Why Don't Good Books Reach Readers?

Isfahan – Publishing industry activists at the Manavin Tax session identified weak marketing and public relations by publishers, the gap with the new generation, the decline in per capita reading, and violations of authors' rights as major challenges facing the future of books in Iran.

Ambassador of Arjan Group of Provinces, Korosh Dibaj: In the era of platforms, the publishing industry is no longer only faced with the issue of book production, printing and distribution; An important part of the competition of this industry has been transferred to how to discover works, win the trust of the audience, choose the format of content consumption, and convert the interest in reading into the purchase and continuous reading of books. In this situation, printed books, along with electronic and audio versions, operate in a market where social networks, content recommendation systems and new technology tools also play a role in shaping the taste of its audience. The change of this equation has highlighted the need to review the traditional methods of publishing and the relationship between publishers and readers more than in the past.

In such an atmosphere, the future of the book industry depends on the publishers' ability to understand the audience's behavior, design effective marketing mechanisms, develop the reading market and protect the authors' rights. On the one hand, audio and electronic formats can provide access to books for new groups of audiences; On the other hand, the weak introduction of works, illegal access to content and legal ambiguities caused by the spread of artificial intelligence are challenging the economic sustainability of book production. The main issue is no longer simply in what format the book will be presented, but how to get the work to the right audience, create a stable place for the study in everyday life, and allocate a fair share of the economic value of the content to its producers.

These issues double the necessity of dialogue between publishers, media activists, trade unions and groups active in the field of content distribution and supply; A dialogue that should go beyond the description of technological changes and deal with the real challenges of the publishing economy, the evolution of the audience's taste and the requirements for the continuity of cultural production. In the same framework, the Manvin Talks meeting titled "Publishing Industry in the Era of Platforms" was held by the Presidential Vice President for Science, Technology and Knowledge-Based Economy on the sidelines of the Manvin Creative Industries National Event in Isfahan, and the attendees discussed the various aspects of the future of the book and the challenges facing the publishing industry.

Even in difficult economic conditions, the future of the book cannot be considered hopeless

Razieh Hashemi, CEO of an audio publishing group, referring to the economic conditions and livelihood of families, said: We are facing difficult conditions in the field of books, but this situation does not mean the end of activities in this field. The number of people working in the book industry is not small, and their motivations, efforts, and demands are not unusual or far-fetched.

He stated that the promotion of reading culture is not limited to big decisions and plans, and added: The importance of books should also be considered in families. In a situation where it has become difficult to provide basic goods for some families, there are still audiences who buy books, listen to audio books and are active in this field; Therefore, the future of this industry cannot be judged as hopeless based only on the current difficult conditions.

Hashemi continued: The experience of the events that we have gone through in recent years shows the importance of awareness more than in the past. The more a person's relationship with the book, the more the possibility of increasing awareness and enjoying a better life.

The CEO of this audio publishing group also said about the new ways of introducing books: producing short content about books, including formats such as microbooks, can be effective in introducing works to the audience; Provided that this content is designed properly. If the audience does not have enough time or patience to read a work, a short and detailed introduction can provide basic information about the book and the author and provide the basis for more familiarity with the work.

Referring to the difference between book production and its introduction, Hashemi clarified: the task of the audio publisher is to produce the book itself, and the production of book introduction content requires other expertise and capabilities. When the publisher spends a major part of its capacity to produce the work, designing effective ways of introducing it also requires the cooperation of media activists and experts in this field.

Criticizing unauthorized access to audio books on some internet channels, he said: producing an audio book is a specialized and time-consuming process, and it cannot be considered a simple and unimportant content. This format has the capacity to turn the dead times of daily life into an opportunity to listen to a book; But this capacity comes to a conclusion when audio content is produced with appropriate quality and the audience realizes its value.

Referring to the role of the media in promoting reading, Hashemi noted: book introduction should become a serious part of cultural activities. If access to the book and getting to know it has a certain place in everyday life, the possibility of expanding the audience will also increase.

Good books remain out of the reach of the audience without an introduction and marketing plan

Mohia Saedi, a media activist in the field of books, emphasized the necessity of reviewing the way of introducing published works and stated: One of the problems of the publishing industry is that sometimes a good book is produced, but after publication, there is no specific plan to introduce it. An audience who does not know the author or the work needs information and guidance to find the book; Especially when you don't have the opportunity or possibility to search extensively.

He added: In a situation where the purchasing power of households has decreased, the audience may need more information before buying a book. That the cultural product is simply produced and then released is one of the serious shortcomings in the book distribution process. Introduction of the work by people trusted by the audience, critics and those whose cultural taste is important for the reader, can be effective in making a purchase decision.

Criticizing the state of public relations in the publishing industry, Saedi said: Even some big publishers do not have coherent and significant plans for public relations and introducing works. Having a manager or social network admin alone does not mean having a marketing plan. The publishing industry needs to design specific programs to introduce the book, communicate with the audience and track the sales status of the works.

This media activist continued: Sometimes authors also do not want their works to be introduced by some social network activists and they think that such work may damage the credibility of the book. While the main issue is choosing the right way to introduce and recognize the audience. The publisher must have a plan to sell and introduce the book and cannot rely solely on traditional methods of publishing the work.

Referring to the gap between some of the publishing productions and the knowledge of the young generation of Iranian writers, Saedi said: If we ask among the youth about prominent writers, a limited number of them may know these figures. This issue shows that literary works, even if they have high value, cannot easily reach new audiences without effective introduction.

Emphasizing the necessity of knowing the taste of the new generation, he added: The young generation is present in social networks, has formed its own cultural communities and interests, and learns about books through different paths. Cultural activists must listen to these audiences, understand their needs and coordinate their communication style with their language and interests.

Referring to the capacity of introducing books in short formats and content of social networks, Saedi stated: if attractive and valuable works are introduced to the new generation with appropriate content packaging, the possibility of their communication with these works will increase. The main issue is that publishing activists, instead of distancing themselves from young audiences, pay attention to their experiences, tastes and communication methods.

The audio book can create a different experience from the literary work beyond reading the text

Damon Azari, the director of a publishing group, pointed to the capacities of audio books and stated: Audio books can create a different experience than reading a printed version; But in order to understand this difference, the audience must get to know the quality and capabilities of this format. In some cases, the way a work is performed and read can change the audience's perception of the story and its characters.

Referring to the traditional structure of a part of the publishing industry, he added: Some publishers, even with a long history and the publication of a large number of books, still have a limited structure and do not have specific departments for marketing, public relations and holding events to introduce works. This issue is one of the serious problems of the publishing industry and affects the way the book communicates with the audience.

Azari said about the reasons for not reading books in the society: Although the economic conditions have become difficult and the cost of living has increased, the high price of books cannot be considered the only reason for the decrease in reading. The more important issue is that reading has not yet become a social value enough and reading does not have an established place in the daily life of many people.

He continued: For example, in some gatherings, people may talk about well-known movies and unfamiliarity with them causes a feeling of distance; But it is rare that someone feels deprived of an important cultural experience due to not reading literary works or historical books. This difference shows that study has not yet become an inclusive social value.

The director of this publishing house pointed out the necessity of the participation of different departments in promoting book reading and stated: the government, publishers and cultural activists each have responsibility in this field, but publishers should also take a greater role in introducing works and establishing relationships with audiences. Turning study into a social value requires a series of continuous actions.

Azari explained about the capacities of the audio book: One of the simplest functions of the audio book is that the audience can listen to the book at times when it is not possible to read with the eyes. Commuting to work or studying, being in traffic and doing daily tasks are among the situations where this format can be used for studying.

He added: Audio book can go beyond reading the text and create added value compared to the printed version with appropriate performance, choice of tone, editing, music and atmosphere. In some works, these elements can accentuate emotions such as fear, anger, sadness or doubt and expand the audience's experience of the story.

Emphasizing the necessity of knowing the new generation, Azari pointed out: We cannot expect today's young people to approach books with exactly the same methods and interests that previous generations have experienced. Part of the new audience is related to computer games, social networks, anime and other content formats, and in order to introduce the book to them, these fields should be known.

He continued: The book can give information to the audience, help them to better understand themselves and the world, and even provide the pleasure of reading a beautiful text. Therefore, studying is not only a means of obtaining information and includes different aspects of human experience.

Referring to the capacity of social networks to introduce works, the manager of this publication said: These networks are both opportunities and threats. If it is possible to produce content suitable to the language and interests of the audience, it is possible to take advantage of their capacity to introduce people to the book. Formats such as micro-book or short and attractive introduction of works can also provide the audience with the opportunity to read the full book if they are designed properly.

Azari added: In order to approach the new generation, we must first listen to their concerns and know what issues are important to them. Many popular movies and games have been inspired by written works, and introducing this link can be a way to create a greater connection between young audiences and books.

Illegal use of digital books destroys producers' income

Ali Mohammadpour, Secretary of the Digital Publishers Association, pointed to the changing pattern of book consumption in the world and stated: One of the challenges of the publishing field is to embed audio and electronic reading as forms of reading in the society and also in the minds of policy makers. It is always said that digital formats are not going to destroy the printed book; However, market trends in some countries indicate an increase in the share of audio and electronic books.

Referring to the state of the book market in America, he added: According to the statistics presented in this meeting, during the last few years, the share of printed books in this market has decreased by about five percent, and on the other hand, the consumption of audio and electronic books has increased. In this market, the audio book has taken a significant share of digital consumption; Because people who are less able or willing to read visually can communicate with the content by listening to the book.

Comparing this trend with the study situation in Iran, Mohammadpour said: In our country, the contribution of different digital formats is different and the main issue is that according to the mentioned surveys, per capita reading time has increased from about 16 minutes per day in the last four years to about 10 minutes. These figures show that increasing access to digital formats alone is not enough to increase reading.

The secretary of the Digital Publishers Association, emphasizing the role of cultural policy, said: In some countries, the promotion of reading starts from the primary education period, and reading is considered as part of the educational requirements. This approach can provide the basis for the habit of reading in childhood and lead to reading more diverse and deeper works in the following years.

He continued: In Iran, the Tehran International Book Fair is still one of the most important events that create social flow in the field of books. This capacity shows that organized actions can play a role in creating public attention to the book; However, the responsible institutions should also plan for the expansion of such flows throughout the year.

Referring to the challenge of illegal access to digital books, Mohammadpour stated: According to the mentioned survey by the Ministry of Culture and Islamic Guidance, about 40% of book consumption in the country is dedicated to electronic and audio formats; But according to the statistics presented in the meeting, a large part of this consumption takes place through illegal channels and does not generate income for publishers and content producers.

He added: The expansion of illegal access to books reduces the financial ability of producers to reinvest in the production of works, marketing, introduction of books and market development. If the income from the consumption of works reaches the producers, it will be possible to increase the production capacity and expand cultural activities.

Criticizing the gap between the announced policies and the practical support of the publishing industry, the secretary of the Digital Publishers Association said: In the budget law, there are lines for allocating part of the revenue sources of companies and state banks to cultural activities. According to him, the figure mentioned in this context is about 17 thousand billion tomans, but this financial capacity is not properly used for cultural activities.