On Hei Teves, thousands of Chabad Chassidim will descend on bookstores to mark the holiday of the s’farim. * We spoke with three Lubavitcher authors about the world of Chabad s’farim and how it stands out from the rest of the market for Jewish books.
By Menachem Mendel Weiss
Hei Teves has become the “Chag HaS’farim.” Bookstores are full of Chassidim, bachurim, women and children, who buy books for their homes and libraries. All sorts of books are purchased: maamarim and sichos, analytic works as well as Chassidic storybooks for adults and children.
We spoke with three Lubavitcher authors in order to get a glimpse into the world of Chabad books, to hear what goes on behind the writer’s desk, about sales, and about their perspectives on the market for books.
Readers of Beis Moshiach are familiar with two of the three writers we spoke to:
R’ Shneur Zalman Berger is a regular contributor to Beis Moshiach. He devotes all his time to writing biographies about Chassidim and doing Chabad historical research. His books, as well as his terrific series of articles, have delighted thousands of readers.
R’ Menachem Mendel Ziegelboim is an editor of Beis Moshiach and he has written and published dozens of books. Some of the books contain classic Chassidic tales while others are Chabad historical stories that are presented in a fascinating way. He previously started and edited the brochure HaGeula M’anyein V’achshavi and has edited dozens of booklets and pamphlets.
R’ Levi Yitzchok Groner has written and published Chassidic stories for children which he compiled from sichos. He has raised the bar within the genre of Chassidic stories for children. He has also compiled, edited, and published the teachings of the Rebbe on shleimus ha’aretz.
UPS AND DOWNS IN THE FIELD OF PUBLISHING
Tell us about when you got started in the writing field.
MZ: The first story I did was in Kfar Chabad magazine. It was about the Rebbe Rashab and was published for Chof Cheshvan 5751, 130 years after his birth. At the time, I was a bachur learning in Kiryat Gat and the editor, R’ Aharon Dov Halperin, accepted the story.
Actually, before that I wrote some poems. I submitted one to Hamodia and it was rejected. I received a response from one of the editors that a poem is harder to write than prose and I should start with “regular” writing, which I did. I later appreciated his professional advice and I have said the same thing to other aspiring writers who began with poetry.
SZB: It was the end of the winter 5758 when, at the request of my friend R’ Menachem Ziegelboim, I documented the lives of a number of Chassidim who were killed or who died in the Soviet Union and whose stories had not yet been told. The work was part of a future book that R’ Ziegelboim wanted to produce called, Chayolim Almonim (Anonymous Soldiers). The book was never published, but as part of my work, I wrote about R’ Shmuel Menachem Klein, my wife’s grandfather. The chapters were published as a series in Beis Moshiach.
Tell us about your first book – when did you get the idea for it and how much time elapsed between when the idea first germinated and actually writing the book?
LG: My first book was published while I was still a yeshiva bachur. I was involved in publishing the compilations of pilpulim of my yeshiva. The mashpia, R’ Yosef Yitzchok Gansbourg, who saw my passion for this kind of work, urged me and my friend, R’ Moshe Krishevsky, to compile what the Rebbe said about shleimus ha’aretz.
In less than two months, with most of the work done bein ha’z’manim, the first edition of Karati V’Ein Oneh was published, containing more than 800 pages. Two years later a new edition was published in two beautiful volumes.
MZ: My first book was MiTal HaShamayim which was published in 5761. It was a collection of stories I had written that had been previously published in various publications. It was two volumes and contained dozens of stories about Chassidic luminaries.
No doubt you recall moments of both despair and encouragement while writing your books. Please share some with us.
SZB: When I discover important, fascinating material that has not been published yet, that is a special moment for me. Over the years I have written many biographies and each time the question arises whether the subject of the book was interesting enough that his life should be documented. There isn’t always a clear answer.
When I edited the biography of R’ Zushe Wilyamowsky, the Partisan, I found a letter in his archives that he wrote to the Rebbe in which he asked for a bracha to write a book about his life as a partisan and the development of Chabad in Eretz Yisroel. On the one hand, he said that due to lack of time it would be quite difficult to write a book. On the other hand, he proffered the assessment that it would be of benefit to the public. I did not find a response from the Rebbe in his archives and I suppose no answer was received and therefore he shelved the idea.
There is also the feeling of missing out when family members or close friends of the subject of the book, who commissioned the book, pass on before the book is published. That happened to me a few times but I especially remember it in connection with preparing the book Eved Avrohom Anochi about R’ Eliezer Karasik. On 22 Shvat 5765 I interviewed his daughter, Rebbetzin Devorah along with her husband, R’ Moshe Ashkenazi. Four months later, Rebbetzin Ashkenazi passed away suddenly and right afterward, her son died as well and then other family members. They, who helped so much in preparing the book, did not get to see it published.
LG: There are many difficult moments of tension during the process of producing a book, for example, when three days before Hei Teves the book is still at the printer. However, it is exciting to see Lubavitcher children leaving the bookstore, one after the other, on Hei Teves, with “my” book.
There was one particularly difficult time which occurred after I finished editing the book Gut Yom Tov. I sent it to the graphic artist and it turned out that significant cuts had to be made either in the beautiful pictures or in the text. “The page cannot contain both,” said the graphics person. To delete half the picture?! How could I? And to cut the text? That is out of the question!
MZ: It often happens that the book is published under time constraints in order to get it out for a certain date, and the book is published too late. Or sometimes difficulties arise from various, unexpected directions, like the photography or cover illustration that came out far different than what we wanted. I’m talking about the outside of the book, how it will look on display. I’ve sometimes been forced to compromise.
For comparison’s sake, how much time did your first book take versus your latest book?
MZ: There is no set amount of time to write a book. It depends on the type of book and many other factors. I usually work on several books simultaneously. When a certain book is set aside for a while, and then I feel that the time is right, I’ll go back to it and work hard and finish it. So a book, from beginning to end, can take years.
LG: My first book was done in a focused, consistent way and it took half a year. The books that followed were worked on here and there so it is impossible to say how long they took.
WRITING AS A PROFESSION
I know all three of you and know that you are very busy. When do you have time to write a book?
MZ: Along with writing books and editing, I am also involved in publishing and that is in addition to my work as a member of the editing staff of Beis Moshiach, an impressive weekly publication. I also do personal coaching, write articles for various publications, and do spots on radio programs.
There is also quality time spent with my family which I won’t forgo. With all that, I still feel that I am not filling my time properly. When you really want it, there is enough time for everything.
SZB: My work is divided between writing for Beis Moshiach and writing books which require historical research. It is hard to sit with a stopwatch and set a fixed amount of time for writing a page/chapter/book. Being invested in the process is important and sometimes an entire chapter is easily written and sometimes, to understand or research one line requires days of work. In the past, when a book was getting close to the printing stage, there were nights I hardly slept.
LG: There is no time! This is also the reason why I don’t publish a lot of books despite the dozens of ideas that I have. The only time I can work on books is in the evening after a day of work. Since writing a book for me is a labor of love and not due to outside pressures I always find windows of time for it.
Do you think that anyone with an idea should sit down and write? What advice do you have for someone who has an idea for a book?
SZB: Today, everyone has a keyboard and can write whatever he wants. In order to write a book, you need an important topic, something interesting not only to you but to the readers. The simplest tip is, consult with a few experts in the specific field your intended book deals with.
Also, if you are thinking of becoming an author, it is important to differentiate between a historical anthology and a history book. In order to write a history book, the author must understand the era, the place, and the people described in the book, and “translate” unfamiliar concepts so that they are appealing to the readers. But that’s not enough. A writer must have as his overarching goal to innovate, to bring fascinating documents and material that shed a new light on the subject.
MZ: Writing is a profession. Not everybody knows how to write although everyone has access to a computer, as my friend R’ Berger said. Especially today, when publishing has become more accessible to the broader public, a person who loves to write and knows how to do so professionally should certainly be urged to write.
LG: First, since most publishers want to at least cover their investment, you need to examine the market to see if there is a demand for the book. Second, don’t despair. Believe in what you’re doing and go with it, till the end! Third, aside from the need for proofreading, do not publish a book until another three or four experienced people read through it and give you their opinion. A final tip: make sure the book is authentic and a quality production. The days have passed when every book was grabbed up. The market today is discriminating and is flooded with endless books.
Conventional wisdom maintains that you cannot make a living from writing books. What do you think?
LG: You need to differentiate between a writer who publishes and someone who is just a writer.
A writer who is also a publisher is someone who employs writers, illustrators, proofreaders, and editors who do all the foundational work while he is the “editor in chief.” He does not need to put his time into writing; rather, he spreads the work among many writers. With this method you can publish many books but they are not “your” books; they are merely books that you published. With this kind of work you can make a living because you can publish many books in a relatively short span of time.
Most Chabad writers write books themselves and the only services they receive from “subcontractors” are graphics, vowelization, editing, and when necessary – illustrations and color design. They usually self-publish, investing their own money into printing and advertising. They use Lubavitcher distributors for the distribution which frees them up for more writing. With this approach, you need to invest large amounts of money into printing, graphics and advertising, but the profit margins are larger. If the writer has a number of titles that are not hot sellers, he can still make some money from them but definitely not enough to make a living.
There is an alternative system in which the writer writes for a publisher and receives a one-time sum for his work. That has an advantage in that he does not need to invest a cent upfront, but the downside is that none of the future profits are his.
MZ: You cannot make a living just from writing. I agree fully with the analysis of my friend, Levi Groner. You either write as a labor of love or you don’t write. If you write to make money, it’s a pity for the time and effort you put in and also a pity on the money of those who buy what you write.
SZB: A best-seller is definitely a good source of income but it all depends on mazal. There aren’t all that many best-sellers and someone who writes for a living needs to work hard to earn enough.
I imagine that every writer feels that his books are “must-haves” for our community, and yet, I’d like to hear from you what you think makes your books special. What did you provide that did not exist previously?
SZB: Boruch Hashem, I have been successful in bringing to light many teachings of our Rebbeim, Chassidic personalities, and Chassidic historical events that were not known to the general public until I wrote about them. Also unique about my books is that each historical subject connected to the theme of the book is given comprehensive treatment. I work hard to get authentic testimony and documents that are new and important, even if it requires a supreme effort.
For example, while preparing the book Noda B’Shearim (about R’ Chaim Na’eh), I decided to speak to people who were close to him within the three arenas that he operated: Chabad, the Eida HaChareidis, and Agudath Israel. I had to interview old rabbanim and askanim like R’ Menachem Porush of Agudath Israel, R’ Shmuel Elozor Halperin, a senior Chabad Chassid, and R’ Shlomo Pappenheim of the Eida HaChareidis. In each area that he worked I found important material, including many documents that were never seen before.
LG: The uniqueness of the series of books, Ma She’siper Lee ha’Rebbe is twofold:
It’s enough that I quote the Alter Rebbe, “Hearing a story from the Rebbe is the Written Torah.” In one of the Rebbe’s sichos he talks about the positive qualities of stories of Chassidim, especially stories of the n’siim whose entire raison d’être was to lead their flocks, and when a nasi tells a story, it is surely something which pertains to all of the Chassidim. The 160 stories that appear in this series are of this lofty caliber, i.e. stories of the n’siim.
Furthermore, nearly every story has a lesson in avodas Hashem which the Rebbe himself derived from the story. The scope of the sales of this series shows to what extent Anash have welcomed it.
The book Gut Yom Tov with its colorful illustrations has provided Chabad children with a vast amount of knowledge about Chabad holidays. In some cases, the same is true for their parents. The book, which was published two years ago, was welcomed enthusiastically. Many people have told me that, thanks to the book, for the first time they know the details about the arrest and redemption of 12 Tammuz, about the Chag Ha’Geula of 10 Kislev, or the story of the Rebbe’s acceptance of the nesius on 10 Shvat. The book made them aware, for the first time, of many of the details.
As for the uniqueness of Karati V’Ein Oneh, I don’t have to tell you. I’ll just say that it generated a tremendous public awareness of what the Rebbe said about shleimus ha’aretz.
MZ: You can divide my books into three categories: Chassidishe storytelling, stories that document Lubavitch history, and biographies.
The storytelling, with which I started out with, presents the events and wonders that happened in the lives of great Chassidim in an interesting way that brings the personalities to life.
In recent years I’ve moved more into writing documentaries that deal primarily with the history of Lubavitch. I saw that the younger generation doesn’t really know the history of Chassidus and Chassidim, even the main events. This is the reason that I published Istalak Yekara, which documents the stories of the passing of the Rebbeim since the Baal Shem Tov. It’s not just about describing the actual histalkus, but deals with foundational events in the history of Chassidus in which the torch of leadership was passed to a new generation. These stories have rich content with hundreds of details that are important to know.
In the religious world, when someone writes, the book is meant for as broad an audience as possible while a Chabad writer works for the same amount of time on a book whose content is of interest to a much smaller audience. Is it still financially worthwhile? Isn’t the frum market much larger than the Chabad market?
MZ: Yes, the general market is bigger than the Chabad market, but the Chabad market is enormous and the potential it contains – as far as books that are not in the category of bestsellers - is comparable to the general market. The Rebbe taught us Chassidim to love books. Hei Teves, which everyone calls the Chag HaS’farim, is one of many examples of that. There is no Chabad House without a bookcase with a range of interesting books.
LG: The frum market is flooded by hundreds of titles, with only the successful ones being sold in large quantities. The unsuccessful books or successful books that were not advertised adequately enough can easily get stuck and have only a few hundred sold. In Chabad, the market is not flooded by too many children’s books and there is still room for more. A quality book which is well advertised can sell several thousand copies. On the other hand, even a very successful book marketed exclusively to Anash will never sell as many copies as its counterpart in the general frum market, and this will be reflected in the original investment.
But as R’ Menachem Ziegelboim said, in the Chabad market there is greater awareness about buying books, especially because of Hei Teves and the associated book fairs that only grow from year to year. It’s also easier to advertise and distribute books to the Chabad market because it is a more targeted audience.
Do you think that Chabad literature can break through to the “chutza” to other sectors of the frum world?
LG: You can do that with almost every Chabad book. Proof is the historic book fair at Binyanei HaUma where over 200,000 books were sold, with most purchasers who are not Chabad buying Chabad books, some of them on deep topics. But I can tell you that the big distributors in the frum world will refuse to distribute Chabad books and not because of political reasons, but for economic ones.
MZ: I disagree with R’ Levi Groner and can say that at least some major bookstores boycott Chabad books on principle. I’ve experienced this myself.
As to your question, if you’re talking about primary Chabad texts, then they have already spread forth to every Chassidic home and even many non-Chassidic homes. As for Chassidic stories, they have also entered other people’s homes, here and there, though there is definitely room for much more. Maybe we need to give the general frum world a “taste” of the wealth of Chabad literature whether through gifts for bar mitzvahs, events, or even as part of mivtzaim. I have no doubt that a book with Chassidic literature will make an impression on someone in the family and help draw them close to Chassidus, if not today then tomorrow or the day after.
SZB: Not every Chabad book can, from a marketing standpoint, go “outward.” But if the book has content that also suits the “chutza,” after the writer adjusts the style, then there is a chance it will make more sales on the “outside.” For example, my book Noda B’Shearim, about R’ Chaim Na’eh, has a lot of material connected to general religious issues and the style is suitable to the general frum public so the book is available in stores in religious areas.
At the same time, those who like Chabad literature generally will make a special trip to purchase their Chabad books in Chabad stores, although (from a hafatza perspective) that is clearly not enough.
In the world at large there are foundations and organizations that provide funding for literature. There are those who say that academic institutions should help fund academic research based on Torah views exclusively. Does the lack of funding adversely affect the quality of the research and writing?
LG: If only there was a Chabad entity like that, it would encourage people to write and publish new books. When a writer writes a book and publishes it on his own, he does not draw a salary for that. His salary will come out of future profits. So he tries to cut costs where he can.
SZB: In order to do research while writing a book, you have to put in a lot and obviously, if research institutes or donors will help, then the documentation of Chabad history would be able to reach a whole new level.
MZ: I don’t see it as realistic for research institutes to help publish religious or Chabad works, but I think that there is definitely room to encourage publishing through dedications, donations, and other means. After all, Chabad literature, even the stories, is something of supreme value and can even perhaps be called holy. If someone helps support this it’s a big z’chus.
Today, with all kinds of gadgets, some think that people are buying far fewer books in print and are opting for more online reading or even visual material. Even in Chassidic homes you see children fixated on the screen for hours with educational CD’s.
Do you think that people still want books? Do you think that the world of books we grew up in is still attractive to children and young people?
SZB: It’s a little hard to say that someone who loves books will forgo buying a biography and surf for another hour of his day. What is true is that there are those people who will buy a history book in order to have it for reference, and the huge online databases do make that superfluous. Still, boruch Hashem, Chabad is growing along with the demand, and that fills the gaps.
LG: I think that visual media is always more attractive than a book and there’s no question that it “takes a bite” out of the book market. So we must try to make books an attractive product that children will find appealing. A lot depends on parents, and most parents I know do not allow their children to be glued to the screen for long periods of time. They greatly limit viewing time. Most parents also greatly encourage their children to read books.
Unfortunately though, I’ve spoken to some parents who, when asked whether their children have the book Gut Yom Tov, said, “I’d rather buy videos for my children.”
MZ: I suggest that on Hei Teves you go over to the bookstands that proliferate in honor of the day, or the events that are done through the schools, and see how excited the children are when they look over the selection of new books, smell the fragrance of the fresh pages, and have a hard time deciding what to buy among the treasures lying before them. That tells you everything…
Tell me honestly, I’m sure there’s a conflict between the desire to be interesting and exciting and sticking to the facts. How do you navigate this?
LG: Stories of the Rebbe and stories of the Chabad holidays are definitely interesting and exciting in and of themselves. But in any case, we need to remember what the Rebbe often said, that stories of tzaddikim must be transmitted accurately.
MZ: The books that I wrote and published in the last decade are written in lush language and gripping style, yet they are still a reliable testimony of Chabad history. At the same time, I stick closely to the sources (whoever wants to can check and compare with the sources listed at the end of every story, which is why I put the sources there). I do rewrite the story in a colorful manner but stick to the source, so I retain both advantages. I can add minor details to the story to give it background and color without affecting the story itself. And when the story comes from the Rebbeim, I am even more careful.