I'm on the road early this week so in my stead, a guest post from Derek Krissoff, Director of West Virginia University Press - JW
A casual observer might reasonably assume that university presses are in crisis, or deserve to be. Mainstream outlets routinely proclaim that “academic publishing is broken,” and the new documentary Paywall, currently making the rounds on college campuses, argues that “academic publishers are burdening the higher education market, contributing to the rising tuition fees at all universities . . . and, ultimately, limiting science and progress.”
Whether they say it or not (and Paywall, to its credit, does), these criticisms are directed at commercial publishers of expensive STEM journals rather than not-for-profit university presses, which specialize primarily in books in humanities and social science fields. Think Elsevier vs. the University of Massachusetts Press. The big critiques that make headlines and generate documentaries don’t generally mention university presses at all, leaving many to assume that they’re part of what’s depicted as the problem of rapacious scholarly publishers.
When observers do turn to university presses, the story’s often more grim than angry. Much attention is paid to threatened press closures; less to the opening of new presses or the frequent decisions to keep open presses previously slated to shut down. (How many people know that the University of Akron Press, noisily slated for closure in 2015, not only stayed open but had a finalist for the National Book Award last year?) “Several presses have closed and almost all are struggling,” intoned Richard W. Clement in 2011, distilling a gloomy timbre that persists in many assessments of the industry.
Variously erased, posited as a problem to be solved, and assumed to be dinosaurs on their way out, university presses are in fact, in their low-key fashion, thriving. There are more of them than ever before, and they’re doing better: sales in the industry were up 5 percent last year. That growth isn’t, moreover, coming from cash-strapped libraries. Only 20 to 25 percent of university press sales are to libraries (down from 70 percent forty years ago), and at the University of California, to pick one example, only 7 percent of library budget goes to books of any kind.
As anger spreads over libraries being squeezed by STEM journals from large for-profits, university presses are growing in part by looking beyond a narrow focus on library markets and publishing for new audiences, branching out into crossover titles, supplemental texts, regional books, popular reference works, manifestos, graphic novels, and the like. It’s an entrepreneurial flourishing that engages new readers, creates new communities, and extends the reputation of those universities fortunate enough to have presses.
At the same time, widespread predictions that university presses might abandon less profitable fields and undermine the career prospects of junior scholars seem not to have panned out: 83 percent of scholarly monographs find a publisher. Presses may be publishing new sorts of books, but not at the expense of traditional ones.
Technology, meanwhile, hasn’t changed things the way its most confident champions (some of whom predicted a shift to primarily online publishing) believed to be inevitable. At most university presses 85 to 90 percent of sales continue to come from print. While ebooks aren’t the gamechanger some technophiles expected, a different shift—the ability to print books digitally—has made a huge difference, enabling presses to do small print runs responsibly. When I started in publishing twenty years ago I was told a new book required an initial print run of at least 2,000 copies to be viable. Now we can do just a few books at a time, if necessary, making it easier to continue the mission-driven publishing at our core, even when audiences are specialized.
The growth of virtual spaces for publicizing books and building communities around publishing programs has been the other seismic change made possible by the digital turn. But the results of online marketing often show up in print sales and IRL interactions (think: nicely publicized bookstore events) rather than digital downloads.
So what about open access for books? The approach has promise, particularly for some specialized titles that don’t reward the high-investment model of conventional publishing. But OA publishing costs money, just like conventional publishing—money that comes from somewhere even if it isn’t the customer. Simply changing who pays for publishing isn’t necessarily progressive and can exacerbate or reinscribe inequalities. For example, plans to have authors’ universities cover the costs of publication ($35,000 per book, according to a study from Ithaka) may limit the pool of potential authors to those employed by wealthier institutions. Limitations like these may help account for the fact that only 1 percent of new scholarly books in English are published open access.
Saying that university presses are resilient, and that their recent history is characterized by continuity more than disruption, isn’t meant to suggest they’re static. University presses have always experimented, and they’ll continue to do so; they face challenges and, like the rest of the university, respond creatively. But university presses are best positioned to make the most of current prospects if they’re seen as valuable, not broken—if proposed changes are understood as having the potential to ensure a range of complementary publishing options, including the surprisingly durable model of traditional publishing.
Derek Krissoff (@DerekKrissoff) is director at West Virginia University Press, the only university press, and largest book publisher of any kind, in West Virginia.