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In 2008, Judy Piatkis walked into Daunt Books in London.

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She picked up a book from the display table.

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Financial markets were melting down the world over, and she couldn't help smiling.

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She smiled not because of the financial tumult, but because the year before, she had commissioned

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the very book that she held in her hand, The Great Crash.

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That book demonstrated for her both her own and her company's hard work over the last

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28 years, and her good fortune.

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Even more than the book, seeing it reminded her that she had sold her company at just

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the right time.

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Hello listeners, my name is Will Jokey, and welcome to I'll Probably Delete This, the

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show where we tell the story of people who bet their livelihoods on telling great stories

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and publishing books.

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Today we cover the journey of a woman who bootstrapped her way into creating two successful

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London publishing companies.

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We will use as our guide Judy Piatkis' 2021 memoir called Ahead of Her Time.

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Let's start with the book blurb.

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Judy Piatkis launched Piatkis Books at a time when women were not expected to be entrepreneurs.

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With no university degree, professional qualifications, or financial backing, she taught herself how

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to be a publisher while also looking after her young family that included a child with

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severe cerebral palsy.

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This is the story of how Judy and her team built Piatkis from a startup operating out

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of her spare room into a self-help empire.

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She founded Piatkis Books when she was in her twenties and grew the company to become

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an internationally recognized brand before selling it in 2007, just before the global

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financial crisis.

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So that was from the blurb on the back of the book.

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Join me now as we hear how she went from teenage typist and failed literary agent to then build

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one company focused on selling backlist titles to libraries and then another, a publishing

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house that she put her name on.

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Piatkis Books did it all from building an international brand to publishing perennial

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bestseller Nora Roberts.

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For our story, we are very much going to focus on how Judy got started in her career and

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kind of the early days of her founding a publishing house.

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We'll talk about some of her successes and struggles after that, but I really want to

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focus on the early years and her start because oftentimes we see people and we think of them

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as a finished product or they've always been this way and that's never the case.

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They always started somewhere.

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They always had struggles.

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Judy Piatkis is certainly no different.

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Let's start just really briefly then with school.

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If you've studied entrepreneurs, you've probably seen that many successful founders struggle

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in school or are uninterested.

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They are ambitious and want to get inventing or building or earning or exploring.

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They are driven to do things in the world.

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Judy had some of that.

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When she was young, she was identified as smart enough to skip a grade and got a scholarship

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to a private school, but she didn't do enough in high school in her A levels to attend university,

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partly because she was too interested in partying to get good grades.

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She also later credits skipping a grade with part of the reason that she never particularly

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excelled at math.

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She never really filled in all of the deficit that she missed when she skipped a year of

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math.

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Instead of university, she started working.

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More through happenstance, she started working as a typist for a publishing house and probably

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not a particularly good typist either.

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In those first few years out of school, she cycled through a number of entry-level jobs

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in publishing.

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At 21, she worked in publicity at publishing house Robert Hale and got to wine and dine

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literary editors.

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From the editor's perspective, presumably talking to an energetic young woman over lunch

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was an upgrade on what they had been doing before.

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To earn more money, she also offered to read manuscripts at night and on weekends, but

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she found that her tastes in books were more commercial than kind of the highbrow literary

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fiction that Robert Hale was publishing.

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While there, she also opened a literary agency on the side, but when a book editor reached

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out inquiring what clients she had, she and her partner agreed that they didn't have enough

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experience to actually make a go of it.

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That sort of the gig was up and they ended up shutting down this agency before it had

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done any real business.

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After that, she realized it was time for her to get more experience and so she moved and

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continued cycling through different jobs in publishing.

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One of her next jobs was this time at a literary agency.

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While at the agency, a brand new book publisher reached out to ask the agency if it had any

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out of print titles that this new publishing company could re-release.

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Piatkus raised her hand.

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She volunteered to go through the back catalog to identify possible books.

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She identified several in the agency's back catalog that might be appealing to the publishing

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company to print.

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The company did take a number of them from that list and re-release them.

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What this did is it grew revenue for the agency, grew profits, and also brought more revenue

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and more money to the authors that were selected.

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Another thing she did is she reached out to a newspaper advice columnist.

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One of the things I learned in reading the book is that in British phrasing, they talk

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about advice columnists as agony ants.

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She reached out to an agony ant about whether she was interested in writing a book.

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She commissioned her, she signed her to the agency.

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Both of those things, kind of looking through the back catalog and reaching out and proactively

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finding an author, brought in new revenue to the agency and earned her a raise.

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Now Judy is 24 years old, it is 1974, and she and a partner, Edwin Buchhalter, co-found

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a new publishing house, Severn House.

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By this time, Judy had been working in publishing for five years.

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Her partner was the son of a London bookseller, so he had exposure to the business.

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That wasn't true for her, she was the daughter of a homemaker, her father was a businessman

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doing building construction, he was in the building trade.

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She and Edwin then start a new business, Severn House.

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They agreed to put forward £5,000 in capital and that each of them would bring half, so

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each had to come up with £2,500.

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She was pretty frugal and could come up with £2,000 on her own, but she had to borrow

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£500 from her parents to cover her half.

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And the two of them, Edward and Judy, split the business ownership 50-50.

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The business of Severn House was to start in a niche, and their niche was to sell to

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libraries.

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Specifically to start, they wanted to find out-of-print books from popular authors who

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were popular now, but maybe their early books hadn't been.

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And often this would be early career overlooked books that people may be interested in now

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that the author was popular.

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The other niche was, or the other thing they were looking for, is books that had previously

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sold well and been popular, but were now out of print.

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There are a couple things to know from this, is their niche is very narrow.

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They're selling to libraries, so they're selling hardback books.

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And notably, Severn didn't have to provide the books and didn't provide the books directly

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to the library, because each library often had its own requirements related to covers

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and to binding.

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So Severn House went through middlemen wholesalers, and the wholesalers were Severn's customers.

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One of the things the model reminds me of is a little bit like Ingram's book depository

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business.

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The libraries were steady customers, the wholesalers ordered early, they were dependable, they

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paid on time.

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Similar to what Ingram had in the book depository business when it started.

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And obviously there was also public money involved, so for Ingram it was school systems,

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for here it's libraries.

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To keep expenses down, the two of them were the company's only employees, and they both

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worked from their homes.

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So no corporate offices, no employees.

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The model proved successful.

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They published a couple of books every month, libraries grew to trust them and liked the

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books that they offered.

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The company grew, as they grew they added office space and employees.

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But as they grew after a couple years, and now they're working in the same space, there

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was increasing tension between Judy and her co-founder.

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And Judy found that the work and the environment had become less fun.

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Finally, Judy approaches Buckhalter and tells him, it's time for you to buy me out.

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It's 1978, and Edwin Buckhalter agreed to buy Judy's half of the business.

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They have an outside party, value the firm, and they settle on £50,000 to be paid over

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the course of 24 months.

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To receive £50,000 after four years of founding and running the company was a really fantastic

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return on her initial investment of £2,500 just the four years before.

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She increased her investment 20x.

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But much of her profit was eaten up in taxes, particularly at the time in the late 70s.

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Even after taxes though, she now had money and some time to think and decide what she

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wanted to do next.

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As a condition of the sale of her ownership in Severn House, she was free to start a new

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publishing house as long as she didn't try to take any of the authors that Severn had.

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She couldn't try to poach anybody from their roster.

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In 1978, after some thought and some time off, and time with her family and her kids,

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Judy was in her late 20s, but now had 10 years of experience in publishing.

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And so she started a new company, and she names it this time, she names it after herself,

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Piatkas Books.

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She started it again in the same niche, selling backlist books to libraries.

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Then she's running the same playbook.

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She worked out of her home, she kept costs low, initially she took no salary, and was

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very slow to hire.

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Her goal was to publish four books each month.

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She started in the same niche, but over time she expanded.

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She expanded beyond that initial niche, and little by little, built Piatkas Books into

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a full service publishing house.

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Part of what we'll cover is sort of the story of how step by step she gets there.

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And the first expansion comes pretty early.

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Her first expansion in the niche was, there was a new wave that she found for the publishing

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company to ride, and that wave was mass market paperbacks.

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If you know the history of publishing in the 70s and the 80s, many genre publishers think

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mystery or science fiction or romance publishers were publishing straight to paperback without

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first publishing a hardback book.

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Traditionally, there would be a hardback first, and then maybe a paperback would follow.

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And they were skipping the hardback and trying to hit a different price point and appeal

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to different readers.

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And these paperbacks were called mass market paperbacks.

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Piatkas contacted those publishers and offered to publish their books in hardback for libraries.

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This would open up a new market for these genre publishers.

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Very early, she was able to get a number of bestselling American authors, including V.C.

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Andrews and the perennial bestseller, even now, Danielle Steele.

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Notably in the contracts, Piatkas got the right to sell books not just to libraries,

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but also to book clubs.

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So that's sort of the one piece of initial expansion.

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A big benefit of this niche of publishing, kind of publishing the hardback version of

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a popular mass market paperback, is that Piatkas Books didn't need to do any marketing of the

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books it published.

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Instead, they could just ride on the coattails of the marketing and promotion that the genre

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publishers were already doing for the paperbacks.

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Libraries and book clubs knew about the books and were happy to order them in hardback from

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Piatkas because they knew that their customers or their patrons would be interested.

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Book clubs became a valuable tool for her publishing house, even though selling to them

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meant selling at a big discount.

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The benefit was that selling to book clubs meant that Piatkas could do larger initial

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print runs.

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Larger print runs meant lower cost to print, meant better unit economics, and hopefully

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a better margin.

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And this is something that comes up in the Harvard Business Review case study that we

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talked about in the James Patterson episode.

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And running this playbook, sort of starting with this model, shows early signs of success.

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In its first full year, so kind of 1980, Piatkas Books brought in 180,000 pounds in revenue

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and was able to turn a profit.

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As the company grew, she continued to be very frugal.

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So instead of office space, with each new hire, she added a new desk to her house.

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Everybody worked out of her house or they worked remotely.

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It's kind of notable to me that in the early 1980s, she was essentially doing telework

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without email or teleconferencing.

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Eventually she started to run out of space.

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I think at last count she had six desks crammed into a room in her house.

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Within five years of launching, Piatkas had revenue of one million pounds.

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Six years after launching, she bought a townhouse to serve as the office building for the company.

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Owning three floors on Windmill Street in London, very near the British Museum.

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It gave the company 2,800 square feet and she paid 118,000 pounds for the building.

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They were at that time still publishing four novels each month.

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Before we wrap, I want to cover a few more things about Piatkas Books expanding their

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various niches.

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So we talked about book clubs already.

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Their next big venture was they tackled original nonfiction and then from there they moved

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to originating original fiction in the UK market.

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They also expanded to other English language markets covering Ireland, New Zealand, Australia

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and South Africa.

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And each time they made an expansion, they tried to use the experience in a related line

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of publishing to help them as they moved into a new one.

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In terms of nonfiction, they published a lot of cookbooks.

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Notable maybe to American audiences is they published a number of cookbooks by Mary Berry

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who you might know from the Great British Bake Off.

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They did lots of cookbooks.

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They began to specialize in down market fiction targeted at women.

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Women's lit, sometimes it was called chick lit that actually became a term of art in

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publishing.

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They did a number of books on kind of Jewish heritage books and then as I already said

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cookbooks.

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They also began to expand into self-help and new age books, which from the biography or

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the memoir Judy found particularly interesting and timely and compelling.

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I did check her Twitter recently and that's much of what she was posting about as sort

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of books related to kind of astrology and other things like that.

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I did want to include a really interesting story or one that I found interesting.

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Is that they wanted to move, so initially their focus had been hardback books and particularly

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hardback books being sold to libraries.

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And they were in their effort to expand to be kind of a full service publishing house.

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They wanted to expand from hardback to paperback.

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They wanted to be a fiction paperback publisher.

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And what they did is they developed a cover design for the various books and they wanted

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it to be eye catching.

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Their cover had yellow and pink stripes.

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And Judy thought rightly that the most important piece of marketing is the cover.

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And so they wanted a cover that would really get people's attention.

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A number of stores who they had partnered with ordered the paperbacks and the initial

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response from the stores was really positive.

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But the books didn't sell.

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The bookstores had ordered the paperbacks because they liked the company and wanted

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to be supportive.

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And one of Judy's takeaways is that they could have saved themselves from the costly

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mistake that it was.

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And it was costly because most of the paperback books that they had ordered ended up being

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returned to them because people weren't interested in buying them.

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Her takeaway is that they could have saved themselves much of the headache and the loss

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simply by asking the store representatives what they thought of the covers before they

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ended up printing them and shipping them.

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So early on, early feedback would have helped and likely save them from the very costly

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failure that they had.

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In terms of books, one of the notable authors that Piatkus publishes is Nora Roberts and

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her pseudonym JD Robb.

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And Nora Roberts is a perennial bestseller.

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In some ways she mirrors kind of James Patterson in just the number of books that she gets

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out every year.

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And they're almost always guaranteed to be on the bestsellers list.

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Nora Roberts' agent had reached out because Nora Roberts had been unhappy with her sales

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in the United Kingdom and kind of English-speaking countries outside of the U.S.

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And by this point in the 2000s, they did a lot to market the books.

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They did advertisements on the subway station on the Tube.

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They did ads in women's magazines.

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They made a deal with the Evening Standard newspaper to provide 20,000 copies of JD Robb

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books to hand out to London commuters.

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So really a full court press.

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And over time, they're able to increase sales from where they had been and increase her

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notoriety within the market.

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They're able to reach number one, I think, in New Zealand, in Australia, in South Africa,

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but they were never quite able to do it in the United Kingdom.

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One of the reasons to spend a little bit of time mentioning Nora Roberts and JD Robb is

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they became a very significant part of the Piatkas business.

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In a given year, anywhere between one and two million pounds of revenue was from JD

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Robb.

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So that's between 10 and 20 percent of the total revenue for the company is coming from

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one author and her books.

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And that did create risk for the company, because if Roberts ever terminated her relationship

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and moved those books, or at least future books, to a new publisher, they'd have to

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find a way to replace that revenue.

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In the early 2000s, Judy did sit down and think about, what do I want to be doing with

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the company and with my future?

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And realized that in 10 years, she didn't want to be doing this anymore.

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She had been working in publishing, running a company on her own, without a whole lot

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of training or guidance, and was ready to move on to other things.

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But in order to sell, she really wanted to push the company to be in a good place.

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So make sure all the books were in order, make sure that they were sort of doing all

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they could to make the company as successful as profitable before they go to a sale.

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And so she set the target at 10 million pounds in revenue for the year.

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And that's what they wanted to shoot for.

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She had a five-year plan to get there and created a board of directors to help advise

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and really worked on pushing the company to hit that target.

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She in fact was able to do it, sort of to the surprise of some of the people she worked

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with and maybe even her own, but set that really aggressive target and was able to hit it.

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And then she hires an outside firm to help advise on the sale and create a package to

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pitch to larger publishing companies.

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And one of the things that's going on, particularly in the 80s and the 90s, but continuing into

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the 2000s, is significant consolidation in the publishing industry.

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Now there are sort of five major publishing companies, and she was going to pitch to sell.

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And publishing companies wanted to conglomerate and thought that there were real economies

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of scale in getting more publishers under one roof.

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So she's able to successfully do that.

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And it times it very well, as I alluded to in the cold open, is she is able to sell in

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kind of mid to late 2007, right before Northern Rock collapses.

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And there are lines of people queuing up to get their deposits out of the bank in the

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United Kingdom before really the financial system seems like it's melting down.

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She was able to sell and sell out and really to her benefit.

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And her timing was excellent, which I alluded to in that snippet about the book, The Great

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Crash.

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Our bibliography for this one obviously is the book that we've been talking about.

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So that book is The Memoir Ahead of Her Time by Judy Pietkus.

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It was published in 2021 by Watkins Publishing.

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Note, I focused on the business and professional side of her story and really only touched

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on sort of the early parts of most of that.

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But many of her efforts in the book talk about her balancing family and a demanding professional

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career.

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And that part may be more compelling to a lot of readers.

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She had a daughter with severe cerebral palsy and two other kids.

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She worked from home with a live in nanny and set up a company with telework in a world

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before email and long before video conferencing.

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She went through a divorce, found a husband, and she also talks a decent bit about kind

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of the wisdom or appeal she found in many of the books she was publishing, sort of these

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new age type books.

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Join me next time for another episode of I'll Probably Delete This, where we'll explore

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more stories of authors, storytellers, great books, and publishing.

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Happy reading.

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Thanks, everybody.