Investment & Trading Comics (Series 2)

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British publisher Allen Lane invested his own financial capital to launch the Penguin Books imprint in , initiating the paperback revolution in the English-language book market by releasing ten reprint titles. Lane intended to produce inexpensive books. He purchased paperback rights from publishers, ordered large print runs such as 20, copies—large for the time to keep unit prices low, and looked to non-traditional book-selling retail locations.

Booksellers were initially reluctant to buy his books, but when Woolworths placed a large order, the books sold extremely well. After that initial success, booksellers showed more willingness to stock paperbacks, and the name "Penguin" became closely associated with the word "paperback". The term "pocket book" became synonymous with paperback in English-speaking North America.

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In French, the term livre de poche was used and is still in use today. De Graaf, like Lane, negotiated paperback rights from other publishers, and produced many runs. His practices contrasted with those of Lane by his adoption of illustrated covers aimed at the North American market. To reach an even broader market than Lane, he used distribution networks of newspapers and magazines, which had a lengthy history of being aimed in format and distribution at mass audiences.

Because of its number-one position in what became a very long list of pocket editions, James Hilton 's Lost Horizon is often cited as the first American paperback book. Through the circulation of the paperback in kiosks and bookstores, scientific and intellectual knowledge was able to reach the masses. This occurred at the same time that the masses were starting to attend university, leading to the student revolts of prompting open access to knowledge. The paperback book meant that more people were able to openly and easily access knowledge and this led to people wanting more and more of it.

This accessibility posed a threat to the wealthy by imposing that it would be turned upside down, as the masses were now able to access almost all of the knowledge the wealthy previously had access to. Treating the paperback as any other book drastically weakened the distinction between high and low culture. The paperback revolution essentially broke this relationship by redefining it through access to knowledge.

In the United States, many companies entered the paperback publishing field in the years after Pocket Books' inception, including Ace , Dell , Bantam , Avon and dozens of other smaller publishers.

At first, paperbacks consisted entirely of reprints, but in , Fawcett Publications ' Gold Medal Books began publishing original works in paperback. Fawcett was also an independent newsstand distributor, and in , the company negotiated a contract with New American Library to distribute their Mentor and Signet titles. That contract prohibited Fawcett from becoming a competitor by publishing their own paperback reprints. Roscoe Kent Fawcett wanted to establish a line of Fawcett paperbacks, and he felt original works would not be a violation of the contract.

When these books were successfully published, he announced Gold Medal Books, a line of paperback originals.

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Sales soared, prompting Gold Medal editorial director Ralph Daigh to comment, "In the past six months we have produced 9,, books, and people seem to like them very well. Barker, who claimed that paperback originals could "undermine the whole structure of publishing. Genre categories began to emerge, and mass-market book covers reflected those categories.

Mass-market paperbacks influenced slick and pulp magazines. The market for cheap magazines diminished when buyers began to buy cheap books instead. Authors also found themselves abandoning magazines and writing for the paperback market. The leading paperback publishers often hired experienced pulp magazine cover artists, including Rudolph Belarski and Earle K. Bergey , who helped create the look and feel of paperbacks and set an appealing visual standard that continues to this day.

Scores of well-known authors were published in paperback, including Arthur Miller and John Steinbeck. World War II brought both new technology and a wide readership of men and women now in the military or employed as shift workers; paperbacks were cheap, readily available, and easily carried. Furthermore, people found that restrictions on travel gave them time to read more paperbacks.

Four-color printing and lamination developed for military maps made the paperback cover eye catching and kept ink from running as people handled the book. A revolving metal rack, designed to display a wide variety of paperbacks in a small space, found its way into drugstores , dimestores , and markets. Soldiers received millions of paperback books in Armed Services Editions. Canadian mass-market paperback initiatives in the s included White Circle Books, a subsidiary of Collins U. McClelland and Stewart entered the Canadian mass-market book trade in the early s, with its "Canadian best seller library" series, at a time when Canadian literary culture was beginning to be popularized, and a call for a Canadian author identity was discussed by the Canadian people.

A mass-market paperback is a small, usually non-illustrated, inexpensive bookbinding format. This includes the U. They have been historically printed on relatively low-quality paper. This is particularly true of first novels by new authors. Business practices by publishers and booksellers also differentiate mass-market paperbacks from hardbacks.

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When booksellers note that particular books are not selling, they may return them to the publisher for a refund or credit on future orders. However, in the case of mass-market paperbacks, this return usually means stripping the front cover, and returning only the cover for credit, while the remainder of the book is "pulped" recycled. The copyright page often carries a warning that anyone who buys a book missing its front cover should assume that the publisher has received no payment and the author has received no royalties for that copy. The mass-market paperbacks sold in airport newsstands have given rise to the vaguely defined literary genre of the " airport novel ", bought by travelers to read during their potentially long hours of sitting and waiting.

Mass-market paperbacks also have offered collections of comic strips and magazine cartoon series, such as Ernie Bushmiller 's Nancy and Chon Day 's Brother Sebastian. This size has been used to distinguish literary novels from genre fiction. A trade paperback, sometimes referred to as a "trade paper edition" or just as a "trade", is a higher-quality paperback book. If it is a softcover edition of a previous hardcover edition, and if published by the same publishing house as the hardcover, the text pages are normally identical to the text pages in the hardcover edition, and the book is close to the same size as the hardcover edition.

Significantly, the pagination is the same so that references to the text will be unchanged: this is particularly important for reviewers and scholars. The only difference is the soft binding; the paper is usually of higher quality than that of a mass-market paperback , for example acid-free paper. Trade paperbacks are typically priced lower than hardcover books and higher than mass-market paperbacks. Virtually all advance copies sent for promotional and review purposes are issued in trade paperback format.

Trade paperbacks are often used to reprint several issues of a comic series in one volume, usually an important storyline or the entire series itself, and the name "trade paperback" has become synonymous with a collection of reprinted material. Graphic novels may also be printed in trade paperback form. Publishers sometimes release popular collections first in a hardback form, followed by a trade paperback months later.

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From Wikipedia, the free encyclopedia. And comic books were the most second-class of the already second-class citizenry of periodicals, resulting in spotty and late distribution of titles based on the whims of the distributors. So they set up a competing distribution model, ultimately resulting in the modern comic book shop. They began dealing with publishers directly, offering to do away with returns in exchange for a bigger wholesale discount than the newsstands got. Hence, the Direct Market. It sounds good, right? Comic book stores as we know them today were born, as was the ability to ensure that you could buy a specific book the day it was released.

But it had two ultimately devastating side effects. First, it eroded newsstand distribution of comics to a bare footnote, which means that an ever-decreasing portion of fanboy-fangirl generations get their first tastes from the spinner rack. Which barely matters, because the success of the Direct Market painted itself into a corner, as the market for comic books became more and more of a highly specialized niche. What of the future?


I reached out to Jimmy Aquino, host of the popular podcast Comic News Insider already up to its th episode. I also spoke to Wayne Quackenbush, the very charming proprietor of Annex! One of his customers has described Annex! But what of the threat of digital publishing which is by no means unique to comic books?

But if you talk to older fans, you do hear a reticence to accept this digital future.

Investment & Trading Comics (Series 2) Investment & Trading Comics (Series 2)
Investment & Trading Comics (Series 2) Investment & Trading Comics (Series 2)
Investment & Trading Comics (Series 2) Investment & Trading Comics (Series 2)
Investment & Trading Comics (Series 2) Investment & Trading Comics (Series 2)
Investment & Trading Comics (Series 2) Investment & Trading Comics (Series 2)

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