A few thoughts from Charles Martin

The e-book revolution, so far, has largely been in fiction, but there are many people who like nonfiction, read nonfiction, and buy nonfiction. Our new line of non-fiction, is intended for the same audience that reads science fiction: literate — but not necessarily literary, not afraid of big concepts, at home with the idea that there is a reality that can be described and understood.

The ideal Naked Reader Press non-fiction book is, first of all, well-written, interesting, and fun to read.  It can be serious or light, but it must be based on facts, verifiable facts, with enough support to allow facts to be checked, quotes to be verified, and arguments that even someone completely new to the topic can follow.

Some examples of books like what we’d like to see:

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What I’m looking for – T. M. Lunsford

Over the past couple weeks, I’ve had a lot of time to think about what has always drawn me to romance to a genre and the only answer I can come up with can be summed up in one word: hope. I spent some time visiting Disneyland this week and it really brought me back to my roots as a lifelong romantic and every story I thought about that I’d loved since childhood centered around a profound sense of optimism and hope. In the realm of adult literature, every other genre focuses on the more tragic elements of human life (murder, greed, power etc).  While romance certainly includes all of these things, it is also the only genre that solely focuses in on the hope that should be an inherent part of life, no matter what the circumstances. The hope that things can get better, that the two characters can work their way through some substantial problems and build a partnership full of hope for the future.

So what does this mean for me as an editor? Well, obviously, I want to see novels that fit into the Romance Writers of America definition of a romance novel. I want a central love story. I have no objections to intrigue, suspense, what have you, as long as the relationship is at the heart (ha) of the story. And I want an emotionally satisfying and optimistic ending. As an English major, I saw too many depressing, unsatisfying endings to things that are considered “great love stories” (for more on my feelings about this visit my blog). Tragic endings need not apply.

I want characters that I can’t ignore. I’ve run across several books lately where the hero and heroine are not the most interesting people, which is an automatic turn off in a romance. And bland secondary characters? Almost as bad. What do I mean by characters I can’t ignore? Well, take Stephanie Laurens’s Cynster series.  I’ve been reading these books since I started in on romance over ten years ago (I started young). Like all series, they’ve had their ups and downs as far as story goes and some of the characters are not the most engaging. But where the hero and heroine don’t always work for me, the secondary characters have yet to fail. And a majority of the heroes and heroines are so good, so grab-you-by-the-throat-interesting, that I still buy the mediocre books to get check in with the previous characters to see how they’re doing.

Breaking down genre preferences, I’m a huge fan of historicals (Regency and non-Regency alike). As long as there are intricate details and great characters, I’m in. Yes, Regency dominates the genre. Blame Georgette Heyer and Jane Austen (my idol). I’ll never object to a Regency that is well-researched and interesting (Julia Quinn is an absolute master at these). But I also like to branch out a bit. Some of the books that have made my favorite/keeper list that aren’t strictly Regency are Eloisa James’s Georgian duchess series and Lisa Kleypas’s Victorian Hathaway series. Branching out of the Regency can be a lot of fun. I’d love to see more Victorians and maybe an Edwardian/Downton Abbey-esque book tossed in for good measure. It’s also okay if the hero and heroine aren’t both Lord Whosits Duke of Whatsits and Lady Soandso. A little class-tension never hurt anyone, especially if it’s not your standard lord-marries-governess story.

In the same vein, I’d love to see some gritty western romances and steampunks (especially steampunk). My 2011 book obsession? Meljean Brook’s The Iron Duke. Seriously, could not put it down. I want a steampunk book with great world-building and compelling, but realistic characters.

Those of you familiar with NRP books, you know that we’re connoisseurs of all things paranormal. In paranormal romance, I want a healthy mix of quirky and sympathetic characters. I’m a bit of a nerd, so I’ll take just about anything you throw at me on the paranormal romance side.  My current favorite paranormal series as to be by Linda Wisdom. Her Hex quartet and her Demon trilogy are hilarious and intense and I adore them. With both paranormal and steampunk, I want to be pulled into the story so much that I don’t even notice that it’s not just a regular romance novel.

Based on some of my own work, I’ve been on a huge contemporary romance kick right now. Like a majority of romance readers, I worship at the alter of Nora Roberts (her Bride Quartet and The Witness are some of her best work yet), so I like variety in my contemporary romance. A current trend is for series and I’m all for them. Jill Shalvis’s Lucky Harbor books are a perfect example of the spirit that I’d love to see in straight contemporary romances. There’s tension and real world problems, mixed in with characters that you could be friends with in real life.

Bottom line? I want to see well-written, unique, interesting stories about heroes and heroines that I can root for all the way through.  Every detail matters, especially in romance, so make them count.

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We’re baaaaack!

I know it’s been a long time since I posted anything here and I apologize. It hasn’t been because there was nothing going on at NRP. Quite the contrary, in fact. There was a great deal going on behind the scenes, things we wanted to talk about but figured it best until everything was in place. Well, it is now and you’ll find that we will be blogging much more often — about what’s going on at NRP, in the publishing industry as a whole and on other topics of interest. So please check back often.

Now, to our news. The NRP family has expanded. We have a new acquisitions editor as well as new editors for our romance/suspense line and our new non-fiction line. So, without further ado, I’ll make the introductions.

First up is our acquisitions editor. Courtney Galloway has been assisting with our slush submissions since the beginning of NRP. She has a keen eye for new authors and for spotting stories that will do well. She will now be wrangling the slush for us and joining the editorial board.

T. M. Lunsford has stepped in as assistant editor for romance/suspense. Taylor is a talented author in her own right and has shown a flair for editing. We’re excited to welcome her to our editorial staff and she’s promised to hit the ground running. You’ll be hearing from her in tomorrow’s blog about her background and what she’s looking for in submissions.

Charles Martin is our new assistant editor for non-fiction.Many of you know Charlie from his work as a journalist and contributor over at PJ Media. We’re thrilled to have him onboard and he promises to have a blog post for you very soon describing what he’s looking for.

The last new member — although she really isn’t — to our family is Sarah A. Hoyt. Sarah was one of the first authors to be published by NRP and she has, for some months now, acted as our art director. She has now accepted the position and I’m thrilled. Her understanding of what it takes to have a successful e-book cover is invaluable.

Finally, for those of you who have been asking, Kate Paulk’s novel, ConSensual, will be released Wednesday of this week. Here is a short sample as well as a look at the cover. Enjoy!

1. ConSensual Encounters

Nothing says you’ve left normal reality like walking into a hotel lobby and seeing a Clone Trooper chatting with a Sith Lord. The sign on the back of the Clone Trooper’s armor, ‘Come to the Dark Side. We have cookies. Tonight. Room 1226′, was really just corroborating evidence.

The lure of Dark Side cookies notwithstanding, I took myself to the reception desk and got signed in. I’ll give them this: the staff didn’t seem at all upset by the strangeness manifesting in their hotel. Maybe it’s a southern USA thing, but none of the southern con hotels I’ve been in have ever been anything less than welcoming.

Well, unless the convention was sharing space with one of the more fundamentalist religious conventions. But that’s another story altogether.

ConSensual being one of the bigger southern conventions, I doubted that would be an issue. It was held in one of those sprawling southern cities that takes about five times the land area of a northern city to hold the same population, and usually has so many hotels it’s not hard for any one event to make an exclusive booking.

Whatever they do with them outside the convention season isn’t my business.

I can never keep the hotels straight. This one was one of those modernist faux-elegant jobs with lots of shiny metal and glass, a multi-level gallery area where all the ballrooms and convention areas were, the inevitable bar and house of bad coffee, and the tower containing the actual rooms off to one side.

Since it sat in the middle of one of the less salubrious parts of the city — or at least it looked that way coming in on the airport shuttle — I expected there would be some interesting late night encounters.

I dropped my backpack off in my room: as always, several levels away from the party floor. I’d been able to book the northern side of the hotel this time. After the last con, where a murderous lunatic had crushed garlic into the air vent and opened the curtains while I slept, I was a little paranoid about sunlight and other things.

Yeah, I’m a vampire. I drink blood. Most of the rest is myth, but I am violently allergic to garlic, and while I’m old enough to go walking in the sun that doesn’t mean I like it.

I’d also taken the precaution of registering and signing for my room with one of my alternate identities. I keep a few for backup, in case something happens. Last con, it had, with a vengeance. You don’t get more something than a nutcase performing ritual sacrifices so they can summon Himself Below.

Anyone looking for my hotel room using the name I was registered in with that con would find precisely nothing.

My room was decorated in modernist Hotel Awful, complete with the kind of paintings on the walls that made you wonder who was having who on. This set looked like someone had splattered paint around, ridden a bike through it, then cut up the canvas and sold the results. A similar pattern adorned the bedspread and the upholstery on the chairs. At least everything else was basic beige.

One thing I’d learned from years going to cons, it was always possible to get more mind-bogglingly tasteless.

Back in the lobby area, I braved the con registration queue to collect my badge and the little plastic bag with the program and half a dozen flyers, then scanned the area to see if any of the immortal regulars had arrived yet.

The usual mix of convention exotica mingled and chatted, some costumed, some not. The inevitable Klingons clustered with Clone Troops and Imperial Stormtroopers — possibly giving tips on how to hit the side of a barn at point blank range. A woman in what could only be described as Regency in Space chatted with a White Witch whose pointy hat was at least as tall as she was. The construction had to be reinforced with wire because there was no other way it could have stayed upright. The thing probably made a functional antenna, and with the way the wide brim drooped to cover her ears I gave it maybe half an hour before people were speculating it was an alien mind control device. I knew she was a white witch because her hat and dress were white. She even had a white wand, although thankfully it didn’t have a star on the end. That would have been too much.

This being the south, there were any number of corseted women, although all of them seemed to have forgotten that the usual location of a corset is under the clothing. The inevitable uplift certainly distracted the fanboys. Precisely why the corsets should be paired with tied on wings that could be either butterfly or fairy wings depending on your viewpoint wasn’t something I intended to investigate. Some things are best left to the imagination. Or preferably, forgotten altogether.

At least there were no chain mail bikinis yet. Hopefully with the hotel air conditioning set to the typically southern preference of ‘glacial’, there wouldn’t be any. Not that I was holding my breath or anything.

Well, not until I saw who was sitting out front, eying the con-goers with the kind of disapproval that should have had them dropping dead of sheer fright.

He wasn’t here for the con. I’d bet my life on that. I might never have met him, but everything I’d heard about him suggested that he’d find fen irritating at best, and most of the authors offensive. What he’d think about the publishers — particularly the demonic ones — didn’t bear scrutiny.

I hoped I was wrong, and he was just some random businessman who happened to have a rather strong resemblance to one Vlad Tepes, also known as Dracula. The closer I got to him, the less likely that seemed.

For starters, he was definitely a vampire. I can pick most immortals by scent: it takes a vampire older and stronger than me to mask the faint cold smell of my kind, and then… well, nothing smells of nothing at all. No scent meant old, powerful, and probably not with good intentions.

He was also the right age — five hundred years, give or take a few. Him being awake in the middle of the day meant only that he’d grown strong enough to tolerate daylight and lose the sense of time that protects younger, weaker vampires. For a vampire his age to tolerate daylight, he had to be stronger than most, which fitted with the bits and pieces known about the man. If this truly was Dracula, the likelihood of him limiting himself was somewhere close to the chances of the sun rising in the west.

I could reasonably assume that he had given up his favorite means of execution: this wasn’t an era when putting people on sticks and letting them die slowly was something that could be done discreetly. That didn’t mean he hadn’t found other ways of torturing people who got in his way.

All of which meant that since I was the only immortal regular around, I had to warn him off. Joyous.

At least this didn’t count as saving the world. Once was enough for that.

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Why I’m a Human Waver

For those of you who might have missed Sarah’s wonderful series of articles on bringing back that sense of wonder we used to find in science fiction and fantasy, I recommend you read Bring Back That Wonder Feeling, What is Human Wave Science Fiction and You Got To Move It Move It. Also check out Patrick Richardson’s The New Human Wave in Science Fiction.

Like Sarah and all those who have commented on her posts, I miss those days of derring-do in science fiction and I’ve been thinking about why I first started reading science fiction and why, after going away from it for awhile, I returned to it.

I grew up in a house where books were valued friends. I was one of the lucky ones where my parents were voracious readers and they began reading to me very early. When I was old enough, we read together. They encouraged me to read fiction and non-fiction, no book in the house was off-limits. In a time before video games, books were my escape.

When I was an early teen, maybe even a tween, I was spending a week or two at my grandmother’s house in small town Oklahoma. It wasn’t the first time. Every summer I spent at least a week there and another week in Tulsa with my other grandmother. But that summer was different. I’d read all the books in Grandma’s house–all two dozen or so of them. My grandmother just wasn’t a reader. The books that were there were either some left by my dad when he moved out years and years before or by my Uncle John.

Uncle John’s books introduced me to Louis L’Amour and Zane Grey. They were good books but short and it didn’t take long for me to read them. So, one day, I did what most any kid who is bored will do–I started prowling the dark corners of the house to see if I could find anything of interest.

Imagine my surprise when I came across a HUGE closet filled almost floor to ceiling with not only books and magazines but also records. I was in heaven. The only problem was that there was nothing to play the records on.

I spent hours going through the books and magazines. There was such a wide assortment of them to choose from. But one thing–well, several actually–that caught my eye. There were a number of If: Worlds of Science Fiction magazines. The covers and story titles intrigued me. I gathered them up and went outside to sit under one of the huge trees to read.

One of the very first stories I read was Jungle in the Sky by Milton Lesser. I’d never heard of either the story or the author before, but there was something about the cover that called to me. I didn’t know then that the magazine had been published in 1952. That part of the cover had been torn away. All I knew was it was something new I hadn’t read at least twice.

The story, like so many science fiction stories, could just as easily have been set in Africa. It was basically a safari set in space, but with a twist. There were aliens, sort of like parasites, that were hunting humans just as humans were hunting other aliens for their expositions on Earth. When our heroes are captured and “infested”, they have to not only find a way to defeat an enemy that is now part of them, but also find a way off the planet and back home to warn the rest of humanity about this threat.

I came across the story again a few months ago. It’s probably been thirty years since I last read it. My initial response on reading it this time was to shake my head when Lesser described the ship’s captain–our heroine–wearing hot pants and a cape while the rest of the crew is in overalls, etc. But then I realized I was looking at the story through today’s so-called sensibilities. This wasn’t a military ship. So the captain could wear whatever she wanted, as long as the ship’s owners didn’t mind. Also, this fit what was being written in the pulps back then. So, I put away the judgmental part of me and just read the story again, wondering if I’d like it as much as I did back then.

I can’t say I did, not completely. But it still made me smile at the right place and cringe when I was supposed to. I still found myself imagining that I was one of those crew members having to fight to survive. Yes, there were structural issues with the story and the science really doesn’t work. But you know what? That really doesn’t matter. It is a good story and I felt good at the end, even though some of the good guys died and some of the bad guys didn’t get the comeuppance I wanted them to.

It didn’t take me long to finish Jungle. So I started looking for more like it. Guess what I found. The first two installments of Heinlein’s The Moon is a Harsh Mistress. I was hooked. Oh boy was I hooked. And I was ticked because the last installment wasn’t there. Worse, stuck as I was in Ardmore without a car–my grandmother didn’t drive–and without a bookstore in walking distance–I had to wait until I got home and could con,er convince, my parents to take me to a store to buy the book.

Those two started my love affair with science fiction. SF allowed my imagination to fly. It took me to worlds where I knew I’d never be able to go but I could hope my children or grandchildren could. Even those books that didn’t have a happily ever after had that sense of hope to them. If only the survivor could hold out. If only the rescue team got there in time. There was a respect for humanity and for the human spirit I could identify with.

It’s that respect I have found lacking in so many of the “modern” science fiction novels and short stories. Well, that and the very unsubtle attempt by the author to beat me over the head with their political or social beliefs. It has seemed like the need to “teach” has become more important than the desire to “entertain”. Sorry, but when I read for pleasure, it isn’t so someone can pound a message into my head.

That has seemed especially true when it comes to most dystopian sf. (Well, to be honest, the utopian sf as well. But I have always tended to avoid those stories because, frankly, they bore me.) Governments are bad. Corporations are bad. Your neighbor is bad. Even your companions will sell you out at the drop of a hat and you can’t hold onto your beliefs if your life depended on it. Not only are these stories depressing but they usually wind up flying across the room before I finish the first quarter of the book. Why? Because the characters are unbelievable. Not everyone is a caricature. Just because you are a white, blond male doesn’t make you a villain. You aren’t automatically a victim because your skin is a certain color or you are a certain sex. Give me a break.

Give me Heinlein any day of the week. Do I like every one of his books? No. But most of them never fail to send my imagination soaring. Sarah’s Darkship Thieves does the same thing. Athena comes from a horrible world, but it is still a world where there is hope held by some of its inhabitants for a better world. It’s also a fun romp. Terry Pratchett is the same in fantasy as is Dave.  l have yet to find anything by Dave I haven’t liked. The reason why is simple. Dave and Sarah, like PTerry, RAH and so many others, are storytellers. They focus on story and character, putting the “message” in subtly instead of beating us over the head with it.

So, sign me up for the Human Waver movement. I’m thrilled with the opening of the publishing market to small presses and self-published authors for a number of reasons, including the fact that we will be getting more books that fit the Human Wave model. Even better, this “movement” can be applied to every genre. So who else is with me?

Cross-posted from Mad Genius Club

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The Glamour’s Worn Thin

(Cross-posted from Mad Genius Club)

I’m a little late posting this morning because I’ve been going round and round about what to write. Dave did such a wonderful job yesterday discussing his thoughts on Mike Shatzkin’s blog about what he thinks will happen if the Department of Justice’s possible antitrust investigation into Apple and five of the big six publishers causes the agency pricing model to disappear. I’ve already covered my thoughts on Scott Turow’s letter about the issue. Then I made the mistake of reading some of the comments from the “enlightened” on it and, well, you guessed it. I’m weighing in again on the issue.

I’ll admit, part of the reason for this post is a thread started by what I can only term a publishing troll on one of the boards I read every morning. This person posted a defense of big publishing comment that included a statement that the people “attacking” legacy publishing are doing so because they don’t have the talent to be published by a “real” publisher.

I beg your pardon? Oh, and that grinding sound you hear is the sound of the teeth of innumerable mid-listers who have suddenly been cut loose by their publishers because, even though their books are still on the shelves more than a year after publication and even though there are continued demands from their fans for more in a series, the publisher claims they just didn’t connect with the public. And that evil laugh you hear is me as I contemplate what will happen when these same mid-listers, free of the fear of upsetting their publishing masters, finally demand full audits and the publishers are caught between a rock and a hard place because of their “creative” bookkeeping methods.

So, yeah, I’m in a pissy mood this morning. I’m tired of legacy publishers thinking they can pull the wool over the eyes of authors who should know better. I’m tired of them also thinking readers, those good folks who buy their products, as so dumb they can’t see what is happening. With that in mind, I’m going to revisit Shatzkin’s blog and some of the sources it cites.

From the opening paragraph:  But if this does mean the end of the agency model, it would seem to be a cause for celebrating at Amazon and a catalyst for some deep contemplation by all the other big players in the book business.

Duh. Of course it will be “a catalyst for some deep contemplation”. The problem is, they should have been doing this “deep contemplation” years ago. Market trends and technology have been changing for the last three plus decades and yet the publishing industry hasn’t really embraced these changes. The publishers should have been concerned when the big box stores came onto the scene and forced the smaller, locally owned bookstores out of the market. But publishers weren’t. Oh no, not at all. They embraced these new stores, loving the fact they could do larger orders and write bigger checks. But now, with the economy and other trends causing these large stores to close down, publishing is running scared and blaming Amazon for the problems faced by these brick and mortar stores. But the truth of the matter is, Amazon is only one small part of the whole equation. Unfortunately, neither the big box stores nor publishers did any “deep contemplation” before things became so bad their entire companies are in danger of failing.

Agency pricing, for those who have not been following the most important development in the growth of the book market, enabled the publishers to enforce a uniform price for each ebook title across all retail outlets

Okay, pardon me while I laugh for a bit. Is he really saying agency pricing is the most important development in the growth of the book market? Sorry, but no. E-books are the most important development in the growth of the book market. If you’ve followed the sales numbers over the last few years, the only segment of the market to consistently grow, usually in triple digit percentage points, has been e-books. The only thing agency pricing has done is artificially inflate the price of certain e-books and that, in turn, has opened the market to small press published and self-published e-books.

This was Apple’s desired way to do business, and it addressed deep concerns the big publishers had about the effect of Amazon’s loss-leader discounting.

Okay, whether he meant to or not, he just admitted that agency pricing is something dreamed up by Steve Jobs and agreed to by five of the big six publishers. And, if you read the link included in the quote above, you will see this wonderful piece of logic from Macmillan: The agency model would allow Amazon to make more money selling our books, not less. We would make less money in our dealings with Amazon under the new model. Our disagreement is not about short term profitability but rather about the long-term viability and stability of the digital book market. Am I the only one to see all sorts of wrong in this statement? How in the world is lower profits for the publisher–which would mean less money for authors under most contracts–be good for the publisher? How is this sort of an agreement going to safeguard the “long-term viability and stability of the digital book”? It makes absolutely no sense. My opinion is that they went along with this because they wanted into iBooks/iTunes and the only way to do so was to accept Steve Jobs’ terms and that meant forcing Amazon, B&N and other e-book retailers to adopt the agency pricing model. Remember, the key to the agreement with Apple was that these publishers would not allow their e-books to be sold for less anywhere else. So Amazon isn’t the only market where these publishers would be making less money. Funny how folks seem to overlook this little item.

Back to Shatzkin: Although the WSJ article and Michael Cader’s follow up in Publishers Lunch make no “agency is dead” declaration and there are quotes from publishers and others indicating that there are a range of possible outcomes, including a version of agency that is modified to allow some discounting, everybody in the industry now has to contemplate what it would mean if the agency model is legally upended.

Again, why weren’t they already considering this? For one thing, the contracts signed with Amazon, B&N, etc., weren’t for perpetuity. There would soon be a time when they came up for renegotiation. For another, The European Union, not to mention more than a few states’ attorneys general, were already looking into the legalities of agency pricing. The fact that the industry hasn’t been considering “what ifs” simply shows how out of touch it is with the reality of the market these days.

To Amazon, it would mean they would be free to set prices on all books again, including the most high-profile and attractive ones that come from the big trade houses. That is an opportunity they are likely to seize with loss-leader discounting of the biggest marquee titles.

Ah, evil Amazon. Conducting its business as, gasp, a business. The ability to sell a product wanted by the public at a lower price has been an age-old tactic of shop owners and merchants. It gets folks through the doors, be they physical doors or cyber doors. And isn’t this basically what the brick and mortar stores did when they burst onto the market? They were able to price hard covers much less than the mom and pop bookstore could. That’s why the public initially loved these larger stores. It’s also why publishers loved them. These lower prices meant more units being sold. Funny how the publishers have forgotten that.

To Barnes & Noble, it would mean they have to devote cash resources to ebook discounting that they might have preferred to dedicate to further development of the Nook platform, maintaining the most robust possible brick-and-mortar presence, and improving the user experience at BN.com. 

This very well may be true. The problem with this statement is that it omits the part about BN waiting too long to enter the e-book market. It forgets that BN spent too much time selling third-party e-book readers instead of developing and putting on the market its own e-book reader. It also ignores the fact that the BN online presence is not user friendly, especially not when it comes to e-books. It also lacks the vibrant online community Amazon has built.

Unconfirmed stories abound that B&N is about to announce an international expansion. Whether that will produce cash flow immediately or require it for a while is not yet known. For B&N’s sake, it would always better if it were the former, but if they’re about to fight discounting wars, it might be critical.

I seem to be saying, or at least thinking, “too little too late” a lot as I re-read Shatzkin’s post. BN needed this international expansion long ago. The fact that it may, finally, occur probably is too little too late. I’ll note here that this possible expansion is for e-books, not brick and mortar stores. Again, why has it taken this long? I’ll also note that the source Shatzkin cites is from August of last year. So far, to the best of my knowledge, that expansion has yet to occur.

To Kobo, it would mean that they also will need to devote cash resources to subsidizing price cuts to match Amazon. With their new ownership by Rakuten, they should have the capital they need to fight this battle. They must be glad that deal got done before agency was upended.

Nope, sorry. For those of you familiar with Kobo, you know they don’t always match Amazon prices. There are a number of titles Kobo offers for substantially higher prices than the same title is offered for on Amazon. And, before you ask, I’m talking about legacy published e-book titles. So I don’t see them trying to match prices with Amazon except on certain titles.

To Google, it would mean that the bookstore service piece of their ebook business will suddenly be highly challenged. Many independent stores might be pushed out of the ebook game completely; it certainly would be extremely difficult for them to support competition with Amazon’s prices. To Google itself, with their new Google Play configuration, it means they will have to both spend more margin and more management energy to be a serious competitor in the retail marketplace. There’s no clear evidence that they have the interest at the top to do that, although they certainly would have the resources.

Yes, I’m laughing again. Google’s e-book business is already highly challenged. They’ve dropped the number of stores able to take part in their program. Their interface for authors and small presses leaves a lot to be desired. As for Google Play, why is Amazon the only reason they would have problems? Doesn’t Shatzkin remember a little company called Apple and its iTunes store? Or does he not see the parallels between Google Play and iTunes?

To Apple, it would mean that their entire iBookstore model is in question. They apparently didn’t want to take on all the normal responsibilities of a merchant, which would include setting prices. Now they may have to.

Oh, cry me a river. If Steve Jobs hadn’t presented the agency model to publishers and said “accept or else”, we’d not be having this discussion. But then, I’m just a bitter small publisher employee who can’t put our e-books directly onto iTunes/iBooks because we use PCs and not Macs, something required to use their interface. And, btw, they are the only storefront for e-books that we’ve come across that requires a certain computing platform in order to upload a file.

To all the big publishers, including Random House (the one of the Big Six not being sued, because they stayed out of agency for the first year and therefore were not considered part of the “collusion”) it would mean that they will have to painfully reverse the re-pricing and systems adjustments they went through to implement agency in the first place.

“Painfully”? How can it be painful if they can return to a pricing model where they made more money? Remember the quote from the Macmillan post above. It was admitted then that agency model pricing meant less money for publishers.

Smaller publishers and distributors might be beneficiaries if agency is eliminated, but they might not. The agency model is a great advantage for those publishers who are able to fully implement it. But that is only six publishers — the Big Six — because Amazon has simply refused to let anybody else sell to them that way.

I ask again, how is ia great advantage for publishers when these same publishers admit they don’t make as much money from agency pricing as they did before? As for Amazon refusing to let anyone else use agency pricing, good for them. It means Amazon is looking out for the economic well-being of the company and making sure it keeps its shareholders happy. It also means Amazon is looking out for its customers. But that’s a bad thing I guess because, gasp, it isn’t saving legacy publishing from the follies of the boardrooms in NYC.

That creates problems for the smaller publishers but an even more threatening one for distributors. All but the Big Six, if they want to sell to both Amazon and Apple, must operate a “hybrid” model, selling Apple on agency terms and Amazon on wholesale terms. The two are inherently in conflict. What is ultimately a threat to the distributors is that distributees that desire agency terms, and many would. might seek distribution deals from one of the Big Six. (It might be coincidental, but it is worth noting that IPG, the company having a fight with Amazon at the moment over terms, is a distributor.)

Okay, here is where I have to watch myself. It doesn’t create a problem for small publishers. We set our own prices both with Amazon and with Apple. If one lowers the price for promo reasons, the other can and does the same. As for the two being inherently in conflict, thank Apple. As noted before, Jobs required the first five of the big six to accept agency pricing or not sell in iBooks. Blaming Amazon for something it had no control over is ridiculous.

As for the threat to distributors, get real. I’ll admit distributors have a role in publishing, but not when it comes to e-books. Sorry, but there is no reason a small press has to use a distributor to get into Amazon or BN. The process is simple and relatively pain free to upload titles to either of these stores. Given the proper Apple computer, I assume it is for iTunes/iBooks as well. So I have no sympathy for IPG or other distributors moaning the fact Amazon won’t let them go to agency pricing. As an author I have even less sympathy because I know publishers take out the cost of distribution before figuring royalties. Why would I want to lower my already too small royalty payments?

Of course, we don’t know how the Big Publishers will respond if they’re forced off agency. It’s long been my opinion that the 50% discount for ebooks is unworkable. It leads to ridiculous and unrealistic retail prices. (Publishers operating on the hybrid model have to have two retail prices: one on which to base the wholesale discount and another at Apple operating agency-style. It’s crazy.) Would the big publishers, if they couldn’t do agency, keep the 30% discount and their current prices? Would they go back to the 50% discount and jack the suggested retail prices back up? If they did the former and nothing else changed, the smaller publishers could be at a much greater disadvantage than they are now.

Ah, the economic double-speak. First of all, small publishers won’t be at a “much greater disadvantage” because we will still be pricing below major publishers. Why? Because our overhead is much smaller. Also, for those of us with a limited paper-side publishing, we aren’t trying to artificially prop up the hard copy publishing arm with the digital arm. And that is exactly what the legacy publishers are doing. They are trying to use their e-book sales to keep the print side alive.

The other thing Shatzkin keeps overlooking is the fact that publishers aren’t making as much per sale under agency pricing as they did before. So, going back to the previous pricing method would actually give them more money in their pockets. How that is a bad thing, I don’t know.

Over time, the biggest losers here will be the authors. The independent authors will feel the pain first. Agency pricing creates a zone of pricing they can occupy without much competition from branded merchandise. When the known authors are only available at $9.99 and up, the fledgling at $0.99-$2.99 looks very attractive and worth a try. Ending agency will have the “desired” effect of bringing all ebook prices down. As the big book prices are reduced, the ability of the unknowns to use price as a discovery tool will diminish as well. In the short run, it will be the independent authors who will pay the biggest price of all.

This guy really should try his hand as a comedian because he’s killing me here. First of all, do any of us really see legacy publishers pricing their books under $5.99, much less as low as $2.99? And let’s forget about the fact that they already have e-books in the $7.99 range.  The loss of agency pricing will simply allow best sellers and new releases to come down in price to something more readers will be willing to pay. This will be, in my opinion, back in the $9.99 range and there simply aren’t that many self-published or small press published titles that are in that range.

With regard to his comment that the lower prices will make it harder for “unknowns” to price their titles low enough to be discovered by the average reader, wrong again. I would be very surprised if legacy publishers will price any book, much less a new release, at less than $7.99. Remember, they are using e-books to prop up their print divisions. If they price low enough to shut out these so-called “unknowns”, they will have to do some major cost cutting somewhere and that isn’t going to happen. They like their plush offices and they’ve already cut out or outsourced so much of the editorial process that it isn’t funny.

But, in the long run, all authors will just get less. They will join the legion of suppliers beholden to a retailer whose mission is to deliver the lowest possible price to the consumer.

Authors already get less. Most authors are not paid royalties based no cover price, not really. Publishers take out expenses. So, if an e-book has a price of $12.99 and the publisher gets 30% of that under agency pricing, that starts the share of the pie the author gets to look at at $3.90. Believe me, the author is not getting much of that at all. Once more, I remind you of what the Macmillan post said. Agency pricing means less money for publishers than the previous pricing plan paid. Less money for publishers means less money for authors.

Seth Godin has recently made the argument that this is simply inevitable. Perhaps it is. The laws of supply and demand would support that contention. But from my personal perspective, I don’t like seeing the government hasten the process along.

Could this be because he works with/for publishers? I am not, and never have been, one to want our government interfering in business. However, we do have laws and the Department of Justice is tasked with upholding these laws. If there has been collusion between the publishers and Apple — and I think it is pretty clear there has been — then those laws need to be applied to them.

The truth of the matter is simple. Agency pricing has hurt publishers and hasn’t done what they wanted–it hasn’t saved their print divisions. Those sales continue to fall while e-book sales continue to rise. Amazon is not the only reason for the problems publishers face. Despite what one commenter on the thread that got me started on this this morning said about publishing’s business model not being broken, it is. Until legacy publishers address ALL the issues facing them and not just try to save things by artificially inflating e-book prices, the industry will continue to flounder. Just a few of the issues they need to address are:

1. the failure of agency pricing to do as they wanted

2. low royalty rates to authors

3. cutting of mid-list authors, traditionally the work horses of the industry, as a cost-cutting means to allow them to continue paying higher advances to their so-called best sellers (note here that those advances have fallen just as have the advances to mid-listers)

4. lack of push or promotion for books

5. decline of physical bookstores (yes, Amazon has had a hand here, but so has the economy, over-expansion of the big box stores after pushing the locally owned stores out of the market, mismanagement of the big box stores, etc.)

6. decline in the quality of their product (publishers have cut their editorial staffs, often use interns to do copy edits and proofreading, lower quality bindings and paper, etc)

7. economic downturns that have people unable or unwilling to pay $10 for a paperback or $30 for a hard cover

There are a number of others as well. But agency pricing is not the savior of the industry. Amazon is not the big bad that a few outspoken publishers and authors would have us believe. Publishing is plagued by what could almost be termed a perfect storm, a combination of factors that it failed to see coming and that it has failed to effectively deal with once those factors could no longer be denied.

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And the lemmings march on

The past 10 days or so have seen lots of chest beating and crying unto the heavens by some members of the publishing community. Oh the gnashing of teeth and the blind leaping onto bandwagons as they roll off the cliff of reason. How easy it has been for these writers to cry against the evil that is Amazon, all the while refusing to look beyond the headlines or even read the headlines to see what is really happening.

Last week IPG (Independent Publishers Group, a book distribution company) announced that Amazon failed to accept new contract terms that would have been so much better for IPG’s clients than the current contract. We were told how Amazon was being the big bully and wanting better terms for itself to the detriment to IPG, its clients (publishers) and therefore writers. Without knowing what these wonderful new terms would be, writers hit social media sites condemning Amazon. How dare Amazon refuse to accept terms that would be better for the other party, for writers?!?

But let’s look at this. First of all, at the time of the announcement, we didn’t know what those so-called wonderful terms were. IPG all-too-conveniently didn’t say what they were. Nor did IPG detail what terms Amazon proposed and it turned down. Then there’s the fact that IPG is the middle-man. Just because terms are better for it, that doesn’t mean they will be better for the publishers using them, much less for the authors. Remember, authors may create the product but we get the smallest amount of the sales price of anyone else in the chain. But I can understand why writers were up in arms after reading the IPG announcement. Amazon was once again trying to screw the publishing industry. Evil Amazon! (yes, the sarcasm meter is on here.)

Then came the announcement that Amazon had removed IPG distributed e-books from its catalog. Oh the cries of outrage became howls. Authors’ fists pumped in the air like workers of old as they marched against the evil regime. How dare Amazon remove their titles! Didn’t Amazon know it was hurting authors by doing so? It had a duty to keep those titles in the catalog and for sale. Bad, Amazon, bad.Facebook was ablaze with authors rallying around the cause. Blogs flogged Amazon for being an evil capitalist machine out for no one but itself. And then SFWA (Science Fiction and Fantasy Writers of America) entered the fray.

SFWA leadership decided to stand by the few authors who had titles distributed by IPG. They would show their solidarity with the common man, er writer, and take action. They’d show evil Amazon that it can’t push people around. So, without consulting the member-at-large, SWFA leadership decided to redirect all product links on its pages from Amazon to other online stores. The only caveat to that was that if the book was only available through Amazon. In that case, the link would remain.

Solidarity! Solidarity! Solidarity! SWFA and others march unerringly toward the cliffs with the other lemmings.

What everyone seems to have forgotten in all this is that Amazon is not the big evil when it comes to publishing. The problems the industry faces now have their roots in practices that were outdated before Amazon was founded. Business plans have failed to evolve with changing times, changing technologies and changing consumer demands. How quickly these same authors have forgotten how the big box stores like Barnes & Noble came in and wiped out the majority of our neighborhood bookstores. How quickly they then over-expanded until they flooded the market. And now that practice, as well as other poor business decisions, have these big box stores in trouble.

Don’t believe me? Where’s Borders? Where’s Bookstop? Barnes & Noble has been trying to spin off Sterling to become more financially stable. That hasn’t worked so Sterling is no longer on the market. Instead, B&N is once more considering spinning off the Nook division.

But let’s continue. IPG presented Amazon with these wonderful terms for itself and its clients and Amazon had the audacity to decline to sign on the dotted line. Then, gasp, it removed those e-book titles. How dare it?

My question is how dare it not? Amazon no longer had a contractual right to sell the titles. It did the correct thing in removing them. After all, whether you like it or not, Amazon is a company. It has shareholders it has a duty to. That duty is to make money in return for their investment. I know that’s awful in the minds of some, but it is the truth. Just as it is true that IPG is in the business to make money.Even SFWA admits that Amazon has the right to decide who to do business with. But what is telling is that, while admitting that only 4,000 e-book titles or so were involved in the IPG dispute, SFWA was redirecting all links away from Amazon as long as the books weren’t exclusive to Amazon. There is nothing in the SFWA letter to say this is applying to just e-books. No, ALL BOOKS are involved.

But the authors who are beating their breasts and pumping their firsts have no problem with this. You must protect the few at the expense of the many.

The double-standard about this hatred so many in publishing have for Amazon continually amazes me. None of these authors cried “FOUL” when Barnes & Noble, and then other bookstores, announced it wouldn’t sell books published by Amazon. No, they actually applauded the move. After all, how dare Amazon have its own publishing arm. It’s out to kill traditional publishers. It is only enticing authors away and then it will turn on them because Amazon is evil.

I’m not going to say there won’t come a day when Amazon changes the royalty structure for self-published authors or small presses. It very well may. But the responsibility falls to us to be prepared for that day. In the meantime, we’re foolish not to take advantage of the tools available to us and, like it or not, Amazon is one of them.

Another example of the double standard is the deafening silence in the wake of Barclay’s announcement that it will not distribute one of its titles to any online bookseller. Their reasoning, to protest Amazon’s “unfair practices”. So, they don’t like Amazon but will “punish” all online stores.  I’m sure Amazon is quaking in its boots at the removal of one title and will soon capitulate. Yes, I’m rolling my eyes as I type this. But the point is, Barclay is removing the title from a number of venues and yet the authors pounding their chests and pumping their fists are silent. I can only guess their reason is because the evil one was mentioned so they didn’t read any further.

Nor have I heard these same authors condemning Apple for refusing to carry an e-book in iTunes/iBooks because, gasp, it had a link in the back of the book in the references section to an Amazon page. GASP. It linked to a book Apple didn’t carry. Not an e-book, if I remember correctly, but a hard copy. Guess what, boys and girls, Apple doesn’t sell hard copy. Not yet, at any rate. But no one is up in arms about this because, sigh, Amazon is involved.

As I sit here writing this blog this morning, I have the news on. A commercial just aired for a live show later this month at the American Airlines Center. The music in the background is “Do You Hear the People Sing?” from Les Miserables. How appropriate. I see these authors in my mind’s eye marching shoulder to shoulder, fists pumping as they call for solidarity against Amazon. But they aren’t marching toward the guns of their oppressors. No, they are marching toward the edge of the cliff, blindly supporting an industry that, if it doesn’t quickly change its operating model, will soon fall.

And, like it or not, these authors are playing a role in the decline of the industry. How? By doing exactly what they are right now. By getting on their facebook accounts and alienating a very large part of their readership by saying not to buy from Amazon. Guess what, authors, the Kindle still holds a major market share when it comes to e-readers. As long as your publishers continue to insist on putting DRM on your titles, most readers won’t jump through the hoops, hoops that are technically illegal around much of the world, to convert that title bought from B&N or Kobo, etc., to be able to read it on their Kindle.

Guess what else–the reading public doesn’t understand why an e-book should cost as much as a hard copy of the book. No, don’t go spouting the tripe about how it costs the same to make an e-book as it does a hard copy. That dog don’t hunt, especially not when there is a hard copy being produced. You don’t edit the book twice, once for the hard copy and once for the digital version. You don’t make two different covers for it.  I could go on, but I won’t. Why? Because you have dug your heels in, put your head in the sand and are going “lalalalalalalalala” until it’s over.

The time has come for writers to take control of their careers. I’m not saying every writer should self–publish. Why? Because not every writer wants that. Not every writer is capable of doing everything that is needed to self-publish, either because of time constraints, personal preferences, etc. But now is the time for writers to demand accountability from their publishers. That includes demanding to know why publishers are using distributors for e-books to sites like Amazon and B&N where it is simple to publish on your own. Middlemen add costs that publishers will take out of the whole before paying the author. But even more than that, it is time for authors to demand their fair share of royalties on a book. Remember, without the writer, there would be no book.

Wake up and realize that while Amazon isn’t pure, it is still the 800 pound gorilla we need to work with–at least until there is a viable alternative. It is not the beginning and end of all that wrong with the publishing industry. If you want to rail against something, writers, read your contracts and your royalty statements. Ask yourself why publishers are trying to claim digital rights to books when contracts were signed long before e-books were even thought of. Ask yourself how your books can still be on the shelves of physical bookstores more than two years after publication and yet your publisher tells you “it just didn’t catch on with the readers” and declines to pick up your option. Ask yourself why you haven’t earned out more royalties than your advance. Ask yourself why the quality of editing, copy editing and proofreading from your legacy publisher has been declining over the years.

Or, continue gnashing your teeth, beating your chest and pumping your fists in the air as you walk off the cliff, alienating readers and cutting yourself off from what most likely is your largest online market.

Cross-posted to Mad Genius Club and here.

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New Titles

It’s been awhile, and I apologize. But it seems like everyone here has been felled by the crud that won’t leave, family emergencies and Murphy. You know Murphy. He shows up when you least have time to deal with him and stays much too long. Any way, we’ve kicked Murphy out and are now back to the grindstone. To get things underway for 2012, we’re pleased to offer six new titles.

Boys

by Dave Freer
($0.99)

When she was “convinced” to buy the new Mark 7583 robo kitchen diner-bar and barbeque unit module, she had no idea it would rouse the jealousy of her antique Harry’s Bar unit. How could she? Robotics weren’t supposed to have emotions, no matter how realistic and devoted they seemed. Now she has to figure out how to escape the perfect prison her Harry’s Bar has created for her, all in the name of love.

 

Cry Unto Heaven
by Darwin A. Garrison
($0.99)

Her cry for help summoned him. Now he fights to save her and others like her from his own kind. Is he one of the fallen or is he much more?

 

Nocturnal Serenade
by Amanda S. Green
($4.99)

In this sequel to Nocturnal Origins, Lt. Mackenzie Santos of the Dallas Police Department learns there are worst things than finding out you come from a long line of shapeshifters. At least that’s what she keeps telling herself. It’s not that she resents suddenly discovering she can turn into a jaguar. Nor is it really the fact that no one warned her what might happen to her one day. Although, come to think of it, her mother does have a lot of explaining to do when – and if – Mac ever talks to her again. No, the real problem is how to keep the existence of shapeshifters hidden from the normals, especially when just one piece of forensic evidence in the hands of the wrong technician could lead to their discovery.

Add in blackmail, a long overdue talk with her grandmother about their heritage and an attack on her mother and Mac’s life is about to get a lot more complicated. What she wouldn’t give for a run-of-the-mill murder to investigate. THAT would be a nice change of pace.

 

Quick Change Artist
by C. S. Laurel
($0.99)

In this short story, Professor William Yates’ gets more than he bargains for when he wakes up with a snake tattoo, a pierced tongue and an even bigger surprise. It turns out a serial rapist who answers his description EXCEPT for having those, has kidnapped him and made him match. Bill and Brian interview “ink artists” and various one night stands to find him.

 

Quicksand
by C. S. Laurel
($4.99)

When a dying man rings his doorbell, secrets from Professor William Yates’ past rise up, which threaten his relationship with Brian Quick, his reputation and his life. Caught in the quicksand of his past, he has to solve the murder to get free.

This is the second book in the Quick Mysteries series. You can find B. Quick, the first book in the series, here.

 

The Poet Gnawreate and the Taxman
by Dave Freer
($0.99)

There are some things even more terrifying than a visit from the taxman. When the taxman runs afoul of a witch who really wants to be a successful poet – and who is willing to do anything to attain success – the taxman finds himself in serious need of a dentist. Of course, finding a dentist willing to do an extraction from the pages of a possessed book might prove more than a bit difficult.

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