are fine and I don’t think we need any additional advertising.”
Average sales meant that books from the publisher’s warehouse were sold to wholesalers in under four months. Good sales meant the print run left the warehouse within two months, which made a quick return on the investment and a profit that was minimally affected by inflation.
“We have to try to raise the rate of sales,” Esipov said gently.
“That will happen anyway,” Avtayev insisted stubbornly. “The series is launched and the process will continue on its own. You know this happens in every house. The first few don’t go very well, then things improve completely independently of the quality of the books. That is an objective process. Why waste money on something that will happen anyway? I don’t get it.”
“Because I want to increase the printings. If we wait for the series to get popular on its own, we have to limit ourselves to a hundred or a hundred twenty thousand copies. I want to be able to print a hundred fifty thousand or two hundred thousand right away. And to be guaranteed that they will sell.”
“Sure,” Avtayev said, waving his arms in fear. “You’re going to put in that much money. What if it doesn’t sell? Nobody’s going to give you any guarantees.”
“There will be guarantees if we do the marketing right. Semyon,” Esipov said, turning to the managing editor, “have you selected excerpts for prepub serials?”
He had to argue with the managing editor, too, but over different issues. Semyon inevitably suggested the best parts for magazine publication, and Esipov had to disagree with him each time. He was the only one of the three who looked ahead. Both Avtayev and Semyon Voronets thought only of the shortterm gain and all their efforts were channeled on the production and sale of the book at hand. Naturally, for the best sales of a single book you had to give the best scene from it for serial rights. But what would happen next? Next, the reader who read that best scene in a newspaper or magazine would think that the whole book was on that level. Of course he would look for the book, run around town for it. But once he opened it and started reading, he would see that the rest was weaker and that the whole book was not about only that one excerpt. He would sigh, berate himself for being too trusting, and would no longer seek out the next volume in the series, no matter how extravagantly advertised. Who would trust a liar? Kirill Esipov felt that prepublication excerpts should use not the best scene but the most intriguing one, so that the reader will want to find out what else happens and how it all ends. Unfortunately, Semyon Voronets was unable to find excerpts like that. He was persistent and pushy, he knew how to negotiate with authors and translators, but he had no taste or understanding of literature. With enviable constancy he always selected the sexiest or most violent bits from upcoming manuscripts, which were rarely typical of the actual books. Lovers of that sort of thing would be disappointed if they believed the advertising. And more discerning readers who believed the advertising would not buy the book at all. But he never could beat that into Voronets’s pathologically thick skull. He still thought that a mountain of corpses and a sea of blood were the best bait; the general director thought the bait should be intrigue, conflict, mystery. A puzzle.
Besides printed excerpts in the papers, the marketing campaign used announcements of coming books in current volumes, as annotations that Voronets was supposed to write. His first few efforts showed that he could not do it well. Capturing the essence of the plot, retelling it briefly, in just a few words, and adding mystery and intrigue was beyond his modest abilities. Semyon tried to get the translators to do it, but their annotations were not much better. Finally Esipov told him to find a copywriter who could skim a manuscript and write attractive copy. But then the cheapskate Avtayev got agitated. What, pay for something that could be done in-house! Never!
Esipov scanned the excerpt selected by Semyon to be printed in three segments in a popular daily. This isn’t typical of the book, he thought drearily. Three martial artists fighting in a dark, rat-filled cellar. Creepy nonsense. One of them – the hero, he assumed – put the other two to eternal rest but had to stay in the cellar because the only one who knew the way out was one of the two dead men. So the hero stays down there with the rats looking for the way out. Now, who would want to buy this book? Only the people who thought it was devoted from first page to the last to fights and rats in a cellar. And how many readers were there like that?
“What is the novel about?” he asked, pushing away the computer-printed pages.
“The Japanese mafia in Hollywood,” Voronets replied.
“And why can’t you tell that from the excerpt? Where is the Yakuza? Where is Hollywood? What are we advertising here?”
“But this is the scariest scene,” Voronets explained, truly not understanding what it was the general director wanted from him.
“God!” Esipov clutched his head. “How many times do I have to explain!”
In the end, Voronets promised to find another selection, but Kirill Esipov could see that he still had not figured out what was needed. Once again, he would probably bring him more garbage.
If only he could hire a good person to replace him, knowledgeable and with literary taste.
“Let’s look at the annotations,” Esipov said wearily.
The annotations were useless, too. Voronets hadn’t learned to write them, either.
“We can’t go on like this, Grisha,” Kirill said to Avtayev. “We have to find a specialist and hire him. No one needs advertising like this. We’re doing ourselves harm this way.”
“We don’t need any advertising at all,” Avtayev was back on his hobby horse. “I’ve told you, it does itself…”
“I’ve said what we need and we’ll have what I say,” Esipov cut him off.
He wanted to add, “And if you don’t agree, then go, find yourself another publishing house and economize there.” But he couldn’t say that.
“I am certain, Grisha,” he added more calmly, “that in a very short time you will be convinced that we are doing the right thing, putting money into advertising. I promise you. By the way, you haven’t forgotten that it’s Volodya’s birthday on Friday? Don’t plan anything else for Friday afternoon, we’ll have to go out there to congratulate him.”
Avtayev made a face. A birthday present for the company’s best translator was no joke. You couldn’t make do with flowers and a bottle. They needed a good present. And who would pay? Would they have to all chip in again? You could go broke working here.
Watching Avtayev and Voronets leave his office, Sherkhan’s general director thought with dismay that he would have to carry the whole load in this team. Because the team could not be changed. They were all mixed up in this too much. He was stuck with them.
Solovyov was having trouble getting used to his new assistant. Ever since he became trapped in his wheelchair, he had an assistant. Secretary, nanny, errand boy, chef, janitor and maid all in one. At first everyone recommended he hire a woman. After all, the functions were primarily female, there was hardly any real man’s work, but Solovyov knew that he would not be able to stand having a woman around to take care of him and pity him. His memories were too strong of the days when women adored him and loved him for his strength, decisiveness, and courage.
The first one was a nice guy, who managed his duties well but whose normal male ambition got in the way of staying in a job with no career prospects. Solovyov paid a more than generous wage and threw in use of his car, but it turned out that the man had taken the job for a place to live. As soon as he had an opportunity to buy his own apartment, he
