when I say that book fairs are the new open shops, this is what I am referring to. Book fairs are where neophytes can learn about the importance of our printed material and hopefully get exposed to the book virus that will keep them coming back for more.

My followup to my original response.

Don, great topic. As a Seattle Fair producer myself I have a few thoughts from experience. Book fairs are the new open shop. Exhibitors are the single biggest draw and an important source of attendees. They need to contact their customer list regarding the show. Show producer(s) need to build a show mailing list. We have an hourly drawing worth a $20 Gift Cert winners can use with any dealer at the show. Drawing slips require customer contact info; our single best customer acquisition method. Also solicit a variety of exhibitors so offerings are not top or bottom heavy, but a mix for a range of buyers.

Hello all. On another trade site, I have posted several pieces regarding book fairs and how important they are to what we do. I will copy them here for your consideration. Here is the original question posed:

"OK so here's a topic... What can be done, if anything, to save the smaller, regional book fairs?"

My response:
I wish there were a single thing that would make a regional show successful. Another consideration. The successful fairs seem to be located in areas that follow the criteria laid out in the Most Literate Cities Survey i.e. most book shops, highest number of libraries & usage, highest magazine & newspaper circulation, highest number of books purchased online & papers read online and highest education levels. For 2009, the top 10 cities were in ranking: Seattle, Wash. DC, Minneapolis, Pittsburgh, Atlanta, Portland, OR, St. Paul, Boston, Cincinnati, & Denver. Of the ten, seven have well attended book fairs.

Book Collecting Part III

The first rule in book collecting is "collect what you like." Building a book collection is all about what interests you, not your friends, your neighbors, your workmates, your spouse or any other collector. Collecting is a singular activity that is based on your favorite subjects, authors or aesthetic preference i.e. fine bindings, fore-edge paintings or illuminated manuscripts. If you collect what you like, fluctuations in value are less likely to affect your passion. And it should be said that book collecting is a passion and, like any other passionate pursuit, it is very difficult to explain to anyone who does not share your attraction to and enthusiasm for a particular subject or author. And you should not have to explain or justify your collecting activities. They are yours and yours alone.

Your desire to build a first-class personal library may be related to your profession (architecture, dentistry, costumer), your love of 20th C. literature (The Grapes of Wrath), children's literature , western Americana or any one of a hundred other possible areas of interest. There are no uncollectible subjects or authors as long as you have an interest in them.

My next post will address the difference between a Collector and an Accumulator. Stay tuned.

Book Collecting Part 2

As I mentioned in my previous posting, you can collect any subject or author that interests you. There are no certified collecting areas and no "authorized" formats. You can decide to collect your favorite books in paperback or hardcover editions. They can be any edition or first editions. They can be signed copies or limited editions. Having said that, let me clarify the difference between a collector and a Collector. The Collector with a capital "C" is discriminating when it comes to format, edition, completeness, and condition. They want the first printing of the first edition; They want the hardcover edition if there was one; they want everything that came with the book when it was originally published i.e. dust jacket, all color plates, all maps; and they want to item in as close to its original condition as possible.

The collector with a small "c" is not generally concerned about the above criteria. They are primarily interested in the text and may or may not want keep a book once they have read it. They are not necessarily interested in building a library of their favorite books or reference materials, so for them the idea of collecting is an anathema.

For an in-depth history of book collecting and stories of some of our major collectors, Nicholas Basbane's "A Gentle Madness" is a must read and collectible.

But for the purpose of my discussions on book collecting, I am concerned with the Collector and the fundamentals that are involved in building a collection. I have a few "rules of the collecting" road that I believe are important for any fledgling book collector. And in my next post I will address the first one: COLLECT WHAT YOU LIKE.

Book Collecting Primer Part 1

Welcome to my Book Collecting Primer. These articles are taken from lectures I have given since 1991, under the business name of Book Seminars International, and focus on the basic approaches to entering the exciting world of book collecting. With any specialized area of collecting, there is often a perceived barrier between the newcomer and the activity that tends to impede interaction. If we agree that knowledge is power, then my goal here is to empower the neophyte book collector by breaking down those impediments.

Let me start by saying that I have been a seller of collectible books since 1985 and in that time I have counseled a great many new and intermediate level collectors in their pursuit of elusive books and other printed material. New collectors have the same basic questions and concerns: Why should I collect books? What books should I collect? What is a fair price for this item? Why is this book so expensive? How do I know if this is a First Edition? Why are First Editions so important? Where can I find the material I'm interested in? These are all valid questions and worthy of detailed discussion, which I intend to address along with other important topics.

But for this first entry, let me begin by saying that the collecting of printed material is thousands of years old, and has always been a passionate pursuit whether instituted by ancient rulers or modern day individuals. The over-reaching criteria being the desire to acquire, accumulate, and preserve those works deemed worthy of owning and saving. Some collections serve as national repositories of art and literature while others are personal libraries reflective of an individual's singular taste and interest. In the case of individual private collectors, any subject or criteria is open to collecting. If you have an interest, it is worthy of collecting everything and anything related to that area of interest. It doesn't matter if anyone else is interested in that subject or not; the important thing is that you are interested in it. Book collecting is not a team or a group sport. It is a personal endeavor that has absolutely nothing to do with your spouse, your friends, your work-mates, or anyone else for that matter. Book collecting is all about you and no one else. So, whatever interests you for whatever reason is worthy of your time, money and shelf space.

In my next post, I will address how the new collector should approach "what to collect".

The Case for Book Fairs

Book Fairs, despite what many sellers will tell you, are prime marketing, buying and selling tools. In this age of virtual homogeneity, it is imperative to have a physical connection with potential customers and for potential customers connect you and your business with your inventory. Some material will sell itself especially if it is a reading copy priced low: the item is a known entity and a modest financial risk. But a vast amount of higher priced collectible items and non-fiction material need to be seen to not only be appreciated but also assessed as worthy of being purchased. And there is no better way to facilitate this than at a book fair.

Here are 10 good reasons to exhibit at a regional book fair:

1. Give your internet business a 'face.' Consumers respond to personalities and human contact and when you connect a real person with a business name and inventory you improve your chances of making a long-term connection.

2. Think Collateral Sales. Book fairs provide you an opportunity to sell related material that a customer did not plan to buy or even know existed. Collateral sales generally do not occur on the internet.

3. Book fairs provide us with new customers. When was the last time your inventory was seen by 2000 potential customers in person? Even if they don't buy at the fair, there is strong possibility for a follow-up sale if you have won buyers over with your personality, your knowledge, and the quality and breadth of your inventory.

4. Book fairs allow you to network with other booksellers. Other members of the professional trade can be great resources for information, sales trends, business activities, and new technologies. Other booksellers can also be some of your best customers. Let them see what you have to offer.

5. Regional book fairs, with between 50 and 100 exhibitors, offer the single best opportunity to replenish your stock with salable material or purchase specific titles on the want list of your best customers. Exhibitors will usually bring their most interesting, not necessarily their most expensive, material and some it may be out of field for them but right up your alley.

6. The book fair can be used to show your best customers your latest New Arrivals exclusively offered to at the show.

7. During the run of the book fair, the show will be the largest and best used and collectible bookstore in the host region, and what business person would not want to be a part of that focus on their stock and trade?

8. As an exhibitor, the book fair can inject important cash-flow into your otherwise lagging on-line activity.

9. Think long-term. As an exhibitor, your business will be listed in the show program which is often retained by serious attendees for future reference. You and your inventory will also be seen by your colleagues who may become future customers. They now have a face, a personality and an inventory that will set you apart from the herd of faceless, nameless sellers who prefer to keep their businesses anonymous and out of the spotlight. Book fairs will help you build a long-term reputation and presence in the trade.

10. Think of exhibiting at a book fair as an advertising opportunity. The fair is your 3-dimensional, life-size, living advertisement of the type of material you buy and sell. Many a bookseller has been offered a great collection by having their specialties seen at a book fair. I'm one of those.

There are several criteria by which every book fair should be judged: selling well, buying well, effective advertising, follow-up sales or purchases, and new customers. Remember the book business, like any other successful business, is about being proactive and taking the initiative. Don't just passively sit back and hope that good customers will find you; go out and put yourself where the good customers congregate and shop.

Thoughts on "Sales"

As you may have noticed I am currently having an Anniversary sale at Gregor Rare Books. Personally, I am not in favor of regular sales for a number of reasons. Sales can send a negative message to your customers. Not always but it depends on how the sale is presented. Certainly sales work as a way of celebrating special events and/or saying 'thank you' to your best customers i.e. customers who have been with you for some time or have done a lot of business with you. Sometimes you just need to generate some cash flow to pay taxes or buy a library. Sometimes you need more room and you need to clear space. Sometimes you need to change locations and not all of your inventory can go with you. All are legitimate reasons for offering your stock at a discount.

But in order to have an online "sale", you need customer information. You need to have a customer database complete with email addresses, which plays into my contention that it is important to constantly harvest your customer information. When I say, "customers are our business" this is what I mean. Without customer contact information we limit our control over making sales. We cannot initiate a sale if we don't know who we've done business with, what they purchased and how do we contact them with the news of our "sale"? Remember..."control" is one of the four key words in my seminar. If we leave all the control to potential buyers, we are at the mercy of their attention. Many of your good customers would like (and need to be) notified of your special offering. We are all bombarded with literally hundreds of places, events, and demands for our time, our consideration and our disposable income. We need to be present in the lives of people who have already shown us through their purchases that they are interested in what we have to offer. Passivity is not an effective sales technique. Be proactive. Be front and center. Be present. Keep your name and fine products and services in front of those most likely to respond to your offerings.

There should also be some tangible benefit to your customers for engaging in your "sale" and again doing business with you. If you make it worth their while, they will come...if they're interested.

Strategy. If you have significant holdings in a lot of different subject areas, each month you could present a special offering to your proven customers. To do this you would need you track who buys in which subject areas. You can set up an access file with all the pertinent information documented. So in January, you could offer your select Americana customers a 20% discount on your entire Americana inventory. In February, you do the same for your customers of Cookbooks. In March your gardening section etc. And in each case, only the customers who have bought in the specific section would receive the "sale" notice. That way your entire customer base is not receiving a "sale" notice every month for material they are not specifically interested in...thus over-doing the "sale" tool and potentially creating a negative impression of your business.

These are my initial thoughts regarding "sales"; I'd be interested in yours. Please feel free to post them on the facebook page for others to see.

SHIPPING DEMONSTRATION

This little exercise is something I have wanted to document for some time. Shipping horror stories abound and I wanted to ensure that people involved in my BSI programs at least get exposed to some basic shipping protocols that ensure that purchased items reach their intended buyers in the same condition they were ordered. My key mantra is: assume the worst handling and package accordingly. You do not have to spend inordinate amounts on good packing material. I seek out cardboard, either small boxes that work for books or large boxes that I can cannibalize, from neighboring shops. They are happy to not have to recycle the material themselves. So here we go.



Step 1. Once I receive the order, I wrap the book in brown wrapping paper (never newspaper because the ink could rub off on the exposed text block)to protect it from any possible rubbing to the binding or potential soiling. Once the book is wrapped, it is ready to be "boxed". Whenever possible I use the USPS Flat Envelope because it is the most affordable way to get a regular sized book to the furthest customer in the fastest time. The less time the package spends in the postal system, the better I like it.













Step 2. At this point the book is ready to be "boxed" in salvaged cardboard. The intent is to completely wrap the book in a protective material that will withstand the often harsh treatment packages receive once they leave our hands and before they reach to intended recipient. We have to assume the worst treatment and prepare our packaging in anticipation of rough handling.












Step 3. Here I have two pieces of cardboard cut long enough to fully wrap around the book long-ways. I always cut the cardboard about a 1/2 inch larger on each side than the item I am wrapping. This adds additional protection to the book edges. Then I tape this piece down.













Step 4. Here the top and bottom edges of the book are protected from any potential bumps or mishandling in transit.












Step 5. Now I lay the book cross-ways over s second piece of cardboard to protect the open sides of the book. I fold this piece of cardboard over the exposed edges and tape it down.













Step 6. Now what we have is a book with all of its edges protected by cardboard. Item to be shipped is now technically in a "box".













Step 7. This is the final step. The fully wrapped book is slipped into a flat-rate envelope basically "boxed" for shipping. This also works for using padded or bubble envelopes. Book itself is fully protected on all sides, the envelope is just the delivery package.


Professionally packing your sales is one of the most effective ways to ensure your long-term profitability. If we take the prudent steps in packaging our sales, then we greatly reduce that chances that the items will arrive damaged and therefore returned for a refund excluding shipping costs. What this translates to is damaged books that are no longer salable and a loss of income. And none of us want that. In my 23 years of shipping books all over the world I have never had a purchase returned due to poor packaging on my end. I assume that my package will receive abuse from postal workers who handle thousands of