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Módulo 1: El Mercado Tradicional Del Libro

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Módulo 1: El Mercado Tradicional Del Libro MATERIA: INDUSTRIAS CULTURALES III. LOS LIBROS SOBRE LOS PROFESORES: Profesor principal: Octavio Kulesz Licenciado en Filosofía, fundador de Libros del Zorzal en 1999 y de la Editorial Teseo en 2007. Fue presidente de la Red Global de Editores Jóvenes entre abril de 2007 y junio de 2008 (IYPE Network, organización patrocinada por el British Council, Londres). Profesor ayudante: Victoria Rodríguez Lacrouts Licenciada en Letras por la Universidad de Buenos Aires. Recibió un título de Posgrado en Industrias culturales por la Universidad Nacional Tres de Febrero. Colaboradora en dos proyectos de la Fundación TyPA. Co-directora de “Sur de Babel - Club de libros independientes”. 1 Índice general Introducción general UNIDAD 1: La edición tradicional Anexo A: Grandes grupos vs. independientes UNIDAD 2: Políticas públicas del libro Anexo B: ¿Precio fijo o precio variable? UNIDAD 3: Las nuevas tecnologías Anexo C: Tecnología digital en el mundo del libro. El caso de la editorial Teseo Anexo D: La literatura y las nuevas tecnologías Conclusiones 2 [CLASE 1] Introducción general “Las nuevas tecnologías no suprimen el pasado, sino que edifican sobre él” Jason Epstein El mundo del libro experimenta hoy un vertiginoso proceso de mutación. Seguramente, dentro de 5 o 10 años la escena editorial poco tendrá que ver con la que hemos conocido; en efecto, las principales tendencias observables actualmente en el modo en que se producen, conservan y distribuyen las publicaciones permiten anticipar una industria completamente atravesada por tecnología digital. Por otra parte, la crisis financiera global no hace más que acelerar este movimiento de reconversión: desde el autor hasta el lector, pasando por el editor, la imprenta y las librerías, toda la cadena del libro ve cómo sus cimientos se conmueven a un ritmo nunca antes visto. En este sentido, es importante primero comprender cuál fue el paradigma editorial predominante desde Gutenberg hasta hoy, modelo que denominaremos “la edición tradicional”. Se trata de un esquema basado en grandes tiradas de ejemplares que se almacenan en los depósitos del editor, quien a su vez los entrega a librerías físicas, en busca de potenciales lectores-compradores. En este modelo, el control del espacio físico (o “analógico”, en contraposición a “digital”) fue la clave del éxito, y llevó a grandes grupos multinacionales, con su enorme poder logístico y financiero, a hacerse con buena parte del mercado del libro. Pero el mercado no ha sido el único escenario de iniciativas vinculadas al libro. Editoriales como Eudeba en la Argentina, centros de promoción de la lectura como el CNL en Francia o bibliotecas públicas como las estadounidenses muestran que incluso el sector público es capaz de llevar adelante propuestas innovadoras. Y, también como consecuencia de la crisis global, el Estado probablemente recobre aquí una relevancia que había perdido. Por un lado, entonces, editoriales privadas; por el otro, el Estado. Pero existe además una tercera categoría de actores, aparecidos en la última década: las empresas tecnológicas. Con la irrupción de la web y otros 3 adelantos digitales, gigantes como Google, Amazon y Apple han ingresado de lleno en el mundo del libro, muchas veces para competir contra los grandes conglomerados editoriales, y el resultado de la contienda todavía está por verse. A fin de exponer todos estos temas, hemos organizado la materia en tres unidades centrales: 1. La edición tradicional 2. Políticas públicas del libro 3. Las nuevas tecnologías Asimismo, para enriquecer la exposición, hemos agregado una serie de Anexos, que sirven en cierta forma de transición entre una unidad y el siguiente: - Anexo A (unidad 1). Grandes grupos vs. independientes - Anexo B (unidad 2): ¿Precio fijo o precio variable? - Anexo C (unidad 3): Tecnología digital en el mundo del libro. El caso de la editorial Teseo - Anexo D (también para la unidad 3): La literatura y las nuevas tecnologías 4 Unidad 1: La edición tradicional Gráfico de navegación: AUTOR Contratos Agente EDITOR Traductores Correctores Diseñadores ISBN y otros registros IMPRENTA DISTRIBUIDORES KIOSKOS INTERNET LIBRERÍAS BIBLIOTECAS SUPERMERCADOS LECTOR LECTOR LOCAL EXTRANJERO FERIAS EDITORES EXTRANJEROS 5 1.1. Introducción En esta primera unidad presentaremos las características fundamentales de la edición tradicional de libros en el sector privado, sin dejar de lado ningún eslabón de la cadena editorial. La cadena del libro, en los mercados más sofisticados, se compone de un gran número de actores: autores, agentes literarios, editores, imprentas, distribuidores, librerías y lectores. Sin embargo, el actor que generalmente coordina todo el proceso es el editor, por lo que organizaremos nuestro abordaje en función de esta figura. A lo largo de la unidad desarrollaremos entonces los principales aspectos de la actividad editorial, siguiendo el modelo que prevaleció hasta poco antes de la irrupción masiva de Internet en el mundo de la cultura. Como mencionamos en la introducción general, el paradigma editorial tradicional se halla hoy en una crisis profunda, pero resulta imprescindible examinarlo de cerca para comprender el proceso de mutación por el que está atravesando la industria del libro. 1.2. La importancia del editor en el ciclo de vida de un libro “El editor debe tener, a la vez, alma de financiero, de poeta, de jugador” René Julliard A menudo, el rol del editor resulta soslayado por los lectores y otros actores del mundo del libro. De hecho es frecuente la confusión, en el público, entre editorial e imprenta, o entre agente y editor. Pero lo cierto es que el editor cumple un papel irreemplazable en el ciclo de vida de un libro. En alguna medida podríamos compararlo con el director de orquesta, sin el cual ningún ensamble, por notables que sean sus músicos, podría tocar. Davis (2005: xvii) llega a comparar la labor del editor con la de una partera, pues su aporte es indispensable para que un libro nazca. 6 Es que sin un editor que planifique y coordine el avance de una obra por todas sus etapas, no puede hablarse de libro, sino tan sólo de texto. Un autor que por su cuenta imprime su novela (contactando a un diseñador y luego a una imprenta) a duras penas logrará que su obra traspase el reducido círculo de lectores que lo rodea. Sin mencionar las dificultades en las que se verá inmerso a la hora de cobrar por sus libros, por no contar con una estructura comercial propia. Ni mucho menos conseguirá que se publiquen reseñas en la prensa gráfica o lo entrevisten en radios y televisión. En el mundo anglosajón suele hacerse la distinción entre el publisher y el editor, para distinguir al planificador de estrategias editoriales de largo plazo (publisher) del simple coordinador de una determinada publicación (editor). El español no realiza esta diferencia, envolviendo ambas funciones bajo el mismo término (“editor”)1, pero a lo largo de la materia utilizaremos el término “editor” en su alcance más complejo, casi como personificación de una editorial, es decir, en el sentido del publisher anglosajón. Se trata de un profesional que, según Davies (2005: xxv) debe contar con “una energía excepcional, buen criterio, nervios de acero, capacidad de 1 Una descripción muy minuciosa de esta diferencia puede encontrarse en Pérez Alonso (2002: 69-76). 7 concentrarse en los aspectos globales y en los pequeños detalles, curiosidad acerca de todo cuanto se relaciona con la actividad editorial y buen manejo de las relaciones sociales”. En cuanto a las funciones específicas que recaen sobre el editor, podríamos ofrecer la siguiente lista2: - contactar autores y agentes - seleccionar obras de catálogos extranjeros, para traducirlas - gestionar contratos - organizar un catálogo, desarrollar colecciones - coordinar el equipo de pre-producción - registrar las obras a publicar - supervisar el trabajo de impresión - garantizar la distribución del libro - llevar adelante iniciativas de prensa y promoción - organizar la presentación en público de la obra - monitorear las ventas y los cobros de los ejemplares - pagar los derechos de autor - explorar posibilidades de venta de derechos de traducción a editoriales extranjeras - asistir asiduamente a ferias del libro - participar de agrupaciones profesionales Desarrollaremos a continuación cada una de estas diferentes facetas, procurando describir paso a paso las funciones de los actores involucrados. 1.3. Editor y autor Un editor y un autor pueden llegar a vincularse de diferentes maneras. En primer lugar, el autor puede optar por enviar el original de su obra a uno o varios editores, a la espera de que alguno se sienta interesado por el texto y evalúe la posibilidad de publicarlo. Esta vía, bastante corriente hace algunos años, ya no es recomendable para los autores noveles, sobre todo porque la existencia del correo electrónico hace que un altísimo número de 2 El orden que proponemos intenta respetar los pasos que sigue un libro desde su gestación hasta su llegada al lector. Una enumeración exhaustiva puede hallarse en Esteves Fros y Vanzulli (2001: 41 y ss.). Estos autores organizan la lista en torno a tres unidades: Producción, Comercialización y Administración. 8 escritores envíen semana a semana sus textos a distintos editores, que se ven inundados por proyectos que no tienen tiempo de leer. Pero también puede ocurrir que sea el editor quien contacte al autor. Los motivos que pueden llevar al editor a tomar esta iniciativa pueden ser múltiples. Algún artículo aparecido en los diarios que lo haya sorprendido y lo lleve a
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