SST Publications

[Martin]

Anyone jump on the latest offer? I did. I was really impressed with the other production.

Pass for me as I have not collected anything in the series from SST.

[sholloman81]

Anyone jump on the latest offer? I did. I was really impressed with the other production.

I did as well! Am very happy SST was able to acquire the rights to the whole series.

[Brian861]

Anyone jump on the latest offer? I did. I was really impressed with the other production.

[TacomaDiver]

I had a hard time getting into The Only Good Indians. The voice was tricky for me. Some parts worked better than others. Admittedly, that's the only book I've read from him, but after yesterday's talk, I am more interested in My Heart is a Chainsaw (which has a sequel - Don't Fear the Reaper - coming out next year - AND a third is currently in the works.)

[RonClinton]

I have it on good authority that SST will be doing another SGJ book (it'll be their fourth by my count.) I don't know when, and while I have some clues, I don't know which book.

After two earlier tries, I’m giving Jones one more chance…I picked up NIGHT OF THE MANNEQUINS a couple days ago. We’ll see how it goes.

[TacomaDiver]

I have it on good authority that SST will be doing another SGJ book (it'll be their fourth by my count.) I don't know when, and while I have some clues, I don't know which book.

[Martin]

Depending on what the book is, I'd be interested in taking it off your hands.

I either already gave this one away or it is boxed up. I will try and remember to look for it when I go through those boxes.

[swintek]

The history of the small press is absolutely littered with bygone presses that subscribed to the business model of high limitations to diminish per copy cost, then after the initial burst being buried by frustratingly gradual sales with additional cost of storing stagnant inventory, an inventory that too often never achieves sellout. A few of those and a press is rapidly at risk. The related costs are exponentially more challenging today than they were in the ‘80s, and so in today’s precarious business environment I can’t then blame a press for wanting to more accurately hone their limitations to match that immediate demand to minimize longterm costs and bleed. Forecasting demand is essentially a predictive gamble, so it’s sensible that a publisher err on the side of caution to protect the longterm solvency of their business.

Well-thought out, and stated, Ron. Damn, we're getting close to agreeing again- I'll think of something!

[RonClinton]

The dreaded "Second Edition" pleases NO collector, so- I respectfully disagree. If we dig down on it, it really comes down to exclusivity- the "juice" for- increasingly- many collectors, and the Problem, as I see it, being so exploited in modern publishing. This conceit was never at the forefront of the small press. As I said earlier- I absolutely get that exclusivity was part of the rush of book collecting: Having That Which Others Do Not (secondary to having beautifully-crafted alternative editions of books we love, unfortunately). I wish that we'd get back to the model that was the spirit of small press Horror Book Collecting in the 70's and 80's, though; which seems to me used to be: We're going to make enough copies to distribute throughout our awesome small community, to all of our like-minded passionate book-lovers who want them. We're going to make enough to satisfy the current demand (which, think about it: has always been roughly 500-1000 interested parties- not counting Stephen King). Then, gradually, those limited copies would sell out, and become increasingly harder to find, and more pricey to obtain. But, not this immediate, manufactured, FOMO Driven exclusivity and insane speculation, primarily driven from the Facebook guys. Ron- surely (ahem), you, of all people, remember how this was? Perhaps, your abstinence from that toxic platform has shielded you from the horror of the The Modern Small Press Collector. Good on you. But, I will say, when I hear: 'I don't want other collectors in this small, intimate, passionate group of book lovers to have the same thing that I want- even though they want it just as much as I do- and they were just not in the right place at the right time - I have to scratch my head.

While I do stand by my disapproval and contention r.e. the specific issue of changing a limitation post-announcement/midstream, I certainly can’t argue with the spirit of your message above.

There’s no denying it feels different today than it did in the boom era of the ‘80s or, heck, any era, really, before the last half-dozen years or so. I think there’s probably a number of reasons for that unfortunate change — including the speculation and role of social media that you mention — but I suppose, to my mind, the only party I wouldn’t assign fault to is the publisher. I don’t feel it’s their responsibility to print enough copies to please everyone.

The history of the small press is absolutely littered with bygone presses that subscribed to the business model of high limitations to diminish per copy cost, then after the initial burst being buried by frustratingly gradual sales with additional cost of storing stagnant inventory, an inventory that too often never achieves sellout. A few of those and a press is rapidly at risk. The related costs are exponentially more challenging today than they were in the ‘80s, and so in today’s precarious business environment I can’t then blame a press for wanting to more accurately hone their limitations to match that immediate demand to minimize longterm costs and bleed. Forecasting demand is essentially a predictive gamble, so it’s sensible that a publisher err on the side of caution to protect the longterm solvency of their business.

[Martin]

Depending on what the book is, I'd be interested in taking it off your hands.

I may have it boxed up currently. I will check when I get back home next week and get back with you.

[TacomaDiver]

I believe you have one I read as it came from NRB. What I have read has been highly praised and I so wanted to like.

Depending on what the book is, I'd be interested in taking it off your hands.

[swintek]

The answer to unforeseen demand isn’t to change the initial First Edition offering but to add to it in the form of a Second Edition.

The dreaded "Second Edition" pleases NO collector, so- I respectfully disagree. If we dig down on it, it really comes down to exclusivity- the "juice" for- increasingly- many collectors, and the Problem, as I see it, being so exploited in modern publishing. This conceit was never at the forefront of the small press. As I said earlier- I absolutely get that exclusivity was part of the rush of book collecting: Having That Which Others Do Not (secondary to having beautifully-crafted alternative editions of books we love, unfortunately). I wish that we'd get back to the model that was the spirit of small press Horror Book Collecting in the 70's and 80's, though; which seems to me used to be: We're going to make enough copies to distribute throughout our awesome small community, to all of our like-minded passionate book-lovers who want them. We're going to make enough to satisfy the current demand (which, think about it: has always been roughly 500-1000 interested parties- not counting Stephen King). Then, gradually, those limited copies would sell out, and become increasingly harder to find, and more pricey to obtain. But, not this immediate, manufactured, FOMO Driven exclusivity and insane speculation, primarily driven from the Facebook guys. Ron- surely (ahem), you, of all people, remember how this was? Perhaps, your abstinence from that toxic platform has shielded you from the horror of the The Modern Small Press Collector. Good on you. But, I will say, when I hear: 'I don't want other collectors in this small, intimate, passionate group of book lovers to have the same thing that I want- even though they want it just as much as I do- and they were just not in the right place at the right time - I have to scratch my head.

[Martin]

Agreed, Centipede does a good job of it. I believe Sub Press did something along the lines of what I suggest above, the 2nd Edition thing, with one of Joe Hill’s early releases…was it 20TH CENTURY GHOSTS…?

Sub Press did that with Heart Shaped Box.

[RonClinton]

Agreed, Centipede does a good job of it. I believe Sub Press did something along the lines of what I suggest above, the 2nd Edition thing, with one of Joe Hill’s early releases…was it 20TH CENTURY GHOSTS…?

[Martin]

Ah, but see, there is a solution that would satisfy both of us, and it’s been occasionally done before.

The publisher answers that demand by subsequently releasing a 2nd Edition — numbered/signed or not, deluxe or trade — with the proper designation of SECOND EDITION specified on the copyright page. To make it different so as to qualify as a second edition (and not just a Second Edition) and not rile the First Edition/Printing buyers, do B&W art instead of color, remove that extra bonus story or print in a smaller trim size or etc.

The answer to unforeseen demand isn’t to change the initial First Edition offering but to add to it in the form of a Second Edition.

I think Centipede Press does a good job of following up with unsigned and second runs if a book exceeds initial demand. I also would not be surprised if the trade publisher had something do do with the print run. Although I do not believe there is evidence of this many publishers consider limited editions of recent releases as competition.