Printers who let their hostility get the best of them are fools,

because printers who are likely to survive this recession and move successfully forward must find ways to reinvent their relationships with Print Brokers. Brokers hold the key to doubling or tripling your business without creating additional expense. The problem is that most printers don’t know what to do with print brokers. They aren’t part of the sales team and they aren’t customers either. What are they? Any attempt to pigeon hole them into either role will end in failure and frustration.

The first thing to do is embrace brokers and stop kicking them in the teeth.  I know this may not make sense to you. Some of you are going to accuse me of overreacting, after all your company doesn’t mistreat brokers — right? Some will say I’m whining, and some won’t consider the issue of print brokers at all. There are a lot of misguided printers who staunchly refuse to work with brokers. That might have been okay in the past, but it won’t serve you well in the future. You can’t afford to turn your back on sources of instant new business.

Haven’t you noticed how tough times are? Printing, particularly offset printing, has been besieged on all sides. I’m sure I don’t have to tell you how the pigheaded, self-serving banking industry has hurt all of us. Have you tried to get a loan lately? Nor do I have to explain about the impact of digital printing, foreign competition, and the Internet. You already know about these things. You are experiencing unprecedented cash flow problems and shrinking markets. Even your best customers have cut back with no real promise that they will ever be at former levels again.

I hear moaning from the Industry that good sales representatives are hard to find and that your sales people keep pressing for ever lower prices to make them competitive. You get upset and believe that they aren’t really trying. A really good sales rep can sell even under the most adverse circumstances — right? If you truly believe that why don’t you put on your salesman’s hat and find out for yourself? Maybe you did. Maybe you took a day, or a week, and went into the field. Maybe you proved to yourself that it isn’t so bad, but let me tell you, selling in this economy is like fighting an uphill battle day-after-day-after-day. It can wear down even the heartiest rep. Your sales team, is running on fumes, and another sales meeting, another motivational talk, and another seminar isn’t going to dramatically change anything.

What can you do? I would like you to take a moment, if you will, and consider re-vitalizing your sales efforts with the help of Print Brokers. Why Print Brokers, because they are FREE! Printers don’t have to house them, pay salaries, benefits, or reimbursements. That should be incentive enough. FREE, FREE, FREE — what’s better than that?

The problem is that most printers I’ve talked to either barely tolerate brokers, or despise them. Why? I think there are five main reasons for this:

1. Print Brokers own their own customer list. The printer doesn’t. Suppose a house sales rep brings in an account, since they were working on the company dime the customer technically belongs to the company. This isn’t true with brokers. In fact if you go after the broker’s customer it can lead to a nasty fight.
2. Print Brokers are legally a middle man. Printers fume if the broker can’t pay them because the customer didn’t pay the bill. On the other hand, how can you hold the broker responsible when they don’t receive the product? You don’t punish your in-house sales team like this. You must find a compromise. How difficult can it be to secure your interests in transactions without leaning on the party who is least likely to have the means to pay you? Think about it.
3. Print Brokers can take the print jobs to someone else if they want. Usually they move things around to save money, time, or be more convenient, but they don’t even have to have a reason, they can just do it.
4. Print Brokers are employed by their customers — not the printer. In the event of a disagreement the printer has little leverage over the broker. The broker knows which side his bread is buttered on  and is most likely to defend the customer’s point of view over the printer’s.
5. Print Brokers are not constrained by territories. Printers often feel threatened by brokers because they see their own customers as potentially vulnerable to the broker. Sales reps especially are very protective and guard, as they should, from any possible threat.

In my next post I will give printers some ideas that will allow them to work around the conflicts and make better broker relationships which will benefit both printer and print broker.

I envy the printers for one thing in particular, they are updated regularly by paper merchant reps who call on them with the latest developments, updates, and changes. I get my information either second hand or by attending seminars and showings hosted by the merchants. In the last two weeks I attended a seminar on preparing art files for printing, direct mail, and the danger of the opt-out initiative, and digital printing advancements. I never know what a customer is going to ask of me and I have to be prepared.

Yesterday, Sappi paper sent Daniel Dejan, their North American ETC Print/Creative Manager to town to speak about graphic design and file prep. I thanked Daniel for his presentation, but didn’t thank him enough. You see the printers depend on the artists and graphic designers to keep the presses rolling. The graphic designers need the printers to produce their products. But to hear them talk about each other, you’d think there is a war going on. The printers say that graphic designers don’t even try to prepare their files correctly, that they think because something looks right on the screen it will print right. Designers on the other hand, think that the printers are screwing up their files, and if they just knew what they were doing the jobs would all run smoothly.

Stop the bickering. Mr. Dejan framed the problem as having its roots primarily in the graphic programs and in the designers failure to take the finishing steps necessary to make sure their files are correct.

I can tell you from my personal experience that computer design has completely overhauled the printing industry. When the first design programs were introduced, they created more problems than they solved. Over the years we have seen definite improvements. The programs are much better but still far from perfect. Could they get even better? Yes. Are they striving to implement technology that would fix the disconnect between printer and graphic artist? Not really. Daniel says that he has recommended changes that are possible, but are shrugged off as being too expensive, or time consuming, and aren’t worth doing. Millions of dollars every year are wasted in printer and designer time because the needed tweaks aren’t happening. Printers and designers need to get together and insist that the software is improved. Maybe working on changes that would throw up red flags when art is incomplete or wrong isn’t sexy, but it would go along way to reducing wasted hours and angry phone calls.

“The single most important thing a designer can do to communicate the job to the printer,” according to Daniel, “is to provide a hard-copy dummy. Herein lies the rub, most files are now emailed to the printer or go by way of ftp. It used to be that the print rep picked up the art and delivered it to the printer. Hard-copy dummies were more common then. We have gotten away from them today, but they are still critical to successful communication. I hate to say it, but it seems to me that we need to take a step backward and have the print reps pick up the disk and hard-copy dummy to take back to the shop. We’ve lost an important communication opportunity along the way.

The second most important task for the designer is to pre-flight their own files. A good pre-flight program provides information about problem spots like low-res photos, but also tosses all the false starts and junk that accumulate as the design is developing. It’s like delivering a finished statue without cleaning it up or sweeping the debris around it. It’s not just ugly; it confuses the rip and leads to wrong fonts being selected, and other problems.

Every printer in the world would love for Daniel Dejan of Sappi to personally instruct the graphic designers, but that isn’t possible. What is possible is that the word gets out about dummies, and pre-flights and most of the problems would be resolved early.

As for Adobe and the others, come on, give us a break. Listen to Daniel, take his advice, and endow your programs with the tweaks needed to help stop the war.

Sappi’s website is www.sappi.com. If you would like to discuss other design-print problems with Daniel, his company email is daniel.dejan@sappi.com.

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First what is POD? This is really confusing. There are iPod’s for music, pod casts for recording, pea pods, pod people from the movie Invasion of the Body Snatchers, and Printing on Demand (pod).

Since I’m a print broker and this blog concerns itself with printing, publishing, and [other] observations you could guess that the pod I’m concerned about is Printing on Demand. By the way, that’s a darned good phrase. Whoever came up with it should write political slogans, you know, the kind of things that sound good but have no real substance. After all, if you wanted something printed why not have it done on demand?

I DEMAND PRINTING NOW!

“My good sir, I demand my printing.” Wha? What does it mean? The phrase by itself is meaningless, but it has impact. It lets the customer feel that they are in charge by being able to demand it. How often if life do we get to demand anything? Demands usually cause trouble, but here’s the printer giving you permission to DEMAND something. That’s refreshing, don’t you think?

First, printing on demand is a misnomer. It is not a printing method at all. The method is called digital. Think of POD like the term quick print. Quick printing is offset printing utilizing faster turnarounds, smaller runs, and cheaper methods, like using paper plates instead of metal. There is no printing process called Quick Print. And there isn’t a printing press called an “on demand.”

Digital printing burst onto the printing scene just a few years ago. The computer industry spawned it, and in fact, the printing you do on your office laser jet is digital printing. The difference between the commercial digital “press” and your office printer boils down primarily to speed and sophistication.

So what’s the big deal? Oh my friend, it is a very big deal because Printing on Demand is revolutionizing the field of publishing. Until it came around, it wasn’t economically feasible to print just a few books. To prepare an offset press for printing requires several steps that we call “make-ready” in the biz. The time and materials, such as plates,  and file prep, have front-end costs. With POD, many of those front-end costs don’t exist. if your electronic file is right, the setup is virtually done. Now is the beginning of the golden age of short-run publishing.

If the price is better why isn’t all printing POD? Because, it isn’t always better. For all the hoopla, POD has a serious weakness. It is great at micro print runs, like quantities between one and five-hundred, but can’t keep up with offset printing at around one-thousand. If you wish to print say 2,000 books, offset printing will offer a much better price, but if you only want 50, POD beats offset, hands down.

What’s the future of Printing on Demand? Who knows? I suspect that someone, somewhere soon will figure out a way to make digital printing more economical for longer runs and offset presses will quickly disappear like dinosaurs. That day isn’t here yet. For the time being I recommend digital printing for short runs and offset printing for larger.  Here’s a pretty simple guide: 500 or less = digital, 1,000 or more = offset, between 500 and 1,000, get a bid.

P.S. If you have self-published a book and want to learn how to totally master the power of Internet marketing check out The Author Platform.