books on the radio

Viral Book Marketing and the ISBN

The ISBN – International Standard Book Number – is the unique 13 digit number or commercial book identifier that adorns the upc bar on the back of every book that’s available through standard trade channels.  It’s the completely innocuous string of numbers within the little white rectangle on the back of the book jacket, usually in the bottom right corner. Out of the way, where no one can see it.

The ISBN is relegated to that remote jurisdiction because it’s not intended for use by the customer.  It’s an industry identifier that booksellers, publishers, distributors, etc… use to specify and differentiate one book from another.

For instance, Penguin may have several different editions of a particular book still in print. Classics like Crime and Punishment are available in different translations, or newly reprinted editions and can be simultaneously available in trade, hard cover or mass market editions, each of which will have a separate, unique ISBN.

To the average book customer the details of the ISBN are useless.  They just need to provide the bookseller with title, author, whether they want the book in hard cover or paperback, what they’re willing to pay and how long they’re willing to wait if the book is not currently in stock.  That’s it.  The ISBN does not need to be a part of the conversation.

Yet publishers insist on including the ISBN number in their print and digital advertising and it doesn’t make any sense.

I’ll use the otherwise masterful viral book trailer for Thomas Pynchon’s Inherent Vice as an example.

Picture 2

The above picture is a screen capture from the very end of the Pynchon book trailer and it gives the customer all the information she needs to make a purchase: name of the author, title of the book and date of release.  Done.  Customer has the info and can walk to their neighborhood bookstore or order it online.

The Penguin Press throws their logo in there as they should, then there’s some extra promotional writing in the upper right corner which is just a little narrative snapshot for the benefit of the customer and that’s fine, too.  A really tight little package that the marketing/publicity people at Penguin should be proud of.

But they just can’t stop themselves from including the ISBN!  It’s that mess of numbers to the right of the author/title info at the top of the video.

You know, 9781594202247.

It shouldn’t be there for a couple of reasons but mostly because it looks like crap.  It’s visual clutter and it’s completely unnecessary.

For instance, since the book just recently came out and it’s the only book with that particular title by that particular author in print what are the chances that a customer will order the wrong copy of Inherent Vice by Thomas Pynchon by calling her favourite bookstore or punching those details into the search bar at Amazon? Zero, right?

Some have suggested that Penguin included the ISBN because it helps booksellers with their orders but that doesn’t make any sense either.  If there’s a bookseller in North America that isn’t aware of the imminent appearance of a major new book written by a major author and published by one of the biggest publishers in the world then someone somewhere isn’t doing their job and it shouldn’t take a video posted on YouTube on the day of release to alert them.

Good marketing like good writing happens when you remove all the unnecessary parts and give the reader the pure essence.

The ISBN is not a part of that pure visual essence.  It has its place and that place is not as a part of the advertising and marketing of a book.


Content vs Advertising: Lisa Charters @ Random House Canada

The mercurial Alexa Clark interviews Lisa Charters, SVP Digital @ Random House Canada, about respecting a customer’s “time and energy” and the usefulness of ‘book trailers’.

I have always been suspicious of book trailers.  I understand the concept: brief videos consumed online advertising a new book. Slick tantalizing digital productions for the printed word.  I can imagine what a revolutionary idea this must have seemed to be when it was hatched in some reflective tower on Madison Avenue.  But the book is the intersection of the reader’s imagination and the writer’s vision and the publisher’s marketing department needs to stand out of the way.  Trailers, with their representations of location, mood, even the visual depiction of a character can ruin that experience for the reader.

In the brief interview above, Lisa Charters speaks about giving the consumer and their media partners ‘content’ rather than advertising.   Content comes in the form of useful or interesting information like an author interview while advertising is something – like a trailer – designed to sell the book.  Charters notes that content has an increased chance of being seen online because it offers opinions or insights that are valuable while advertising is expensive to produce and highly ignorable by definition.

I met Lisa during BookCamp Toronto 2009.  She attended my early session on Digital Rights Management and also lead the session “The Quagmire of International Copyright in the Digital Age.”  She was totally engaged in every session that she attended that day and I learned a lot from her just by listening.  Thanks to Alexa and Lisa for making the above interview happen.