Reflections on Print-on-Demand Publishing

Print-on-demand production makes so many aspects of traditional book publishing out-of-date, for both good and bad. Print-on-demand largely leaves production like its always been—that is, focused on traditional, labor-intensive processes. Numerous proofs are required—but probably with shorter turn-around times. Similarly, labor-intensive refining of the index remains, in the case of my book. The typical minimum single-year-long+ schedule for producing an art book encompasses multiple deadlines, set months apart, that are often the responsibility of the author to implement as dictated by the publisher’s staff.  By supporting salaries included in publisher’s overhead, authors pay for their own design, editing, etc. Book tours only exist for the best-known authors now and are typically replaced with virtual, advertising-like productions (usually by authors) and intended to be streamed. I’m still awaiting news from a distributor (DAP), a very new task.

Perhaps the pros and cons of print-on-demand are a bit of a wash, a near neutral dependent—like anything else—on specific circumstances. But since publishers are ever more focused on the potential best sellers, the advantages of print-on-demand for non-super stars (most of use) are many. Royalties for them may be many times larger for print-on-demand books than traditionally published ones. Changes or up-dates can be inserted and distributed over-night, and applied in the next sale of the print or e-book. While production processes are tinkered with, the distribution and merchandising processes are fundamentally altered.

 Print-on-demand production makes so many aspects of

traditional book publishing out-of-date, for both good and

bad. Print-on-demand largely leaves production like its always been—that is, focused on traditional, labor-intensive processes. Numerous proofs are required—but probably with shorter turn-around times. Similarly, labor-intensive refining of the index remains, in the case of my book. The typical minimum single-year-long+ schedule for producing an art book encompasses multiple deadlines, set months apart, that are often the responsibility of the author to implement as dictated by the publisher’s staff.  By supporting salaries included in publisher’s overhead, authors pay for their own design, editing, etc. Book tours only exist for the best-known authors now and are typically replaced with virtual, advertising-like productions (usually by authors) and intended to be streamed. I’m still awaiting news from a distributor (DAP), a very new task.

 Perhaps the pros and cons of print-on-demand are a bit of a wash, a near neutral dependent—like anything else—on specific circumstances. But since publishers are ever more focused on the potential best sellers, the advantages of print-on-demand for non-super stars (most of use) are many. Royalties for them may be many times larger for print-on-demand books than traditionally published ones. Changes or up-dates can be inserted and distributed over-night, and applied in the next sale of the print or e-book. While production processes are tinkered with, the distribution and merchandising processes are fundamentally altered.