MediaWeek Report (Vol 3, No 45a): Recent Publishers' Financial Headlines- Peason, Hachette, Simon & Schuster

The past few weeks have seen a resurgence of sorts in the fortunes of some of publishing's biggest players. Here is a summary: Pearson noted that their markets were 'subdued' however they continued to produce market gains their competitors probably envy (Press Release):

Demand in some of our markets remained subdued in the third quarter, and the macroeconomic outlook is still uncertain. Even so, Pearson increased sales by 7% and adjusted operating profit 15% in the first nine months of 2010*. All parts of the company continued to perform strongly, with sales growth of 5% in Penguin, 7% in education and 11% at the Financial Times Group. ...

In North America, this strategy enabled us to gain share and grow faster than our market, with sales growth of 5% in the first nine months. Our Higher Education business grew strongly once again. Its market remains healthy (industry sales up 10% in the first eight months, according to the Association of American Publishers) and our leadership in digital learning continues to produce market share gains. More than 3.5m students have enrolled in an online course provided by eCollege in the first nine months, an increase of almost 39% over last year. More than 6.5m college students have registered for our subject-specific digital learning tools (MyLabs), an increase of almost 34%. Our Assessment and Information business remained resilient as we won or renewed a number of contracts including a teacher certification contract in Pennsylvania and student data systems in Utah. The breadth of our School Curriculum business and its strength in digital is enabling us to grow despite weakness in state and local funding and uncertainty around the impact of new Common Core standards. We are planning on the basis that school funding remains under pressure in 2011 and that the total new adoption opportunity will be lower than in 2010. We are accelerating the transformation of our School business, investing to broaden the range of products and services we offer to schools to help them boost student performance and institutional efficiency. Sales in International Education are up 8% after nine months. We are benefiting from strong demand in developing markets and for assessment services, English Language learning in China and digital, while developed markets and school publishing are generally soft. In the first nine months, MyLab registrations outside North America were up almost 40% on the same period last year to more than 460,000. ....

At Penguin, sales are up 5%. Physical retail markets are tough, but are offset for Penguin by strong publishing and rapid growth in eBook sales (which have increased threefold). Penguin continues to lead the industry in innovation in digital publishing, with 16,500 eBook titles now available and a number of children’s apps for bestselling brands. The Fry Chronicles by Stephen Fry became a bestseller in five formats (hardback, ebook, enhanced ebook, app and audio), a publishing first. The fourth quarter is an important selling season in consumer publishing and Penguin has a strong line-up of bestselling authors including Tom Clancy, Patricia Cornwell, Barbra Streisand and Nora Roberts in the US; and Michael McIntyre and Jamie Oliver in the UK.

Hachette (Grand Central Books) reported declines attributed to reduced sales of the Stephanie Meyer 'saga' (Press Release):

As expected, the erosion in sales of Stephenie Meyer's Twilight saga (Twilight, New Moon, Eclipse and Breaking Dawn) had a marked impact on revenue trends not only in the United States, but also in France and the United Kingdom. In France, the postponement of deliveries of secondary school textbooks from the third quarter to the fourth quarter (due to the late announcement of new curriculums) also had a temporarily negative effect. And in Spain, the Education market was more challenging than last year.

After a like-for-like revenue fall of just 4.5% in the first half of 2010, there was a more marked fall (of 6.8%) in the nine months to end September; this was largely due to the sharp decline in the Stephenie Meyer phenomenon and the non-recurrence of the sale of the international rights to the saga, booked in the first half of 2010.

However, revenues for the first nine months of 2010 are slightly ahead of those for the comparable period of 2008, demonstrating the remarkable resilience of the Lagardère group. Numerous literary successes - James Patterson and Nicholas Sparks in the United States, David Nicholls and Sarah Waters in the United Kingdom, and Jacques Attali and Erik Orsenna in France - are testimony to the dynamism of our publishing houses.

Sales of e-books remain strong, accounting for some 9% of revenues in the United States in the first nine months of 2010.

Simon & Schuster (Part of CBS)

For the three months ended September 30, 2010, Publishing revenues decreased 6% to $217.7 million from $230.4 million for the same prior-year period reflecting lower book sales in the adult group from the soft retail market, partially offset by growth in sales of digital content. Best-selling titles in the third quarter of 2010 included The Power by Rhonda Byrne and Obama's Wars by Bob Woodward. For the three months ended September 30, 2010, Publishing operating income increased 11% to $29.4 million from $26.6 million and OIBDA increased 10% to $31.1 million from $28.4 million for the same prior-year period reflecting the impact of cost containment measures, lower royalty expenses and lower production costs from a change in the mix of titles. Nine Months Ended September 30, 2010 and 2009: For the nine months ended September 30, 2010, Publishing revenues decreased 3% to $559.1 million from $573.5 million for the same prior-year period reflecting the soft retail market, partially offset by growth in digital sales of Publishing content. For the nine months ended September 30, 2010, Publishing operating income increased 47% to $44.9 million from $30.6 million and OIBDA increased 36% to $49.9 million from $36.6 million for the same prior-year period reflecting the impact of cost reduction measures and lower production expenses from a change in the mix of titles, partially offset by higher royalty expenses. Restructuring charges of $1.8 million incurred during the nine months ended September 30, 2010 reflect severance costs associated with the elimination of positions.

NewsCorp is done separating out the Harpercollins unit from their other publishing assets. (SeekingAlpha)

McGraw-Hill Education and Professional publishing reported as follows (Press Release):

Education: Revenue for this segment increased by 5.5% to $1.1 billion in the third quarter compared to the same period last year. Including a $3.8 million pre-tax gain on the divestiture of a secondary school business in Australia, the operating profit for the third quarter grew by 19.9% to $357.5 million. Cost controls contributed to the increase in the segment's operating margin to 33.9%, the best third-quarter performance for McGraw-Hill Education since 2007. Foreign exchange rates had an immaterial impact on revenue and operating profit in the third quarter. Revenue for the McGraw-Hill School Education Group increased by 6.7% to $534.7 million in the third quarter versus the same period last year. Revenue for the McGraw-Hill Higher Education, Professional and International Group grew by 4.3% to $520.0 million in the third quarter, compared to the same period last year. A strong performance in the state new adoption market was the major factor in McGraw-Hill School Education Group's third quarter results. The McGraw-Hill School Education Group is on track to capture approximately 30% of the estimated $825 million to $875 million state new adoption market in 2010. In 2009, the state new adoption market was about $500 million. ... In professional publishing, online sales of books and digital products produced solid growth in the third quarter. Double-digit e-book sales were a bright spot in the sluggish retail book market, which continues to be buffeted by difficult economic conditions. More than 5,000 McGraw-Hill professional titles are now available to customers as e-books.

Harlequin a division of TorStar is often beset by forex changes (PR)

Book Publishing operating profit was $23.0 million in the third quarter of 2010, up $0.1 million from $22.9 million in the third quarter of 2009, as $1.4 million of underlying growth offset a negative $1.3 million from the impact of foreign exchange. Year to date, Book Publishing operating profit was $66.1 million, up $3.0 million from $63.1 million last year as $6.2 million of underlying growth more than offset a negative $3.2 million from the impact of foreign exchange. In both the quarter and the year to date, operating results were up in the North America Direct-To-Consumer and Overseas divisions and down in the North America Retail division.

Earlier this month Wolters Kluwer reiterated their full year guidance (PR)

In the third quarter, growth in online and software solutions continued in all divisions. With improving retention rates across the business, subscription revenues, which represent 72% of total revenues, showed improvement over the prior year, especially for electronic revenues. This growth helped to offset the impact of print publishing declines and the continued pressure on advertising and pharma promotional product lines. Book performance improved in the third quarter driven by strong results in legal education and health book product lines. The Health & Pharma Solutions division performed well, with strong growth noted at Clinical Solutions, Ovid, and books. Within Tax & Accounting, new sales and retention rates for software solutions grew at a solid rate which helped offset pressure on print-based publishing. Financial & Compliance Services saw double-digit growth in its audit risk and compliance product lines and cyclical revenues associated with mortgage lending improved in the third quarter. In the Legal & Regulatory division, transactional revenues at Corporate Legal Services continued to grow, reflecting the steady economic recovery underway in the U.S. While online and software products grew globally within Legal & Regulatory, macro economic conditions continue to put pressure on publishing and cyclical product lines such as training, consulting and advertising, particularly within Europe, offsetting the positive trends for electronic revenues.

Brands to Publish - Repost

It's Friday which means another regurgitation from several years back. This one originally published on January 13, 2007:

Nancy Drew has always held a fascination for me, not because I clamor for a good girlie mystery but because of how The Nancy Drew series evolved. Established by Edward Stratemeyer, The Drew books were written by a number of ‘house’ writers (Mildred Benson) and the books were never dependent upon one author for their success. While the publisher of the titles was little recognized, the Drew series grew to become a strong branded product line and, as such, represents a model today's publishers may want to emulate. Corporate branding exercises little impact in the publishing world: We all know this and, while some publishers have tried to create brand strength (i.e., Paramount Publishing), success has been sparse and probably – in truth - not aggressively sought after.

There are exceptions. I used to start my Intro to Publishing courses at Price Waterhouse by asking the group to name a publisher. I stopped doing this when a partner once popped up and said HARLEQUIN! While some consumers might be able to identify Harlequin or Hungry Minds or Fodors, they would be hard-pressed to cite HarperCollins or Simon & Schuster with any relevance. Consumers have little emotive connection with publishing trademarks (a fundamental facet of brand awareness) and publishers are unlikely to ever achieve this connection with consumers. So, in an age in which the author transcends the publisher (Patterson, Grisham, Ludlum, Courtnay) what is a publisher to do? Investing in a branding campaign would be expensive and ultimately pointless, but embarking on a strategy similar to that which produced the Drew books might be more constructive.

My extrapolation of the Drew example led me to wonder why publishers don’t establish their own character-based brands. More publishers will do what Nelson has done and drop imprints, but will they also start to develop their own character-based franchises? Clearly, it is hard to ‘bottle’ what makes John Grisham a popular writer, but there are examples where existing characters have been extended in new ways. For example, there is a cottage industry of TV soap-opera lovers who create stories, novelizations and back-stories for the characters that appear in the TV soap operas. George Macdonald Frasier took a minor character out of Tom Brown’s School Days and created The Flashman series of satirical historical novels. The book packager Alloy Entertainment (which got caught up in a plagiarism charge last year) also operates a Nancy Drew model. There must be many others.

Publishers don’t have to look far to see how powerful character-based publishing could be. The comic book industry has been doing this for 50 years. In this industry the corporate brands (Marvel, DC Comics, etc.) have benefited from some of the reflected brand indentity that characters such as Superman, Spiderman, Aquaman and others have created in the minds and behavior of consumers. In book publishing, the opportunities to create character franchises are there for the asking. James Patterson has embarked on developing an author/character franchise and, if publishers were smart, they would be thinking about creating contracts that gave them the ability to broadly leverage the characters that authors create. This would include (with the author's permission) ghost-written books and stories of both the main characters and development of derivative story lines out of the books (as in the Flashman example). The opportunity to expand the content output and publish to a ‘template’ would generate higher revenues for publisher and author, stable consistent output and content consumers could enjoy.

The above scenario still accords some level of risk for publishers that the ‘powerful’ author may go off on his or her own. Given the examples in the music industry of late, some have suggested that major authors will do what Radiohead has done and walk away from the traditional publishing model. Some may, but it will hardly be an avalanche and this threat is no worse for a publisher than losing an established author to a rival house. The bigger question is how publishers can maintain a consistent funnel of marketable branded content. I believe publishers should be attempting to develop their own proprietary content franchises by building character properties in the same way the Nancy Drew series was created. There are several ways to develop this: Firstly, publishers can simply buy out an authors work so that they own it in total and can leverage it anyway they want. Secondly, they can license characters from other media: Who wouldn’t want to read a hard-boiled procedural featuring Law & Order’s Lennie Brisco, for example? As publishers begin to travel down this road, they could evolve into character based enterprises similar to Disney and Marvel. This, in turn, would make them less susceptible to the whims of authors and the corresponding limitations of their contracts.

Harpercollins is owned by NewsCorp which owns Fox. Assume that Fox owns the character "Dr. House"; why don’t you see a series of House mysteries written to a formula by ‘house’ (sorry) authors whose job it is to churn these out every two weeks? And there is no need to limit the books to Dr House; any of the characters in the show should be fair game. Publishers who focus on their publishing brands have things backwards: They should see things from the consumer's point of view and that view is more than likely focused on either an author or a character. Build the product pipeline up with a character based publishing approach and the publisher may grow in the ascendancy.

Obviously, authors are a critical component to a publishing house’s viability but as distribution flattens, barriers to entry drop and generally the industry changes. Publishers need to reassess their content-acquisition strategies to ensure they have access to revenue-producing assets that will remain with them for an extended period of time. Perhaps the Drew model will become more widespread.

MediaWeek (Vol 2, No 45): Money Issue

Several publishers reported earnings this week.

Simon & Schuster (CBS)

Publishing revenues for the third quarter of 2009 increased 2% to $230.4 million from $225.0 million for the same prior-year period reflecting the timing of the release of titles. Best-selling titles in the third quarter of 2009 included Arguing with Idiots by Glenn Beck and Her Fearful Symmetry by Audrey Niffenegger. In constant dollars, Publishing revenues increased 4% over the same prior-year period.

OIBDA for the third quarter of 2009 increased 10% to $28.4 million from $25.8 million for the same quarter last year and operating income increased 14% to $26.6 million from $23.4 million for the same prior-year period primarily due to revenue growth, partially offset by higher write-offs of advances for author royalties.

Hachette (Reuters) and The Bookseller:

Publishing revenues for the nine months to end September 2009 were €1,694m, up 8.3% on a reported basis and 8.8% on a like-for-like basis. Sales grew again in the third quarter of 2009, rising by 5.1% on a like-for-like basis. Other "main growth drivers" in the US included True Compass by Edward Kennedy, Say You're One of Them by Uwem Akpan, Lies My Mother Never Told Me by Kaylie Jones and Malcolm Gladwell's Outliers.

There was further sales growth in the United Kingdom but Spain reported a slight dip, mainly due to lower sales in education, Lagardère said. Lagardère said its publishing business faced "a particularly challenging fourth-quarter comparative", as the success of the Stephenie Meyer saga drove like-for-like sales growth to 6% in the fourth quarter of 2008.

ThomsonReuters (Press Release):

Glocer commented that 'the worse may be over'
Revenues from ongoing businesses were $3.2 billion, a decrease of 2% before currency and 4% after currency. IFRS revenues were down 4% after currency against the prior year period.

Underlying operating profit was up 3% to $711 million, with the related margin up 140 basis points, driven by the benefit of currency, integration-related savings and a continued commitment to strong cost management.

Adjusted earnings per share were $0.43 compared with $0.47 in the third quarter of 2008. The decline was due to higher integration-related spending, which is included in adjusted earnings but not underlying operating profit.

Borders announced that they would close the remaining mall stores by early 2010 (PR):

As part of Borders Group's ongoing strategy to right-size its Waldenbooks Specialty Retail segment and emerge with a smaller, more profitable mall chain in fiscal 2010, the retailer will close approximately 200 mall stores in January, leaving approximately 130 mall-based locations open. The list {of closures} is not final and is subject to change pending finalization of agreements over the coming weeks. Importantly, today's announcement regarding the mall business does not include Borders superstores or the company's seasonal mall kiosk business, which includes over 500 Day by Day Calendar Co. units, among other mall-based retail concepts.

Newscorp reported their results including improved results at Harpercollins (PR):

HarperCollins operating income of $20 million increased $17 million versus the same period a year ago due to higher sales at the Children's and General Books divisions, as well as reduced operating expenses from restructuring efforts in the prior year. First quarter results included strong sales of Where the Wild Things Are by Maurice Sendak, The Vampire Diaries by L.J. Smith and the paperback edition of The Story of Edgar Sawtelle by David Wroblewski. During the quarter, HarperCollins had 47 books on The New York Times bestseller list, including four books that reached the number 1 spot.

Torstar the parent of Harlequin reported (PR):

Book Publishing operating profit was $22.9 million in the third quarter of 2009, up $4.2 million from $18.7 million in the third quarter of 2008, including $2.0 million from the impact of foreign exchange. Year to date, Book Publishing operating profit was $63.1 million, up $9.9 million from $53.2 million in the first nine months of 2008, including $5.1 million from the favourable impact of foreign exchange. Underlying results were up in North America Direct-To-Consumer and down in North America Retail for both the third quarter and year to date. Overseas was down in the quarter but up year to date.

Torstar Reports Harlequin Performance

From Torstar's Quarterly report and reporting on the performance of Harlequin:

Book Publishing revenues were up $9.6 million in 2008 excluding the impact of foreign exchange.

• North America Retail was up $13.3 million,
• North America Direct-To- Consumer was down $6.4 million and
• Overseas was up $2.7 million.

Book Publishing operating profits were up $9.2 million in 2008 excluding the impact of foreign exchange.

• North America Retail was up $8.6 million,
• North America Direct-To- Consumer was down $0.6 million and
• Overseas was up $1.2 million. North America Retail operating profits were up $8.6 million in 2008.

The increase was driven by higher revenues, including the effect of positive adjustments to prior period returns provisions, with more books sold in both series and single title formats.

Significant progress has been made in improving the efficiency of the retail business resulting in a higher percentage of books sold relative to books distributed. Promotional spending was higher in 2008, supporting the higher revenues. North America Direct-To-Consumer operating profits were down $0.6 million in 2008.

The traditional direct-to-consumer business continued to face the challenge of a declining customer base which was reflected in the lower revenues. Offsetting the revenue decline from fewer direct mail customers were improved payment rates and lower promotional costs resulting from smaller, more effective, direct mail campaigns. Internet sales were higher in the year for both printed and digital books.

Harlequin continues to expand its digital book sales releasing all new North American titles, more than 100 each month, in digital format. Overseas operating profit was up $1.2 million in 2008 with growth in most markets.

In 2008, the Japanese operation entered into an agreement with SoftBank Creative Corp., (a division of Softbank Corp., one of the largest providers of cell phone services in Japan) to distribute digital manga (comic) content on cell phones and Internet distribution sites. Contribution from this business more than offset lower book sales in Japan. The U.K. business faced the challenge of increased printing costs as the Pound Sterling depreciated in value relative to the Euro as well as higher provisions for bad debts due to the bankruptcy of one of their distributors. The Nordic group continued their trend of the past two years with growth in their markets. Investment spending in India was up slightly in 2008 as the business was launched in the first quarter of the year.

Press Release

Romancing Rugby

I think I'm going to be ill. (Time)

Holly, a virgin and a waitress, was recently dumped by her fiancé, and the subsequent turmoil has fueled an addiction to chocolate wafers — and resulted in an expanding waistline. As her self-esteem tanks, she learns that she must serve dinner to Prince Casper of Santallia in a hospitality suite at Twickenham, the home of England's national rugby team. Within minutes the playboy prince starts making passes (and not of the sporting kind), Holly slides across a table, and, for the first time in her life, she feels like a "rider clinging to the back of a thoroughbred stallion." It's pure bliss until cameramen beam the encounter on the stadium's Jumbotrons.

Typically, England go on to loose.

Doing Over Mills & Boon

Mills and Boon, the UK romance publisher owned by Harlequin have contracted with an ad agency to revamp their book covers as part of a scheme to appeal to a younger audience. Stephen Brook in his blog post (Organgrinder) imagines what one ad exec in particular will be subjected to over the next several months as he comes to grips with the assignment.

As Caspar approached the office of the executive chairman to have a preliminary chat about the client he sensed something of a trap about his assignment. The whole agency had been delighted to win the account, but in the days following key executives had melted away, leaving him in charge.

"Nonsense, dear boy, this is a great British institution," the boss reassured him. "Mills & Boon are 100 years old, sell 7m books a year and are desperate. If you successfully bring them into the 21st century it will make your name. Think M&S and Twiggy. Think the Daily Telegraph and Will Lewis."

"Think big," the chairman urged. "Nothing is off limits. Cybersex. Love.co.uk. Eoghan and Diana. Take That elope with Girls Aloud. Go to town."

Stephen looks so good at this I think he has a cunning plan to ditch the Guardian gig. (I liked the TakeThat Girls Aloud one).

Harlequin Another Stable Performance

Robert Prichard, Torstar’s President and Chief Executive Officer called out the performance of Harlequin in an otherwise bleak performance for Torstar, “Harlequin had a solid quarter and remains on course for a good year of growth. We also enjoyed strong revenue growth in our digital businesses which are performing well." He went on to cite rising news print costs, pension costs and lower ad revenues which continue to impact their core newspaper business.

From the press release:

Book Publishing revenue was $118.1 million in the third quarter, up $2.4 million from $115.7 million in the same period last year. Higher revenues in North America Retail were offset by declines in North America Direct-To-Consumer and Overseas. Approximately one-half of the increase came from the favourable impact of foreign exchange rates in the quarter.

Book Publishing operating profit was $15.6 million in the third quarter of 2008, down $0.7 million from $16.3 million in 2007. The decrease was due to the unfavourable impact of foreign exchange rates as underlying results were flat. Year to date Book Publishing operating profit was $50.3 million in 2008, up $2.4 million from $47.9 million in 2007.

Further details from the management report:

Book Publishing revenues were up $1.2 billion in the third quarter of 2008 excluding the impact of foreign exchange. North America Retail was up $4.5 million, North America Direct-To-Consumer was down $2.2 million and Overseas was down $1.1 million. Year to date, Book Publishing revenues were up $3.6 million excluding the impact of foreign exchange. North America Retail was up $7.8 million, North America Direct-To-Consumer was down $4.8 million and Overseas was up $0.6 million.

Book Publishing operating profits were flat in the third quarter of 2008 excluding the impact of foreign exchange. North America Retail was up $0.4 million, North America Direct-To-Consumer was down $0.7 million and Overseas was up $0.3 million. Year to date Book Publishing operating profits were up $6.2 million excluding the impact of foreign exchange. North America Retail was up $5.6 million, North America Direct-To-Consumer was down $0.1 million and Overseas was up $0.7 million.

North America Retail operating profits were up $0.4 million in the third quarter with the continuation of the improved net sales rates and positive adjustments to returns provisions. The revenue growth in the quarter was offset by higher product costs and increased promotional spending.

North America Direct-To-Consumer operating profits were down $0.7 million in the third quarter from lower revenues. Revenue continued to be down in the quarter and year to date as the revenue growth from Internet book and digital sales was not sufficient to offset the decrease from fewer books sold in the traditional direct mail business. Lower costs, primarily reduced advertising and promotion spending in the traditional direct mail business offset some of the lower revenues in both the quarter and year to date.

Overseas operating profits were up $0.3 million in the third quarter of 2008 with the contribution from the sales of digital manga (comics) content to SoftBank Creative Corp., (a division of Softbank Corp., one of the largest providers of cell phone services in Japan) more than offsetting lower sales in other overseas markets. The lower sales are in part due to the direct-to-consumer businesses in certain overseas markets facing the same revenue challenges as the North America Direct-To-Consumer division.

Unfortunately, while you could argue that in the current environment these results reflect stability the issues noted are consistent with earnings reports for almost the past 24 months. There digital expansion shows a lot of promise but any potential 'break-out' seems unlikely given the pressure that the performance of Torstar implies for this operating unit. (The forex impact both negative and positive on Harlequins performance makes the picture a little murky).

Harlequin Launch Reader Panel

There is a dearth of valuable primary research in publishing and Harlequin has decided to take matters into their own hand by creating a reader panel to advise on product development and new ideas. From their press release:

Tell Harlequin is an online advisory panel designed to enhance Harlequin's relationship with its readers through an ongoing dialogue whose insights will help guide the evolution of the publisher's business and allow Harlequin to publish the best in women's fiction. Participants on the Tell Harlequin panel can make their voices heard on topics such as cover designs, new miniseries ideas, new series concepts, new promotional ideas and more. The staff at Harlequin will then consider Tell Harlequin suggestions along with the publisher's own plans as it develops editorial for the future. Contributors to Tell Harlequin receive free Harlequin novels and sneak peeks at upcoming books, participate in entertainingonline surveys and exchange opinions and ideas with other readers.

There are fundamental difficulties in managing programs like this. Harlequin will need to mitigate the natural 'need to please' of its participants who in the case of Harlequin love the brand so much they may not be cold hearted, critical or incisive enough for this to be valuable. On the other hand, assuming there is an awareness of the difficulties then this program could benefit the company as it is vital that direct communication with customers supports product development.

Harlequin Shows Disappointing Form

Torstar the owner of Harlequin published their first quarter results this morning showing Harlequin revenues fell $15mm versus the prior period. $11mm of the short fall was due to the decreased value of the US dollar versus the loonie. The company also suggested that the comparison favored a much stronger first quarter 2007 when Harlequin had a stronger publishing schedule. (I believe this is the same 'publishing schedule' that strategically they have looked to trim). Reported revenue was $109.7 million in the first quarter, down $14.8 million from $124.5 million in the same period last year. (In 2006, 1Q revenues were $116mm. Under lying revenue growth for the 2007 quarter was only up $1mm with forex delivering a $5mm gain on the 2006 level).

First quarter underlying revenues have been a mixed bag at Harlequin over the past four years: Up big in 2006, down big in 2008 and 2005 and it is hard to discern any real pattern.

The following is from their press release:

Book Publishing revenues were down $3.9 million in the first quarter of 2008 excluding the impact of foreign exchange. North America Retail was down $2.8 million, North America Direct-To-Consumer was down $1.2 million and Overseas was up $0.1 million. Book Publishing operating profits were down $0.6 million in the first quarter of 2008 excluding the impact of foreign exchange. North America Retail was flat, North America Direct-To-Consumer was up $0.3 million and Overseas was down $0.9 million.

Torstar stated that "Harlequin’s outlook is positive" except if there is a major economic down turn in the US. (Which I believe we are in). Any further decrease in the value of the dollar will continue to result in a material impact on results. As an aside, the company doesn't note any hedge against the US dollar fall which seems somewhat irresponsible given the US outlook although they have hedged in the past. The company went on to state that "Harlequin is also experiencing accelerating progress with its digital media strategy which will contribute to earnings growth in 2008 and beyond."

Operating profit was also impacted by the unfavorable impact of foreign exchange. Operating profit of $16.2 million in the first quarter of 2008, down $2.9 million from $19.1 million in 2007 including a decrease of $2.3 million from the unfavourable impact of foreign exchange rates.

Torstar announced a restructuring program earlier this month but Harlequin was not mentioned.

Harlequin Improved

Harlequin revenues were flat for the full year 2007 versus 2006. Revenues of $462mm versus $471mm in the prior period were negatively impacted by foreign currency which accounted for almost the entire variance. EBITDA showed some improvement with 2007 results of $65mm versus $63mm. Excluding the impact of Forex EBITDA was $6.3mm better than 2007.
From their press release:

Excluding the impact of For Ex:

• Overall Book Publishing revenues were down $1.0 million in 2007
• North America Retail revenues were up $3.6 million
• North America Direct-To-Consumer revenues were down $5.0 million
• Overseas were up $0.4 million
  
• Overall Book Publishing operating profits were up $6.3 million
• North America Retail operating profit was up $5.8 million
• North America Direct-To-Consumer operating profit was up $2.2 million
• Overseas operating profit was down $1.7million

The company has spoken about their efforts to manage expenses in the North American business and they seem to have made some impact in that direction with the improved operating margins. Additionally, the company was not beset by any unforeseen operating issues that bedeviled them in prior years (like the bankruptcy of a distributor). The company also said that improved sales via the internet - primarily direct to home - price increases and lower (presumably more effective) promotional spending also supported the better margin performance.

It appears the company is focusing now on improving their international operations which appear problematic. The company recently announced an expansion of their efforts in Indian, which is not material in their current results, but they must also look to improve results in Japan and the UK. In both these countries there appears to be a shift in how consumers interact with Harelquin (Mills & Boon) with decreases in direct to home in the UK as an example. The company will look to use their experience in the US to improve the UK market. In Japan the company is experimenting with Manga versions and mobile phone distribution but as yet these efforts have not been significant to offset the decline in core sales.

Press Release

Of note also, is that Torstar the corporate entity that owns Harlequin also posted solid results especially in light of the declines in newspaper properties. Torstar revenue of $1,546.5 million grew 1% and EBITDA of $225million grew 11.5%. The company stated that all their primary operating units performed well.

Mills & Boon in India

The BBC takes up the story of Mills & Boon (Harlequin) entering the Indian market which I noted a few weeks ago. Link

Although Mills and Boon - which has nearly three-quarters of the romantic market in its home country of the UK - is only now launching in India, their books are already popular in the country because they have been unofficially introduced from abroad.
Many in the reading group describe themselves as long-time readers.

Reading groups members acknowledge the stories are fanciful. Rachana Srivastava, for example, says that she grew up on a "staple diet" of the publisher's works, which have moulded her perception of the ideal man.

My post: Hold on to your Sari (I really only note it because I was particularly proud of my headline).

Hold on to your Sari

Reaction to the news that Mills & Boone are entering the Indian marketplace with a direct publishing operation could elicit a 'Duh!' especially, if you had any exposure to a Bollywood movie. Harlequin, owners of M&B has announced that they will be publishing locally produced romance titles in India later this year. The task looks slated for success on a number of fronts not least of which are the potential size of the Indian market and the veritable feast of potential story derivations. In fact, all they will need to do is copy the scripts of the 300 or so movies that are released each year and they will be on a winner.

From the TimesOnline:

“India is crazy about true romance,” Andrew Go, the head of the Indian operation, said. “Look at the basic Bollywood plot: boy meets girl; conflict; happy ending. We carry across that trend. We say we sell four books a second, Actually it’s 4.4. If I can take that to five, I’m a hero.”

India has the potential to hit Mr Go’s target: the popularity of the country’s lending libraries is declining as India’s burgeoning middle class opts to buy rather than borrow.

Interestingly, the expectation for success continues to rely on printed products. It will be interesting to see if Harlequin sees more rapid growth in their electronic products in this market where travel and access to products is still a challenge.

The company plans to follow formula similar to their developed markets which will include solicitation of local authors. They intend to offer some guideance to aspiring authors on the site. One thing they will change is to lower the hear somewhat which is unlikely to please Richard Gere.

Harlequin (Torstar) Reports

The revival at Harlequin continues as the company posted slightly improved underlying revenue growth and improved operating margins versus the same period last year. For the parent company Torstar, revenue was stable with prior year (up $3mm on revenues of $369mm). The company will be pleased that revenues improved in their Metroland Media Group and Digital properties. Operating profit for Torstar improved by $14.1mm for the quarter.

A significant proportion of Harlequin revenues are booked in US $ and as a result their underlying revenue improvement of $0.7mm was offset by more than $3.8mm in unfavorable foreign exchange impact. Operating profit for publishing improved 13% to $16.3mm for the quarter. Underlying profit without the impact of foreign exchange was slightly better.

Harlequin management expect the division to continue the improvements they have seen this year; however, underlying results will continue to be adversely impacted by the weak US $. The company also noted that the fourth quarter North America Retail publishing schedule is not expected to be as strong as compared with 2006. Possibly of deeper worry to the company is how to improve results in their Overseas markets particularly the UK where the company owns Mills and Boone.

Harlequin’s publishing operations are composed of three divisions: North America Retail, North America Direct-To-Consumer and Overseas.

Highlights:

Book Publishing operating profits were up $2.5 million in the third quarter of 2007 excluding the impact of foreign exchange.

• North America Retail was up $2.6 million
• North America Direct-To-Consumer was up $0.5 million
• Overseas was down $0.6 million

Year to date, Book Publishing revenues were up $2.1 million excluding the impact of foreign exchange.

• North America Retail was up $4.9 million
• North America Direct-To-Consumer was down $4.9 million
• Overseas was up $2.1 million

Year to date, Book Publishing operating profits were up $8.0 million excluding the impact of foreign exchange.

• North America Retail was up $6.8 million
• North America Direct-To-Consumer was up $1.2 million
• Overseas was flat.

Year to date, EBITDA was up $6.3 million excluding the impact of foreign exchange.

North America Retail had a strong third quarter with price increases on selected series product lines, a strong publishing program and cost savings. The number of books sold was down slightly in the quarter. Cost savings included lower advertising and promotional costs and $0.5 million of lower depreciation and amortization.North America Direct-To-Consumer revenue was down in the third quarter of2007 primarily from declines in a children’s direct-to-home continuity program.

In the core Direct-To-Consumer business, revenue was flat in the quarter as the series price increase offset lower volumes. Lower advertising and promotion costs associated with the fall 2007 mailing provided the third quarter profit improvement.

The Overseas markets continued with mixed results during the third quarter.Year to date the Nordic group is up 30%, the U.K. is flat and Japan is down with challenges in the core series book market more than offsetting growth in single titles and digital products.

Five Questions with Harlequin

Five Questions with Harlequin (I ♥ Presents)

At Harlequin there is good news on multiple fronts as Harlequin’s financial performance improves and their e-publishing initiatives are showing real signs of resiliency and development. Harlequin began their e-book program in October 2005 when they launched 9 titles and the company announced last week that all front list titles will have e-book versions. To spur growth and motivate buyers the titles are priced below the list price of print titles. As many know, the Harlequin community is incredibly loyal and by accounts read more than 2x as many books as a typical reader. The e-book customer is little different in their (her) dedication: She is willing to overcome the invariable technology issues of e-books to enjoy the benefits of e-books and loves the immediacy and portability that the e-book format enables.

In addition to e-books being available at all known e-retailers and in all formats, the company is also experimenting with content on mobile phones. This distribution method has been insanely popular in Japan and Harlequin has launched a monthly subscription offer that includes chapters, games, polls and reading lists. Priced at $2.49 it is competitive.

The Harlequin community has always been cohesive and eharlequin.com their web community site is now 10 years old. The site traffic is significant with ¾ million page views per month: What other publisher has traffic that large? Currently they receive over 20,000 posts per month discussing and reviewing books, interacting with editors and even pitching their own titles: Fifteen members sold books to Harlequin in 2006.

Yet another more recent initiative is Harlequin Presents (I ♥ Presents) which was launched in February 2007. Among the features, editors and writers post blogs and interact with readers who comment on average 13 comments per blog post. Harlequin has a built in advantage in developing social networking but they could have fumbled it. What is increasingly clear is that they are the dark horse in publisher’s race to engage their customers. Harlequin is proving that social networking will improve reader engagement, has the potential to turn customers into product ambassadors and facilitates two way communication between publisher and customer. Harlequin’s branding is well known in print but they are increasingly making it known online.

And with that intro, I asked Malle Vallik, Harlequin's director of digital content my five questions:

1. Harlequin has always been about community and somewhat 'cultish' in the level of obsessiveness of its readers. Is that an accurate description?

The majority of our readers are avid readers and incredibly knowledgeable about both our authors and our various series. A Harlequin Presents reader loves her Harlequin Presents stories, has favorite themes (like Mediterranean heroes) and knows when the books are available for sale. She shows up on the date the book goes on sale in a bookstore or mass merchandiser and at online retailers on the first of the month when the new titles are released.

Moreoever, our readers do like to share their thoughts about the books; that is what community and all the other new social media platforms offer – a means to connect readers from around the world and authors to readers.

2. Harlequin is doing a lot in online community building and social networking, is the ability to leverage these new technology tools a dream come true for Harlequin in that you are able to build immediate and direct relationships with highly responsive customers? Has this been all good? Tell us how it has it fostered changes in the organization.

Overall, it’s fantastic! You have basically hit the nail on the head. We can build immediate and direct relationships on a global scale. We can connect readers from Texas to Switzerland and connect readers to authors no matter where they are in the world.

We can also connect aspiring authors to our editorial team. Our community hosts writing events from authors along with editor meetings and pitches.

3. What new markets have opened up for Harlequin due to your web initiatives? Any surprises - like men as readers for example. Are these markets segments - narrower elements of existing markets - or are they completely new to Harlequin?

We have been able to create new products specifically for the digital market, whether it is bundles combining several titles together like the NYT bestselling author Jennifer Crusie 4 novel bundle. Or a bundle that makes shopping easier – what we call a one-click bundle. You can get all 8 Presents novels published in one month, with just one click and one download!

We launched the Harlequin Mini, a short story, available only as an eBook in August 2006, and launched Spice Briefs, short erotica, a spin off from our Spice imprint, again available only in eBooks in August 2007. We are publishing 2 – 3 Spice Briefs every month and are publishing both new and existing authors.

Perhaps our biggest surprise is how willingly women are approaching eBooks. It is still a very small part of our business but clearly a big growth area for the future.

4. Do authors bring you new ideas for using networking and the internet in new ways? Does what you do on the web result in new content? How much user content is solicited and used?

Yes, authors bring us new ideas. We work very closely together as a partnership with our authors: we have a website exclusive available to our authors where we offer suggestions on how to use digital more effectively and authors also contribute their case studies and ideas here. This is a collaborative learning experience for us both as we figure out how to maximize time commitment to return.

5. What is next for Harlequin on-line and social networking?

We just launched 100% frontlist in eBooks

We have launched the Harlequin Author Spotlight podcasts and will be soon launching a series of podcasts on how to write romance novels.

We are strengthening and expanding the back end power of our community by building a new platform that will be much more richly integrated into our website and let community members create meaningful profiles that include links to other social media.

We held our first author reading in Second Life yesterday, September 25 with author M.J. Rose, THE REINCARNATIONIST.

We have plans to acquire more eBook only content and other interesting new content for eBooks, create a new kind of eBook (more details to come!) and to continue to work with authors to launch more blogs.

Harlequin Make All Titles Available For Download

Perhaps time to clear off some space on your MP3 player as Harlequin announced this week that all their titles will now be available for download. Harlequin has pressed ahead in the last two years or so with a number of aggressive electronic publishing and social networking programs and this is a continuation of that process. The initiative will include every line and every title which is about 120 titles per month.

From the press release:

"Women have embraced eBooks," says Malle Vallik, Director Digital Content & Interactivity. "They demand portability, immediacy, availability, depth, breadth and convenience and, by making our entire front list and exclusive digital editorial available to them, we are meeting that challenge. We are meeting the needs of our current audience and reaching a new and diverse base of readers. Seeking innovative new ways to serve our audience continues to be a Harlequin tradition."

Eharlequin.com

Harlequin is Torstar's Waking Beauty

The McClatchy’s, the Chandler’s, the Bancroft’s: Is the family that owns Canada’s largest newspaper by circulation The Toronto Star the next to evacuate the newspaper business? Cash cows with seeming locked-in revenue growth for decades, these businesses provided expansive income for the growing web of family members over the years, and they also enabled particular social and political agendas to comfort their sense of responsibility.

Revenues have stagnated, and perhaps some bad decisions can’t be so readily ignored nor radical changes in business models experimented with since revenue growth is no longer a luxury they can take for granted. Younger members of the family don’t share a cohesive sense of mission and grow skittish at any suggestion the nest egg some may have yet to get may be waning. Quarter by quarter management runs out of ways to describe their ‘difficult’ business environment as circulation drops, display ads decrease and classified ads migrate to craigslist and monster.com.

Torstar is controlled by five families who own ‘A’ shares in the Torstar two share structure. 'A' shares hold all voting rights. B shares have none. Only a member of one of the five families can own A shares meaning that if A shares are sold and are purchased by someone other than a family member they become B shares with no voting rights. Torstar owns The Toronto Star, a stable of community newspapers in Ontario, a percentage in a Canadian broadcaster and the publisher Harlequin. The company is not reported to be for sale even though there has been a natural increase in interest in the company given the churn in newspaper properties south of the border.

On their earnings call last week, the company warned against investors believing the company could sell-up: "I would never counsel someone to acquire Torstar shares on the assumption that there will be a transformational transaction with respect to the ownership of the company," Torstar chief executive officer Rob Prichard said while discussing the second quarter.

Nevertheless, rumors circulate within the company especially as a result of an investment by Fairfax Financial Holdings Ltd. which bought 5.4 million non-voting shares earlier this year. Fairfax owns over 18% of class B shares but has said this represents a long term investment and they are not looking to influence the board. Torstar shares have traded in the low C$20 range but some analysts have suggested it could be valued at C$30+ per share.

Harlequin was founded in 1949 as a general trade publisher and morphed into the romance publisher we know today by acquiring publishing rights to Mills and Boone titles during the 1950s. As the popularity of these titles grew they began publishing their own romance titles and eventually acquired Mills and Boone. Torstar purchased 52% of the company in 1975 and until recently Harlequin has been a strong financial performer for Torstar.

In my view, Harlequin is a lost jewel of the publishing industry in the sense that no major publisher has set its sights on acquiring the company. Some have attempted it and difficulties exist particularly with the Canadian ownership requirements that preclude a foreign company from buying a Canadian company; however, with the recent acquisition of Thomson Learning which was (is) also a Canadian company a deal could be constructed that satisfies the legal requirements. Unfortunately, from a Torstar perspective selling Harlequin may not be in their interests because as the Harlequin business improves – and recent results indicate they will – then Harlequin may be responsible for a significant amount of the earnings growth the company can be assured of as their core newspaper business continues to falter.

On projected 2007 revenues of CN$475mm and projected operating profit of CN$65mm the company could be worth CN$500mm. They could generate a higher multiple since they have been able to push margins over 18%. The current Torstar market cap is C$1.3billion which might indicate that the current share price does not reflect a realistic valuation for Harlequin (or the valuation on the newspaper is depressing the share price which seems more likely). It remains to be seen if there is any action here, but on a positive note, Harlequin seems to be improving financially and broadening their revenue base to include the Internet and e-book publishing.

Some of the Torstar family members may be casting about for their own ‘Murdoch-like’ acquirer. Coincidentally, Independent News and Media which owns newspapers in the UK, Ireland, New Zealand and elsewhere could be a candidate. The company is controlled by Sir Anthony O’Reilly who could be more than interested in adding The Toronto Star to the portfolio.

Harlequin Reports

Torstar the owner of Harlequin reported marginally higher revenues against the same period last year for the Harlequin operating unit. They expect full year revenues to continue to improve against a 'difficult' 2006. Torstar's main revenues are generated by newspaper advertising revenues which continue to fall (as is the case with most North American newspapers). Overall the newspaper group's revenues rose just less than 2% for the quarter versus the same period last year.

Harlequin has been under-going a reorganization which began earlier last year and in the quarter operating profit was up 20% from $10.2mm to $12.5; however, the company also stated that operating profits in 2006 were artificially low due to shipping problems. (Torstar Press Release). First quarter revenues were up $6.2mm but included $5.1mm in exchange rate benefit. Second quarter revenues were up $1.4 including a gain of $0.9mm in exchange rate fluctuation. For the first six months Harlequin revenues are up only $1.4mm at constant rates on total revenues for the six months of $240.4mm (less than 1%). Operating income, where it looks like efficiencies are having some impact is $31.6mm for the first half which represents a 25% increase and an operating margin improvement from 11% to 13%. (There was an $0.8mm exchange benefit in operating income).

Details on the company's operating issues is sparse but it does look like the company continues to have difficulty expanding their revenue base. The lack of revenue growth is clearly the story here with the company struggling over the past several quarters to burst out of the doldrums. They have commented that mass market continues to be a difficult market for them and it would be interesting to hear from the company how some of their new sources of revenue - particularly online - are doing. Some of the things they are doing with online community building and leveraging their brand online are truly exciting and innovative but strangely lacking in the company reports.

Everyone knows this is a company with a tremendous brand name and image: With many other trade publisher's (with far less brand strength) reporting good to strong growth in revenue and operating income in the last few weeks it seems Harlequin are not performing to expectations.

Gather The Romance Authors

Gather.com is looking to find the great american romance novelist (my words). The company has teamed with Pocket Books (Simon & Schuster) to launch a writing contest, the winner of which will win a publishing contract.

Would-be novelists have until late August to submit manuscripts to romancenovel@gatherinc.com, and Gather.com members will have a say in selecting the winner, the company said.

Some of you will recall that Gather.com launched a similar competition earlier this year that resulted in a mystery writer winning a contract.

In this case, I doubt they will get anything like the kind of substantial and repeat participation that Harlequin gets from their eharlequin.com site. More on this next week.

Weekly Update

As mentioned London Bookfair is next week and posts will be sporadic.

Deal News:
Wicks buys Thomson Education Direct (Distant Learning) Times Tribune
Torstar may be under attack and what of Harlequin? National Post
A possible buyer of the Borders' Australia and New Zealand stores. NZ Herald
Media finance conference in Europe announced. Release
Buyers are less then enthused with Primedia enthusiast magazines. Reuters
Reed Elsevier advised to gear up. The Independent
Nancy McKinstry thinks Germany is ripe for new deals. Reuters
Axel Springer likely to do more deals soon (doubtful in publishing). The Australian

Google News
Lorcan Dempsey linking to comment on Google and Publishers Blog
Adam Hodgkin on publishers grumbling about Google Blog

Education:
Harcourt have had a lot of problems in School academic testing this year. Casper Trib. ZDNET
Thomson revolutionizes marketing text Release
There will be more on this: Wikipedea 'broken beyond repair' according to founder. ITNews

Other News:
Penguin obsession Blog
Peter Brantley's lively discussion over a $58 Paperback Blog
Mike Hyatt on Imprints and the decision to do away with them Blog
GalleyCat linking to a Bookseller article about what works here but not there. Blog
Joe Wikert gets all riled up about the logic of Print Blog
Reed Elsevier can't trade mark 'Lawyers.com' Bloomberg
SmartMoney wonders why no one is excited about Gannett. Smartmoney
The commercial E-Book market is broken. Blog

People:
McGraw Hill Hire Dan Caton as Head of Learning Group Release
New Board Members for SIIA. Release
Riverdeep/Houghton Mifflin announce appointment of President. Release

Sport:
Man Utd into the Champions League semi-final in style BBC

Harlequin: An Augmented Man Is Good to Find

If you happen to be in Toronto this weekend and you are male you may want to try out for the open 'casting call' to be a cover model. Apparently, they are having difficulty finding the right sort of bloke and are going to look beyond the typical modeling agency fodder and take walk-ins. The modelling agency hurdle had always been my biggest obstacle but sadly I am not able to make it to Canada this weekend. Regardless, the rather sizable 'alternate lifestyle' community of Toronto should have some fun with this one. From The National Post:

"Ms. Reynolds also said Harlequin, which typically relies on a male protagonist of chiselled physique for its titles such as Slow Hand Luke and Jack & Jilted, is often looking for more muscular models that her agency typically wouldn't carry. "It's difficult because we only have a limited pool of guys who might be able to--even if they're slightly augmented -- look right. It's easier for us to provide the James Bond guy or the New York, sophisticated-businessman guy."

"Peter Duck, a professor in Ryerson University's School of Fashion, said he was not surprised to learn Harlequin is facing a shortage of manly models, given trends in the fashion industry. "The agencies, I'm sure they're getting this look that's been popular for the last few years, which is very skinny, tall and young."

I swear that was the first cover I came across.