Source: We’ve got cookbooks coming out of our ears, writes Simon Thomsen. But there’s always room for one more…
AUSTRALIA grew up cooking Margaret Fulton recipes. Since its first release in 1968, 1.5 million copies of The Margaret Fulton Cookbook have found a home on our bookshelves. The octogenarian’s status as a kitchen confidante is unquestioned. And yet, in just four years, two Queensland women have matched her feat with recipe books using just four ingredients.
Kim McCosker and Rachael Bermingham are cooking’s J.K. Rowlings. The duo self-published 4 Ingredients after being turned down by major publishers. Their revenge has been profitably sweet. 4 Ingredients was the best-selling Australian-published book of 2007 (second only to Harry Potter overall), notching up around 400,000 copies. To put that in perspective, Stephanie Alexander’s 1996 culinary bible, The Cook’s Companion, sold 500,000 copies in 14 years. Three more 4 Ingredient books followed, notching up combined sales in excess of 100,000 in 2010.
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We’re buying recipes in record numbers and everyone’s keen for a slice, because a hit cookbook makes big bucks. And in Australia, at least, the industry is recession-proof. One estimate places the annual total sales of 4.5 million books at an average of just under $20 a book (discounting is commonplace). Market researcher IBISWorld conservatively predicts 13 per cent growth in cookbook revenue this financial year after two years of annual growth above 35 per cent.
So if you think your local bookstore is an overloaded smorgasbord of cooking titles, you’re right. Too many, says David Gaunt, co-owner of the independent Sydney chain Gleebooks. But he expects the trend to continue – “Because when you’re a publisher, if you get a winner, you get a real winner.”
Lantern/Penguin publisher Julie Gibbs, whose stable includes Alexander, Karen Martini, David Thompson and Kylie Kwong, agrees the market is currently “overwhelmed”.
TV juggernaut MasterChef can claim much of the credit for a bumper year. 2010′s star is Our Family Table by series one winner Julie Goodwin. Nielsen BookScan data, which tracks sales by major retailers, reveals Goodwin’s homely tome sold 135,000 copies, generating $3.7 million in sales for Random House, which also takes out second place with MasterChef Australia The Cookbook: Volume 1 at 51,000 copies.
Those two books mean 10 cents in every $1 spent on cookbooks is MasterChef-related. And that’s not counting $770,000-plus from co-host Gary Mehigan’s Comfort Food. His new $50 book, Your Place or Mine, co-authored with George Calombaris, was released this week. Then there’s the first book by offal-loving contestant Chris Badenoch, The Entire Beast ($40), due out in November. So publishers are counting their blessings, and the true picture is probably even more impressive, since BookScan doesn’t include online and direct sales or newsagents.
The main players in the premium ($50 to $100) end are Penguin, under the Lantern imprint, and Murdoch Books. Quay (Murdoch), chef Peter Gilmore’s $95, 300-page monograph, released this week, is unquestionably a work of art, although the recipes are so complex it’s cooking’s equivalent of instructions to paint the Sistine Chapel. Want to make a salad of spring vegetables, herbs and flowers? First, gather your 42 ingredients.
Ed Petrie, now of Simon & Schuster and previously involved in launching 4 Ingredients, says success is all about simplicity. “Sometimes that’s been forgotten in the $100 masterpieces with difficult dishes,” he says.
Not always. Kylie Walker, food publisher at Murdoch Books, says their surprise hit, both here and overseas, is Bourke Street Bakery ($70), a Sydney bakery best known for its sausage rolls. But then, baking sells. Nostalgia, too. CWA Cakes ($25) was a hit in 2009.
Meanwhile, publisher Hardie Grant concentrates on the middle market ($20 to $50) with familiar TV names such as Ben O’Donoghue, Gabriel Gaté and Jane Kennedy, as well as Margaret Fulton. The power of supermarkets is demonstrated in 2010′s fourth highest-selling cookbook, Margaret Fulton’s Encyclopedia of Food and Cookery. All 37,000 copies crossed a Coles checkout.
ACP Books is behind one of the nation’s most trusted cooking brands, The Australian Women’s Weekly. The $40 AWW Slow Cooking book is No. 3 on BookScan’s 2010 ladder. Slow cooking is this year’s trend, with three books on the same subject selling 90,000 copies.
Picking the next big thing is close to impossible, especially when the big publishers commission work up to three years in advance. But with Junior MasterChef rating strongly, don’t be surprised if recipes by precocious tweenage cooks are next to hit the bestseller list.
The global financial crisis has triggered a shift towards thrift and comfort. Alexander showed far more insight than economics forecasters with her 2009 Kitchen Garden Companion, which sells well, despite its hefty $125 price (average selling price: $96).
Naturally, publishers are cagey about what’s in the pipeline, but Gibbs and Walker both expressed surprise at the speed with which some rival books appear. “There are some slapdash books out there,” Gibbs says. “A cookbook should have structure and take a reader on a journey. There’s a lot of craft that goes into it.”
Major publishers use “trust us” as a cornerstone of their appeal. A frightening number of books feature recipes that simply don’t work, perhaps due to missing ingredients (although authors such as Fulton, Alexander and Charmaine Solomon are generally beyond reproach).
While elegant books by celebrity chefs score plenty of free publicity, the meat-and-potatoes of cookbooks – “bookazines”, one publisher calls them – are the generic softcover recipe collections, priced under $15, in supermarket checkouts or newsagents. BookScan doesn’t count them. Remember AWW Slow Cooking? There’s a $13 version which, at 160,000 copies, sells around four times as many as the upmarket bookstore edition.
Australian cookbooks are not a new phenomenon but the rules changed under Margaret Fulton, whose recipes came garnished with photography. Colour dazzled, and still does. Now the food cognoscenti ask “Who shot it?” when a new tome arrives. Both photographer and stylist are key collaborators in what’s popularly dubbed “food porn”.
Production costs have soared as a result. “What was a $30 book is now in the $50 range,” says James Mills-Hicks, who worked for Murdoch Books as head of production for eight years. “Arguably, photos are more important than the recipes.”
Julie Gibbs defied accepted wisdom with the sparsely illustrated The Cook’s Companion, but nonetheless makes a habit of producing elaborate books where photography takes centre stage. “We’re such a visual tribe now. People want to see how a recipe’s meant to turn out,” she says.
And there’s the rub. Ed Petrie says “stylists take food out of the hands of a lot of people because they can’t replicate it”. Home cooks are getting performance anxiety as a result, because their efforts don’t match the photo. Margaret Fulton expresses similar concerns. “When it’s out of my hands, I don’t think you get food that looks the way the author sees it.”
So what do Australian publishers do well? Mills-Hicks says Murdoch made more money selling cookbooks overseas than domestically. “Blue skies and sunshine appealed to European buyers and that’s what Australia provided,” he says. “But a lot of the UK publishers have caught up with the Donna Hay/Marie-Claire/Bill Granger style.”
David Gaunt is proud of the local talent. “Thirty years ago, we were buying Elizabeth David for Mediterranean-Lebanese-Turkish influences. Now it’s Greg Malouf.”
On the downside, Mills-Hicks speaks for many when he notices the homogenous, copycat style creeping in. “They’re all doing big books to look like Stephanie or Jamie and there’s not much innovation,” he notes.
Petrie is more sanguine. “If simple, effective cookbooks are good value and that’s what people want, that’s what’s published.” As a champion of 4 Ingredients, widely criticised for “dumbing down” food, he’s scathing of complex recipes. “Cookbooks got way too complicated by technicians. Once that happens, they lose the everyday person who gets home at 7pm and has 30 minutes to prepare dinner.”
Walker counters that “there will always a market for beautiful books. They represent the top talent in Australia and offer something inspirational”.
There’s a publishing industry axiom that if someone makes two dishes from a cookbook, you’ve done well. Three dishes count as a runaway success. Yet there’s a disconnect between all the books we buy and the impact they have. Jane Kennedy, whose book OMG! I Can Eat That? ($40) hit the stores this week, sums it up best: “We buy the books and they sit on the shelf and they look nice. But people still go and get takeaway.”
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david thompson, gleebooks, mccosker, octogenarian