Annotations for ""Paperback Books and the Writer""

Play All

Item	Time	Annotation	Layer
August 5, Evening Part One	1:35	APPLAUSE	Audience
August 5, Evening Part One	9:19	LAUGHTER	Audience
August 5, Evening Part One	11:21	APPLAUSE	Audience
August 5, Evening Part One	18:32	LAUGHTER	Audience
August 5, Evening Part One	26:31	LAUGHTER	Audience
August 5, Evening Part One	27:19	APPLAUSE	Audience
August 5, Evening Part One	1:04	Our first speaker tonight, whose title is Paperback Books and the Writer, is the assistant to the president of New American Library, which is responsible for a large portion of the books of all types and qualities which you see in markets ranging from the bookstores and drugstore to the Stop and Shop. Ms. Hilda Livingston.	Carvel Collins
August 5, Evening Part One	1:43	Thank you, Mr. Collins. I'm going to sound a rather low commercial note in the discussion tonight because I'm going to talk about money, and I'm going to talk about readers. And I'm going to talk about who reads books and why they read them. And now that I've defined my terms, I will start.	Hilda Livingston
August 5, Evening Part One	2:02	What I want to talk about is a kind of revolution in merchandising that has induced a cultural revolution in reading in this country. And if you think this sounds pretentious, I hope I can convince you by the time I'm finished that it is, in effect, something that we're all experiencing and something of the utmost importance to everyone who wants to write or to everyone who reads.	Hilda Livingston
August 5, Evening Part One	2:24	The mass audience for books, for paper bound books, is an enormous one. But the mass audience itself is no new phenomenon in this country. Paper bound books have existed as early as 1800 in one form or another. Dime novels were paper bound books of their own that had tremendous vogue.	Hilda Livingston
August 5, Evening Part One	2:44	National magazines in the late 19th century and early 20th century brought the works of a great many very, very talented writers to a very wide audience, and newspaper syndication and book clubs have also brought books to a very wide audience. But the new and important aspects of paper bound distribution is that it has immensely multiplied the size of this audience and enormously varied the kinds of books available.	Hilda Livingston
August 5, Evening Part One	3:15	Paper bound book publishing as a kind of marriage of book publishing and magazine distribution, and I thought I'd tell you a little bit about how it works so that we can follow one another. Paper bound books are distributed like magazines. They are sold at 100,000 retail outlets throughout the country.	Hilda Livingston
August 5, Evening Part One	3:32	And as Mr. Collins said, this includes newsstands, drugstores, railroad terminals, supermarkets, and we even have a couple of funeral parlors on our list. Everywhere you find magazines and practically everywhere you find people, you'll find paper bound books. In 1952, 250 million copies of paper bound books were sold, and this represented about 1,000 titles-- 1,000 new titles.	Hilda Livingston
August 5, Evening Part One	4:02	Because of our discussion this morning, which painted a rather bleak view for new writers, particularly writers who were unfortunate enough to be aspiring novelists, I thought I would tell you that from where we sit in the paper bound book industry the news is very cheering indeed because as an industry, we published and sold last year almost 200 million copies of new novels.	Hilda Livingston
August 5, Evening Part One	4:27	And by new, I may be stretching a point. They were reprints, but they were contemporary novels that had been published within the past two or three years so that certainly a vast new audience has been built up for fiction in book form, and it's an audience of the most varied and catholic taste.	Hilda Livingston
August 5, Evening Part One	4:46	To describe the kinds of books that are available in paper bound editions would be a directory of the leading writers of the 20th century, as well as a great many of the older writers of our time. Fiction ranges from Louis Bromfield to Tennessee Williams. European writers include George Simenon, Moravia, Flaubert.	Hilda Livingston
August 5, Evening Part One	5:11	The nonfiction title in the paper bond industry is steadily increasing in importance. Nonfiction and paper bound books includes history, science, anthropology, philosophy, Shakespeare, the classics, et cetera. I don't want to sound too commercial, but the New American Library, which publishes mentor books which are entirely nonfiction of a rather high order, has sold 10 million copies of nonfiction in the past six years.	Hilda Livingston
August 5, Evening Part One	5:41	These were 35 cent books that people walked up to newsstands to buy, and the two most popular titles in this series are Patterns of Culture by Ruth Benedict, which has sold a half a million copies, and the W.H.D. Rouse translation of Homer's Odyssey.	Hilda Livingston
August 5, Evening Part One	5:56	But what does this all mean? These figures are impressive and substantial, but what does it mean to the writer particularly and to the reader? The thing that it means to me most precisely is a refutation that I long to make this afternoon when I listened to Mr. Little who talked about the aristocracy of art.	Hilda Livingston
August 5, Evening Part One	6:19	I'm perfectly willing to admit the aristocracy of art in the minds of the creators because talent is confined to a very elect few, but our whole publishing experience has proved quite conclusively that there is no limitation on the aristocracy who responds to good books.	Hilda Livingston
August 5, Evening Part One	6:38	We have had the most-- and all reprint published shows have had the most-- extraordinary success with truly good books at low prices. William Faulkner has sold over 6 million copies in 25 cent editions in the past five years. And this can be reflected in a whole stream of other authors of absolutely first rate-- James Joyce, Virginia Woolf, Ralph Ellison, and George Simenon, and a great many others.	Hilda Livingston
August 5, Evening Part One	7:06	The fact is that although you hear a good deal about the so-called mass audience and the so-called class audience, I don't believe there is any such animal. The mass audience in this country, the audience that's serviced by paper bound books, are people who have the same curiosities, the same aspirations, and the same interests in their world as the people who can afford to spend $3 for books.	Hilda Livingston
August 5, Evening Part One	7:29	But there are two things that separate them. First, they only have a quarter to spend instead of $3. And secondly, they live in places where there are no bookstores and where most of the books available are available only through paper bound editions.	Hilda Livingston
August 5, Evening Part One	7:43	This brings me, again, to the housekeeping of book publishing, but it's something you have to understand to realize the significance of this revolution in reading. There are something like 2,000 honest to God bookstores in this whole country, and there are many, many substantial cities where you could hunt very, very hard and couldn't find a bookstore.	Hilda Livingston
August 5, Evening Part One	8:03	I had an experience like this in Youngstown, Ohio, about two years ago. I was kept waiting for two hours by a gentleman. This never happens, but it did that night. And so I decided I would case the bookstore situation. And there were two department stores in Youngstown that sold books. There is no bookstore.	Hilda Livingston
August 5, Evening Part One	8:21	And I went to the department store whose slogan was, "The Greatest department Store in Youngstown," because I thought I'd start at the top. And I asked for the book department, and it was in the third floor. So I went to the third floor, and I couldn't find it.	Hilda Livingston
August 5, Evening Part One	8:33	And they said, oh, it's in the gift shop. So I went to the gift shop, and they had six tables of books. Five of them were children's books. They had the best assortment of the Honey Bunch series that I've ever seen under one roof, and they had a wonderful collection of paper books, linen books, that infants can eat without serious after effects.	Hilda Livingston
August 5, Evening Part One	8:53	They had one table of illustrated books that could be easily given to anyone who couldn't read. They were art books, cookbooks, and the sort of book you might give a hostess whose tastes you weren't very sure of. So I said to the clerk, well, where's the current fiction and nonfiction? She said, oh, we don't get much call for that sort of thing.	Hilda Livingston
August 5, Evening Part One	9:12	So I said, well, what happens if someone in Youngstown wants to read a new novel? She said, well, they go to Cleveland. It's only 20 miles away.	Hilda Livingston
August 5, Evening Part One	9:20	Well, this is a very sad story if you're a writer, incidentally, and the only happy note in the whole thing is that the independent magazine wholesaler in Youngstown who distributes about 70% of the paper bond books available sold 700,000 paper bound books that year. So the people in Youngstown are reading books. They're just reading them at a quarter and not at $3, but they never read them at $3.	Hilda Livingston
August 5, Evening Part One	9:46	Mr. Sloane was absolutely right this morning when he said that the market for fiction has increased enormously in the past 25 years. It may have increased in different ways. The big emphasis may be now in paper bound books, but it's a very, very broadening category of people who are reading books.	Hilda Livingston
August 5, Evening Part One	10:07	Well, what does this vast mass audience have to offer a writer-- a writer of fiction, especially? First, an audience. It's my hunch that most writers write to be read. And in the mass audience, he finds this happy condition most immediately.	Hilda Livingston
August 5, Evening Part One	10:24	As you know, the average first printing of a novel, especially a new novel by an unknown author, may be as low as 5,000 copies. Well, the average first printing of a paper bound novel is at least 200,000 copies and sometimes goes as high as 500,000, so the immediate distribution of a book is far more penetrating in a paper bound edition than it is in a trade edition.	Hilda Livingston
August 5, Evening Part One	10:50	Secondly, it offers him an audience with a highly spontaneous response to what the writer has to say. It's an audience that's completely or almost completely uncluttered by literary cliches, conversational fads, bestseller lists, or what looks good on a coffee table.	Hilda Livingston
August 5, Evening Part One	11:09	Paper bound books really don't lend much social prestige to the people who has them in his hand. If you get a paper bound book the chances are you read it because there's really very little other aclad to be achieved by parting with a quarter.	Hilda Livingston
August 5, Evening Part One	11:24	And the third thing that it offers the writer is a burgeoning audience for the writer's future books. Many people have been seduced into reading books as a result of paper bound editions.	Hilda Livingston
August 5, Evening Part One	11:36	There are not only a great lack of bookstores in this country, but the whole convention of selling books-- and I do hope there are no booksellers in the audience, because if there are, this doesn't apply to Cambridge-- is one that is hedged around with restrictions.	Hilda Livingston
August 5, Evening Part One	11:51	Many bookstores resembles cathedrals of higher education. And for a person of little literary sophistication to enter such a place is frequently a rather trying experience. Well, this doesn't happen on a newsstand. You go to a newsstand for a pack of cigarettes, and you buy it. And something attracts you on the book rack, and maybe you pick it up.	Hilda Livingston
August 5, Evening Part One	12:12	You go down to get your favorite magazine, and it's all sold out. And you want very much to read something because it's raining, so you pick up a book instead. And once you have read a book and find out that it doesn't bite back, the chances are you're much more fair game for future books.	Hilda Livingston
August 5, Evening Part One	12:28	I promised not to tell this story because it wasn't very intellectual, but I think I'll tell it anyway because it demonstrates this point. We got a letter from a man in Tennessee, which has been used extensively and will sound like a handout. But it really happened and I read it. And I have a copy at home.	Hilda Livingston
August 5, Evening Part One	12:44	It said, "Just read the Odyssey. Boy, that guy Homer sure can write. Do you have any other books by him?" So I sat down and wrote him a long note about the Iliad. But this is a very, very interesting example of people who stumble on to reading in paper bound editions and are captivated and go on reading other books.	Hilda Livingston
August 5, Evening Part One	13:03	I have another example that's more significant, and that is Patterns of Culture had been out of print in the Houghton Mifflin edition for several years when we released it as a mentor edition. And a year after it had been available at $0.35, Houghton Mifflin went back to press with the second printing.	Hilda Livingston
August 5, Evening Part One	13:20	And they took a large ad in the Publishers Weekly to say that the only thing new added to this book's history in this year had been the paper bound edition, which apparently had attracted enough people to the book so that they were willing, after sort of sampling it at $0.35, to go out and buy it at $3.	Hilda Livingston
August 5, Evening Part One	13:36	Because I'd be deceiving you if I told you that the paper bound edition is as durable as a 35 cent edition or as easy to read or as attractive in many cases. So the paper bound edition has had in a large variety of instances a very salubrious effect on the same title at a higher price and more immediately on the author's future sales on future books.	Hilda Livingston
August 5, Evening Part One	14:00	Well, who reads paper bound books? I think I know, but I wanted to make sure, so I did a little research today. I went to Jordan Marsh to see Mr. Brame who's a very knowledgeable bookseller. And I said, who reads paper bound books? Can you pick a paper bound book customer when they come to the Jordan Marsh book department?	Hilda Livingston
August 5, Evening Part One	14:18	He said, well, maybe you could have eight years ago, but you can't today. So either books are getting better or people are getting worse. But anyway, everybody is reading paper bound books today. College students read them in great numbers. About 180 of our 450 titles a year is required reading in schools and colleges.	Hilda Livingston
August 5, Evening Part One	14:36	They're enormously used by the Army, the Navy, the State Department, housewives, college professors, businessmen-- there's as diverse an audience for paper bound books as there is for trade books. And what's the special appeal of the paper bound book to the so-called new reader of books?	Hilda Livingston
August 5, Evening Part One	14:57	First, I think the availability is probably the most important aspect. You can get a paper bound book as easily as you can a pack of cigarettes or a magazine. Secondly, it's a low price, which puts it in the reach of many people who have never been able to afford to buy all the books they wanted to.	Hilda Livingston
August 5, Evening Part One	15:16	And then, as I mentioned before, the extremely high attraction of the self-service operation, which makes it very easy for a person to look at a book get some idea of what's in it, and if he doesn't like it, reject it with the least loss of face. I heard something very interesting in this connection from a librarian in Washington just yesterday before I came down.	Hilda Livingston
August 5, Evening Part One	15:37	Libraries are using increasingly more paper bound books because it gives them a good deal more money to spend for reference books and nonfiction. But I meant they're using a great many more paper bound editions in fiction, particularly light fiction entertainment and that sort of thing.	Hilda Livingston
August 5, Evening Part One	15:55	Well, this librarian told me they have two copies of Daisy Miller in their circulating shelves, and that just for the fun of it, she thought she'd check the circulations on the two editions. They have a trade edition, and they have a paper bound edition.	Hilda Livingston
August 5, Evening Part One	16:08	In the past year, the trade edition, which is the cloth bound big book, went out twice. It was borrowed twice, and the paper bound edition was borrowed 19 times, so that, in a sense, the appeal and the kind cozy familiarity of a paper bound edition is almost as potent in a library as it is on a newsstand.	Hilda Livingston
August 5, Evening Part One	16:29	I would be doing you all an injustice if I pretended that the format which has helped spur the sales of paper bound books has not also been a hindrance. Paper bound books, because they sell themselves, have to contain their own selling story.	Hilda Livingston
August 5, Evening Part One	16:50	As you all know, paper bound books have pictures on their covers, and they usually have descriptions of what's in the book on the front cover and on the back cover. And we all know of the ghastly abuses of the artwork and copy which has appeared on paper bound books.	Hilda Livingston
August 5, Evening Part One	17:08	I think this has been brought out by sales figures, that not only are publishers taking a much more stringent attitude for these lapses in good taste, but in the long run, the reader who reads solely for the promise of sensation on a cover and fails to find it within the book doesn't respond quite so visibly to this misleading bait in the future.	Hilda Livingston
August 5, Evening Part One	17:30	As I said, one of the big excitements of the paper bound field is that it has proved in publishing something that has not yet been demonstrated as widely in other mass media, such as movies, radio, and television, and that is there is no such thing as a six-year-old audience.	Hilda Livingston
August 5, Evening Part One	17:50	The most extraordinarily profound books sell well, and the most trivial books sell well. But there is no kind of formula for success in fiction in paper editions. And if you think so, you are misguiding yourselves.	Hilda Livingston
August 5, Evening Part One	18:10	The amount and variety of offerings in the paper bound book field is infinite. It ranges from Mickey Spillane to William Faulkner. And Spillane sells well, and so does Faulkner. And sometimes, the same people read them both. And one is art and one is not. But this is not--	Hilda Livingston
August 5, Evening Part One	18:35	I haven't used a big word, and I've been here two days, so I thought I'd get art in, too. But this doesn't matter. The fact is they're both available, and people respond to both of them in vast quantities. And in the long run, the substantial endures, and the freakish expires. It makes a lot of noise, but when it ends, it's very dead.	Hilda Livingston
August 5, Evening Part One	18:57	This brings us to the problem of a reprint editor and his function and how he does it. Reprint editors select about 1,000 titles annually from the 10,000 that are published. They read titles and manuscripts. They read titles in galleys. They read advance copies. They read out of print copies. They frequently read books in foreign languages, which have to be translated.	Hilda Livingston
August 5, Evening Part One	19:18	And then based on their own publishing policies, they select the books that we will publish. The average reprint publishes between 80 and 100 books a year, so it's a very, very selective process to winnow down from the 10,000 books available the 80 or 100 you choose to distribute to this mass audience.	Hilda Livingston
August 5, Evening Part One	19:38	And what does the reprint editor look for? Again, I repeat there's no formula. There's no way of picking a book that will do well.	Hilda Livingston
August 5, Evening Part One	19:45	And I suspect it's very close to what Mr. Sloane may tell you about the trade editors' problem in what to publish because the big search in the reprint editor's mind when he reads all of these books is for the book that communicates to a reader-- not so much in terms of style, not in terms of format, not in terms of allegory or novel, but a book that has something pertinent to say that a reader will understand.	Hilda Livingston
August 5, Evening Part One	20:17	And it has been this true communication that has established the most substantial successes in the paper bound field. And that's why I think that it's so important for new writers or writers of novels to realize that art is good, but other things will also suffice a conviction, the genuineness of experience which Mr. Ellison has mentioned so eloquently.	Hilda Livingston
August 5, Evening Part One	20:44	And something to say that people reciprocate and respond to is what, in our experience, determines success in a very wide audience. There has been a good deal of experimentation in paper bound editions. I'm sure you've all seen New World Writing, Discovery, New Voices, The Partisan Review Reader, and there are probably many more.	Hilda Livingston
August 5, Evening Part One	21:04	These are books which tend to do what the little magazine does, but on a much larger scale. They offer literary hospitality to the new writer of talent, the novelist, the short story, writer, and the poet. And they use the vehicle of mass distribution to bring these people to a very wide audience because one of the enchanting things about this audience is that it doesn't matter whether the writer is well known or unknown or whether the book is new or old.	Hilda Livingston
August 5, Evening Part One	21:32	If they haven't read it before, it's new, and they're much more concerned about the author has to say than what is said about him. You'll hear a lot-- and if you are a writer, you may have even said a lot-- about the influence of the success of reprint fiction, on the kind of fiction that is published in trade editions.	Hilda Livingston
August 5, Evening Part One	21:50	Mr. Sloane could tell you much more about this than I can because he's a trade editor. But we have found this to be a much more minor note than is generally suspected. Certainly, there are prefabricated novels. The pulp writer has always existed in one form or another. Many of these formula novels may have a temporary one shot success.	Hilda Livingston
August 5, Evening Part One	22:15	But as I said before and the big thing that I would like to leave with you is that the enduring success is the Faulkner. It's the Caldwell. It's the Farrell. It's the Simenon and the Ellison and the writers of genuine conviction who write from experience who succeed in the long haul.	Hilda Livingston
August 5, Evening Part One	22:41	In the long run, magazine distribution, colorful covers, exciting blurbs, and low prices are all devices that bring many books to many readers. But what makes these books stay with the readers and what makes them win millions of other readers is what's in the book itself.	Hilda Livingston
August 5, Evening Part One	23:03	There's a phrase in publishing I can't stand because publishers always use it to describe something they can't analyze. It's called word of mouth. When a very peculiar book suddenly runs away and sells a million copies, they say, well, word of mouth did it. And when a very good book that gets a good deal of advertising promotion lays a big egg, they say, well, we didn't get the word of mouth started.	Hilda Livingston
August 5, Evening Part One	23:24	Well, I'm afraid I have to use it again in paper bound books because it's true-- it exists-- that all of the techniques that I've described rather briefly this evening that tend to package a book and bring it to the attention of the potential reader are just techniques. What makes the book a success and a real success is what's in the book itself.	Hilda Livingston
August 5, Evening Part One	23:49	And what's in the book itself can be an infinite variety of messages and experiences that can range from voice operas to tall stories. It can range from anthropology and philosophy to Alberto Moravia.	Hilda Livingston
August 5, Evening Part One	24:06	But it is essentially what is in the book that has developed-- wins friends for the book and that wins the friends for the author. And this, I think, is the important thing to remember about writers and paper bound books because it's perfectly true.	Hilda Livingston
August 5, Evening Part One	24:26	You can't sort of fool people, and the vast audiences that have been won for paper bound books in the past 13 years-- and this is a rather adolescent industry with lots of goosebumps still on it-- have been won because of the genuine merit of the majority of titles offered in this field.	Hilda Livingston
August 5, Evening Part One	24:48	When paper bound books first appeared on the American scene in 1939, they were a lot different than they are today. The early lists, if you look back on them, were largely mysteries and Westerns and popular bestsellers. There was very little experimentation done with new writers. There were almost none of the foreign writers, and there was entirely no nonfiction, except for the imported Penguin editions.	Hilda Livingston
August 5, Evening Part One	25:13	The character of the industry has changed enormously in the past 13 years because as of last year, 20% of the titles offered in paper bound editions were nonfiction-- serious nonfiction-- and they are substantial categories of plays, poems, short stories, humor, et cetera.	Hilda Livingston
August 5, Evening Part One	25:33	I'm sorry to belabor Mr. Liddell because I think he's so charming, but I do want to say that the aristocracy in art in the mass audience rests in the communion between the writer and the reader, and this is a communion in which we have the utmost faith for the future.	Hilda Livingston
August 5, Evening Part One	25:54	Now I finished my talk, and I want to tell you a newsflash that I should have started off with. We, as a company and as an industry and writers as a whole, won a great victory today. Six months ago, the chief of police in Youngstown, Ohio, banned 335 books from the newsstands because he said they were obscene.	Hilda Livingston
August 5, Evening Part One	26:14	I don't have the complete list with me, but they were a very representative selection of the best contemporary writing-- Faulkner, Steinbeck, Farrell, Moravia, Dos Passos, Simenon, and many, many others.	Hilda Livingston
August 5, Evening Part One	26:34	And just a few minutes ago before I got here, my office called me. The New American Library brought suit against the police chief. There were 11 of our titles on this list. We objected to a police officer taking this power of censorship into his own hands.	Hilda Livingston
August 5, Evening Part One	26:54	Our position was that the courts are the place to try the obscenity of books, and we don't think that police chiefs or ladies clubs or other well-intended people should take this rather important function to their own bosoms, so we brought suit. And it's been going on for six months.	Hilda Livingston
August 5, Evening Part One	27:09	And it was a great hazard because, as many people pointed out, we could lose. But I'm delighted to say that we won. And I think this is a great blow for freedom. Thank you.	Hilda Livingston
August 5, Evening Part One	1:04 - 27:19	"Paperback Books and the Writer", Hilda Livingston	Program