In reading a response to a discussion I started on a writer’s group on LinkedIn, I was struck with the thought that it isn’t just self-publishers who need to pay attention to the quality of their products. Some very big names are guilty of foisting-off crap.

The kind of food you'll find at Cracker Barrel.

Recently I visited a Cracker Barrel Restaurant with my wife. For those who may not be familiar with Cracker Barrel, it serves southern style comfort food at reasonable prices. We like to go there when we just want foody-food. Nothing fancy.  No cooking with exotic spices like saffron or curry. On the menu will be dishes like meatloaf, country fried steak, and catfish. You can choose your sides from a menu that includes fried okra, turnip greens, and corn. For desert there are various cobblers, pie, and ice-cream. Yum.

Before you get to the restaurant part of the place you have to wend your way through kitschy collections of merchandise that change with the season. My wife loves to peruse their tables of nick-knacks, music boxes, and stuffed animals. Now, as I am writing this it is three days from Christmas, so they were all decked out in a torrent of red and green. Santas and gift items were stacked nearly ceiling high. My eye caught an illustrated book of The Night Before Christmas. The illustrations were beautiful. I wish I could say the same for the book. The workmanship, especially on the cover was a disaster. Both covers, front and back, bowed outward from the spine. It was not only ugly, but made it impossible for the book to lay flat on a table. Here was a book that I wanted to buy, wanted to take home and treasure, wanted to read it to future grandchildren, but I couldn’t get past the cover. This was not an heirloom piece; it was a piece of carnival crap. I looked at the spine and was surprised to see that Simon & Schuster allowed this mess to go out under their banner.

I believe that books are a treasure. They last decades and centuries even. It saddens me to think that the noble business of publishing, especially the giant houses like Simon & Schuster, may be more focused on profit than quality.

I have heard authors complain that their traditionally published books were an embarrassment to them. That the cover designs didn’t truly represent the book, and that cheap cost cutting methods were implemented. Authors who have sold their rights to the publisher have no claim on how the book is manufactured. As for The Night Before Christmas I’m guessing it was sent to a sweat shop overseas to be printed and bound for the lowest price possible, a price guaranteeing maximum profit but sacrificing the honor of the book. I didn’t buy it. I’m hoping no one does. If enough customers reject poor quality the publisher will have to ask why. Why didn’t this book sell?

I plead with self-publishing authors to realize that they have total control of their children. Dress them up in their Sunday best and send them out to play. The day may come when the marketplace will select a self-published book over a traditional one because of the value added that comes from your care.

In my last blog entry Credit is Our Lifeblood, Usury is Our Deathbed I criticized the banking and financial industries for passing off PR statements as a  Customer’s Bill of Rights. I suggested some rights that I would like to see instead.  That got me thinking about my own business. What promises am I willing to make to my customers, and what should they be able to expect from me as a printing broker?

Bill Ruesch Print Broker’s Customer’s Bill of Rights

Whereas the customer and Bill Ruesch Print Broker are entering into an agreement to produce a printed product for the customer, the customer can expect the following:

• The Right to be Heard.  The Customer shall be treated at all times with respect and cordiality. All concerns and questions shall be answered promptly to the best of the Print Broker’s ability.
• The Right to Expert Assistance. The Print Broker will advise, consult, and assist the Customer in all aspects of the printing and mailing arrangements, using his experience, wisdom and common sense to place jobs with Vendors best suited to produce the work with proficiency, reasonable cost, and in a timely manner.
• The Right to Free Consultation. The Print Broker will draw on his experience and the knowledge of other professionals to make recommendations  toward improving quality, decreasing costs, and saving time. The Customer is not bound to act on any of  suggestions.
• The Right to be Fully Informed. A bid specification sheet will be prepared by the print broker for every job. The bid sheet forms the blueprint for the job and informs all parties to the scope of the work. It is the Customer’s responsibility to review said specs and make corrections, preferably in writing to keep the job on track and prevent misunderstandings.
• The Right of Mediation. The Print Broker serves as an intermediary between the Customer and the Vendors. While not responsible for the Customer’s debt, the Print Broker will work in behalf of the two parties to assure smooth financial transactions. In the event a problem occurs with quality, timeliness, delivery or any other Customer concern, the Print Broker  shall be available to mediate and mitigate the issue to find an solution acceptable to all parties.
• The Right to have Expert Access. The Print Broker is primarily invested in getting the Customer’s job done right, on time, and at a reasonable cost. At any point in the production or estimating process that the Print Broker sees a need to have the Customer interact directly with the Vendor or other sources of specialized expertise, acting immediately connect said parties.
• The Right of Friendly Support. The Customer has the right to assume that the Print Broker is working in the Customer’s best interest, and will continue to do so as long as the Customer’s demands are moral, ethical, and legal.
• No Surprise Fees. It is understood by the Print Broker and Customer that bid prices are subject to change. Any changes from bid specification sheet that become necessary in the process of the job will require adjustments. The Print Broker guarantees that all fees for his services will be included in bids, and charges for changes. The Print Broker is committed to a no surprise policy.
• No Long-Term Contracts. Unless otherwise agreed, Bill Ruesch serves the Customer on a project-by-project basis. The Customer is not obligated to hire him for future jobs unless it suits the Customer to do so.

The above nine rights are flexible, in that if any of the readers have suggestions or recommendations for changes I would like to hear them. When my Bill of Rights solidifies I will keep it on my website as a continual promise. And that’s a promise.

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.