Category Archives: Musings

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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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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Another Nail in the Coffin

I’m a little late posting this morning and I apologize.  I’d really planned on putting up an open thread today, but a couple of articles caught my eye during the wee hours of the morning as I was trying to convince the scaredy dog (yes, that is a word and the nicest I could call the drooler at the time) that we weren’t about to be tossed into the air only to land in Oz.  In other words, the big, bad dog is scared of rain and kept the household up during the night because we had storms.

Any way, a couple of articles caught my eye.  One has been in the news for a week or so.  There have been the typical knee-jerk reaction from the legacy publishers and those who still believe they are the only hope for the publishing industry.  Another has been sort of ignored because it doesn’t deal with Amazon even though it is yet another example of how some agents are potentially getting into a conflict of interest, or at least a very grey and murky area of fiduciary duty to their clients.

But the Amazon story first.  On the 16th of this month, the New York Times published an article about Amazon bypassing publishers and signing authors to contracts to publish through Amazon.  For some months now, Amazon has been introducing “imprints”.  Several well-known authors signed exclusive publishing contracts with Amazon.  There were a few ripples when that happened, but nothing like the response to the Times’ article last week.  The specifics are pretty simple.  This fall, Amazon will publish 122 titles.  These titles will be across a variety of genres and some will be digital and some hard copy.  Among the authors will be self-help guru Tim Ferrias and actor/director Penny Marshall.And the cries of foul were heard far and wide from legacy publishers.

According to the Times, “Publishers say Amazon is aggressively wooing some of their top authors. And the company is gnawing away at the services that publishers, critics and agents used to provide.”

So let’s look at that statement.  While I can’t speak to whether or not Amazon is “aggressively wooing” top authors, it would be a fool not to.  The same publishers who are crying foul are the ones who backed the agency pricing plan for e-books.  This is the plan that lets the publishers set the price for their e-books so there is no competition across the different e-book retailers.  Worse, the general reading public doesn’t understand that Amazon can’t control the prices for those books from the agency model publishers, and it is the one on the receiving end of the bad customer feelings.

But more telling is that these same publishers are crying because Amazon is “gnawing away at the services that publishers, critics and agents used to provide.”  Used to provide is the key phrase here.  Past tense.  As in, these are services that were once provided by publishers, critics and agents and are no longer.  Sounds familiar, doesn’t it?  And, frankly, can you blame an author for signing with Amazon if it does offer the editing, copy editing and proofreading, promotion and placement legacy publishers used to and no longer do?  I can’t.

I also think it’s rather disingenuous to have an agent, who also happens to be a publisher, complaining about Amazon taking money out of the hands of agents.  What about putting money into the hands of writers, especially when so many agents these days are either turning into publishers themselves (which brings up the question of just how hard they are going to work to place their clients’ work with another publisher when the agency could be the publisher)?  I’ll be honest, those who are crying “foul” the loudest are those who have enjoyed telling the writer to bend over and cough, forgetting that, without the writer, they wouldn’t have a business.

Read the article and let me know what you think.

Then there’s the second article, which sort of falls in with my last set of comments.  The Perseus Books Group has announced a new venture to “help” authors who want to self-publish.  The catch:  these authors have to be represented by certain agents who have signed agreements with Perseus.  So, that’s how some agents are getting around the somewhat murky ethical issue of literary agents also being publishers.  They don’t.  They just sign agreements with companies like Perseus to “publish” and “distribute” the books.

The article notes that one of the “benefits” of doing it this way is the breakdown of authors getting 70% while Perseus will only get 30%.  Guess what, boys and girls, an author can get that from Amazon now by self-publishing through them.  More than that, any author is capable of putting their e-books into the outlets mentioned in the article.  Even if the author doesn’t have the required Mac computer for iBooks/iTunes, it can be easily done through Smashwords.  Again, quick and easy and without the middleman.

But there’s more.  At least I have more concerns.  Question one, if Author A is represented by one of the agencies that has an agreement with Perseus, does Author A owe a commission to Agent B if he goes through Perseus?  Question two, if so, how does the agency build the proverbial Chinese wall (no insult intended here.  It’s a phrase learned in law school.) to make sure there is no undue pressure put on the author/client to go this route instead of the traditional publishing route?  Conversely, what sort of pressure would the agent put on Author A if the author came to him and said he wanted to self-publish and Agent B really wants to take the book through the traditional route?

I know legacy publishers and agents are scared about where the industry is going.  Or they should be.  Heck, anyone in the business, including authors, should be at least a little scared.  But it really is those who have made their livelihoods on the backs of authors who are the most scared and who are doing their best to find new and imaginative ways to maintain the status quo.  My advice, whether you are shopping a book around right now or thinking about doing so in the near future, decide what route is best for you.  Most of all, if you are offered a contract by either an agent or a legacy publisher, hie thee to an intellectual property attorney forthwith.  Do NOT sign it without first having someone very familiar with the industry looking it over first.  And please, note I said legacy publisher AND agent.

(Cross-posted to Mad Genius Club and here)

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Did I read that right? You want to do what?

I didn’t get up this morning wanting to rant.  No, I’d planned to write about the NYT article yesterday about Amazon’s latest foray into publishing and how it has legacy publishers quaking in their boots because they can’t figure out how to adapt to new technologies, pricing and product demands from their customers.  But that’s going to have to wait.  I have to rant.

As you’ve probably figured out from some of my earlier posts, my morning routine consists of feeding the animals before they start eating my ankles, pouring as much coffee down me as quickly as possible and reading the news and checking a few blogs and discussion boards before starting work.  Call it my way of making sure the world still exists and I haven’t, somehow, managed to get myself sent to Wonderland or Oz or the Twilight Zone while sleeping.

Well, this morning was no different.  Except one topic on the Kindle boards sent me into full-blown rant mode.  I can grit my teeth and ignore — sort of — those authors and editors and agents who put their political beliefs out there on facebook and condemn everyone else who doesn’t agree with them.  I think they’re foolish for doing so because they don’t know who they might be needing to deal with tomorrow or the next day or the day after that.  So why risk making an enemy when you don’t have to?  If you have to talk politics or religion using social media, at least limit who can see it.  Remember your mother telling you there are two things you never talk about at the dinner table: politics and religion.  That really is a good rule to remember, especially when it comes to social media.  But that’s not what today’s post is about.

No, today’s post is thanks to the fellow who thinks we ought to outlaw trade paperbacks.  Now, when I saw the subject line of the thread, I figured he was like so many others, myself included, who don’t particularly like TPBs because they aren’t quite the size of hard covers and definitely larger than mass market paperbacks and, therefore, difficult to store.  But no.  It wasn’t that simple, or that reasonable.  He wants to ban them because they are bad for the environment.

Yep, you heard me.  Trade paperbacks are bad for the environment and should, therefore, be banned.  After all, we have e-books now and they are so much more environmentally friendly.  Apparently, now that we have such easy accessibility to e-books, there’s no reason to keep killing trees, using fossil fuels to make and transport trade paperbacks, etc.  Oh, we can continue to have POD books, but let’s get rid of TPBs.

Okay, I get the environmental concerns.  Of course, the original poster doesn’t take into account the environmental impact of making and then discarding of e-book readers.  But I’m not going to get into that.  What sent me over the edge were two basic issues I see with his statement.  The first is that it assumes everyone wants to read e-books.  They don’t.  It is going to be years before we see a saturation of the market with e-readers the way we see with cell phones or computers or TVs.  Until then, alternatives are going to have to be offered.  It just makes business sense to.  More than that, I honestly believe there is always going to be niche markets for printed books.

But what really got to me was the fact that the original poster suggested banning ONLY trade paperbacks.  He didn’t say ban printed books.  He didn’t mention hard covers or mass market paperbacks.  ONLY trade paperbacks.  They are not the majority of books printed, not by a long shot.  So, why target them as the segment that needs to be banned to save the environment?  It makes no sense.

And don’t say it’s because he didn’t know any better.  The guy’s an author.  If he doesn’t know there’s more than one format of books, he’s been living under a rock and has never been to a bookstore or browsed one online.  No, I can’t help but think this was his way of trying to garner interest in his own books without violating Amazon’s rules against self-promotion on the Kindle boards.  How, you ask.  That’s simple.  People tend to click on a poster’s name when that poster says something that either interests them or has them asking ‘WTF?”.  By doing so, you are taken to the poster’s profile and, from there, you can click on the OP’s weblink.  Which, gee, advertises his books.  Books that are, I’m sure, also listed on Amazon.

But there’s something else that bothers me about his post.  Whether he actually believes what he suggests or was trying to get a discussion started or just wanted to be a troll and get folks upset, I don’t know.  But when someone, anyone, starts suggesting we “ban” any form — or format — of a book, I start looking over my shoulder.  Paranoid?  Possibly.  But it is such a hot button word, I can’t help it.  It is a knee-jerk reaction.  If we “ban” one format of a book, what’s to stop us from doing it to others?  Say we did decide to save the environment by banning TPBs, that wouldn’t really impact the carbon footprint of the publishing industry.  It wouldn’t take long before the reports to say so.  Then we’d ban the other printed books.  After all, people don’t read that much any more.  All the studies show it.  Besides, fi they want to read, they can read e-books.  Right?  Oh, wait, Joe doesn’t want to.  No problem.  He can go to the library.  We’ll continue to let books be printed for libraries.

Picture me rolling my eyes and gagging right now.  There’s a simple economic truth that this argument forgets.  Libraries have to pay for their books.  Some they buy outright.  Others they lease.  That takes money and, whether you know it or not, libraries are strapped for cash.  Communities are cutting library budgets which often results in fewer hours of operation, fewer employees, fewer new books on the shelves.  Sometimes, it even means closing libraries.  So now we’ve banned the printed book except as POD for libraries.  The problem with this is that it wouldn’t be a money-making proposition for the publisher or author if they priced the book low enough for most libraries to be able to afford it.  If they price the book high enough for a reasonable profit, the libraries won’t be able to buy it.  So, no new books.

But, taking the original poster’s argument the next step, one he didn’t take.  If we are going to ban trade paperbacks and, presumably, all other printed books, shouldn’t we also ban printed newspapers and magazines?  What about all the printed junk mail we get through the mail?  Oh, and if we’re banning printed books, does that include textbooks?  What about prayer books, bibles and hymnals for churches, etc?  I can see it now.  Sunday morning mass and the priest turns to the congregation and tells them to get out their e-book readers or cell phones and go to the hymnal app for Hymn No. 32.

Rolling my eyes again.

Will there come a time when we will see e-book production outpacing the printing of hard copy books?  Sure.  But to argue that we should ban the printing of just one format of books to save the environment is not only ridiculous but short sighted as well.  Okay, no more ranting…at least for a little while.

(Cross-posted to amandasgreen.com)

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Mad genius Bezos strikes again!

Whether Amazon’s new Fire tablet will be the iPad killer some have predicted remains to be seen.  But Jeff Bezos has struck another nail into the coffins of those publishers who continue to believe e-books are a craze that will one day just fade away.  Bezos is betting those naysayers are wrong, just as he has bet that all those who say reading for pleasure is a dying art are wrong.

This morning, Bezos fired multiple shots across the bow of not only Apple, but Barnes & Noble, Kobo and Sony, among others.  His first shot was the announcement of the new Kindle Touch.  With the “most advanced” E-ink display and an extra-long battery life, the Kindle Touch will sell for $99.  That’s right, Bezos has broken what many have long felt to be the magic price point for e-readers, the price most people will be willing to spend.

There’s more.  This Kindle Touch is the wifi version.  For $149, you get a Kindle Touch with free 3G service that will work in 100 countries.  There will be no 3G contract required, no monthly fees, no nothing except for price of the books you download.

But that wasn’t the end of the surprises from Bezos.  If a $99 Kindle Touch isn’t enough to tempt those who have been holding off buying an e-book reader, Bezos announced that the Kindle will now have a $79 model.  This version will have buttons, faster page turns and will weigh in at under six ounces.

The mad genius of Amazon wasn’t done yet.  After discussing some of the latest acquisitions to the Prime video program, he rolled out the device everyone has been talking about and waiting for – the Kindle Fire. The Fire has a 7 inch IPS display, a dual core processor and weighs in at 14.6 ounces.  With the Fire, you have access to 100,000 movies and TV shows, 17 million songs, as well as access to the Android Appstore and Kindle Books.  Whispersync will work on the Fire much as it does on the current generations of the Kindle. Not only will you be able to sync your books and magazines between devices, but also your music and videos.

The price for the Kindle Fire — $199.  That sound you hear is the sound of thousands of virtual feet pounding their way to the virtual line to place their pre-orders for the Fire.  Whether the Fire will come out in a 10-inch version and prove to be a true challenger for the iPad remains to be seen.  In the meantime, however, Bezos has just delivered new devices that will not only have dedicated Kindle customers ordering them but that will, because of their lower prices, have those who have never tried an e-book reader buying one. And why not, when the new Kindle costs less than a night out on the town now?

______

Thanks to Charlie Martin for posting this at PJ Lifestyle!

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An auction, orphan works and sales figures.

This past week has been an interesting one for me, sometimes in the old proverbial sense of the word.  Every possible moment — which hasn’t been nearly enough — I’ve been toiling away on a massive rewrite of the first third of Nocturnal Serenade.  I was almost done with the book when I realized what had been bothering me about it.  That meant going back and inserting three chapters and changing the personality of one of the supporting characters.  That change in personality meant reworking one of the plot threads as well.  And, since editing my own work is not something I enjoy, it’s made Amanda very cranky indeed.

I’ve also spent time getting ready for FenCon next weekend where I will be representing Naked Reader Press at the small press roundtable.   That’s meant preparing promotional materials, business cards, starting to think about my presentation, etc.  This will be the first time I’ve had to put on the corporate face for NRP in a large forum and I’d be lying if I didn’t say I was a little nervous.  But it does look like things are coming together on that front — hopefully.

The following weekend is the writers workshop our own Sarah is conducting at my local library. This is the third year Sarah has come down for the workshop and it is always a great success.  Of course, for me it is a doubly good deal because it means I get Sarah as a captive audience.  I bribe her with access to the drooler — AKA Rocky the dog — for help with my writing.  So far, the bribes have worked.  This year I have a back-up plan in case the drooler fails in the cute factor.  There is the not-our-cat from next door that has adopted us.  Yes, adopted us as in we are now expected to feed him and put the drooler outside so he can come in and make himself at home.  Which is, of course, NOT something my own cat (appropriately named Athena) appreciates in the least.

But despite all that, the publishing world has continued and, depending on your point of view, the news is good or bad but rarely in-between.

First up, in the ongoing but soon to be done saga of Borders, there was an auction for its intellectual property.  I don’t think it surprises anyone to learn that Barnes & Noble was very aggressive in the auction that went 50 rounds.  According to Publishers Weekly, “it appears to have acquired most all of Borders’s domestic assets that includes its Internet domain names, the Borders.com Web site and such trademarks as Borders, Waldenbooks and Brentano’s.”  If this is true, it means we won’t be seeing a new competitor to B&N using the Borders names and brands.

In another ongoing saga, that of the digitization of out-of-copyright and orphaned literary works, more lawsuits have been filed.  This time to stop the so-called HathiTrust from leasing approximately 140 works, some of which it is alleged are still under copyright.  In response to the filing, HathiTrust has suspended plans to release these titles.  According to Publishers Weekly, HathiTrust will work to improve its process of determining copyright and orphan status of the works in question.

The big news of the week has to be the sales figures for the first half of this year.  Despite huge gains for e-books, publishing sales took a hit.  The sales of print books averaged a decline of almost 23%.  E-book sales increased more than 161%.  Here are the figures for the major areas:

Category 2010 2011 % Change
Adult Hardcover (13)* $617.8 $471.1 -23.7%
Adult Paperback (16) 710.1 521.4 -26.6
Mass Market (7) 325.3 232.5 -28.5
Children’s/YA Hardcover (11) 272.0 240.1 -11.7
Children’s/YA Paperback (10) 244.0 207.1 -15.1
Total Print $2,169.2 $1,672.2 -22.9%
E-book (15) 181.3 473.8 161.3
Combined $2,350.5 $2,146.0 -8.6%

What interests me as a writer and as someone who works for a digital publisher is the growing market share of e-books.  Looking at these figures, e-books snow hold 20% of the overall market (math isn’t my strong suit and I’m too lazy to get out the calculator this morning, so correct me if I’m wrong here).  When you consider that just a few years ago, e-books were less than 1% of the market, this is a huge growth. I think the time has come for publishers and authors alike to recognize that e-books are not only here to stay but are a major piece of the market and need to be taken seriously.

What do I mean, you ask? From a publishing standpoint, it means publishers need to start focusing more attention on not only getting e-books into the hands of readers but on e-book quality.  This is everything from formatting an e-book in such a way it is visually pleasing to read to not making dumb mistakes like listing the wrong author across the top of the html or pdf version of the e-book page.  It also means making sure the book itself is properly proofread.  For whatever reason, errors in spelling, punctuation and grammar seems to jump off the e-book page even more so than they do the printed page.  And, let me tell you, readers complain about the errors and not just to the publisher.  They do it loud and long on e-book related fora.  So, publishers, do yourself a favor and start looking at quality control again.

Authors, don’t think this lets you off the hook because it doesn’t.  Legacy publishers simply do not do the level of QA they used to when it comes to editing, copy editing and proofreading.  So that leaves it up to you to present them with the cleanest manuscript you can.  Sorry to tell you this, it also means formatting as well.  I know, I can already hear some of you out there saying that’s not your job.  In a way, it is.  Those manuscript formatting guidelines the publishers ask you to comply with are not only so it makes it easier for the publisher to read your submission but also so it is easier in the conversion process — whether the conversion is to print or digital or both.

There is something else to think about as an author when it comes to e-books and e-book readers.  They are a wonderful tool for us with regard to the editing process.  You may be different from me, but when I send my current work in progress to my kindle or to my tablet and start reading it, it is like I am reading a book, not just my manuscript.  I see things I hadn’t seen looking at the printed page or reading it on my laptop.  Frankly, I find myself reading the WIP as I would anyone else’s book and that has become very helpful as an editing tool.

It is clear from each of the links today that e-books are here to stay.  The issue of out of copyright and orphan works will wind up in court — again and again — until there is a definitive ruling.  E-books sales have, in my opinion, reached the tipping point where they are a major part of the market that has to be factored in by all involved in publishing. In fact, e-books are now such a large part of the market that there are more and more questions, and often demands, by the reading public to know why they can’t get free digital copies of an e-book if they already own the hard copy version of the book.  Those who aren’t making that demand often want to know why they can’t trade their hard copy version of the book back in for a digital copy.  And people wonder why some publishers seem to have a perpetual migraine.

Mirrored at Mad Genius Club.

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An update and a few thoughts

The good news first.  Our new storefront is up and functioning wonderfully.  Everyone at NRP has worked hard to make the change-over and to make sure all our customers still have access to the books and short stories they purchased through the old storefront.  If you haven’t received and e-mail from us saying either a new account has been created or giving you a coupon code for downloads, please let us know at info-at-nakedreader-dot-com (you know what to do to make it into a real email addy).

The second bit of good news is that we have three new titles up and more on the way.  Firefight by Thomas A. Easton is a digital reprint of the novel, the first time it has been available as an e-book.  Part techno-thriller and part sci-fi, it’s a fun and thought-provoking tale of what can happen if those who are worried about what humans are doing to our planet go too far.

Family Obligations by Stephen Simmons takes us on a quest for vengeance that isn’t quite what it seems.  Bump in the Night is a digital reprint of a short story I wrote that appeared in the anthology Better Off Undead. These titles are now available through our storefront and will soon be available through Amazon, Barnes & Noble and other e-stores.

As I said, we have other titles coming out this month as well.  Included is Quicksand by C. S. Laurel, the second book in the Quick Mysteries series.  The first book, B. Quick, is currently free not only on our site, but also on Amazon, iTunes and most other major outlets.  Other titles will include, among others, Cat’s Paw by Robert A. Hoyt and For Conspicuous Valor by Darwin A. Garrison.  So keep checking back for announcements about these titles and others.

Now for those few thoughts I threatened — er, promised.  Not too long ago I blogged about the need for authors to follow submission guidelines when sending something to anyone, be that person an agent or a publisher.  I know we’ve all heard the horror stories about some of the “interesting” submissions editors and agents received when all submissions had to be mailed in.  Back then, it wasn’t all that uncommon for submissions to come in brightly colored envelopes with things like “attacked by aliens”, “dictated by my dead grandmother” written on them.  The pages themselves might be bright pink if the submission was a romance novel or blood red, even black, if horror.  Fonts, omg, fonts were in all different shapes and sizes.  Glitter might fall out of the envelope as the editor pulled out the perfumed pages.  Is it any wonder most publishers and agents have gone to electronic submissions?

Yes, it is environmentally better to go the electronic route.  It’s also easier and cheaper for all involved.  But — and this is a big BUT — that doesn’t mean guidelines are only to be looked at and then the author gets to decide if he is going to follow them.

Look, guidelines are there for a reason.  They are to make it as easy as possible for the agent or editor to read the story.  You want them to focus on content, not on format.  That won’t happen if you submit your novel or short story in something that isn’t what they ask for.  Their first impression is not going to be a good one.  I promise you, the first thought they’ll have isn’t “Wow, what a great idea!”  It’s going to be, “Well, here’s another one who couldn’t be bothered to read the guidelines.”  Is that the way you want to start out what you hope will be a profitable relationship for all involved?

A couple of commenters on the original post pointed out that they don’t write in standard manuscript format.  They change it after they finish and are ready to submit.  I have absolutely no problem with that because, depending on what machine I’m using at the time — I write on a laptop, a desktop, a netbook and a tablet depending on the when and where I’m writing — neither do I.  But, like those commenters, I make sure I have the piece formatted in the way requested by the publisher before sending it off.

Someone else made the point that we, as agents and editors, ought to be glad when we get a submission by an author who uses different formats because it means they are more apt to find mistakes before sending it off and, by inference, that we’d see more mistakes upon first reading.  Yep, you guessed it, my head sort of exploded then.  The first time an editor or agent reads a submission, it isn’t to see how many mistakes are present.  We aren’t editing then.  We are interested solely in determining if the submission is something we want to represent or publish.  Nothing more and nothing less.  When we see a submission where it is obvious the author didn’t try to meet our guidelines, we have to ask if this is an author we want to work with.  If they can’t be concerned to do as we ask before we have a working relationship, does this bode well for what will happen after there is such a relationship?  Will it be worth the potential headaches?

So, do yourself a favor.  Read the guidelines.  Do your best to follow them.  Believe it or not, there are some agents and editors — not us — who use software that will toss out your submissions if you don’t follow those guidelines.  That includes making sure you include the appropriate information in the subject line of your email and the information you include in the body of the email.  Don’t start off with one or two strikes against you before the editor has read the first page of your submission.

 

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Filed under announcement, Musings

OMG, I didn’t just read that! Did the author really write that?

I’ve spent the last couple of days trying to decide what to blog about today.  I could write about the ongoing kerfluffle between PublishAmerica and J. K. Rowling.  If you aren’t familiar with it, PublishAmerica has offered — for the low price of $49 — to get your book to Ms. Rowling.  Needless to say, Rowling’s attorneys were quick to issue a cease-and-desist letter.  PublishAmerica, in return, has had their attorney send their own cease-and-desist letter.  You can read about it here.

Or I could write about how much contradictory and often confusing information there is out there about what it takes to be considered an author worth taking a risk on.  No, I’m not talking about the submissions process.  Nor am I talking about the quality of the writing or the originality of the story.  No, this has to do with numbers and the game of Russian roulette the publishers are playing.  Only, it’s the authors who are being handed the gun and, instead of there being only one round in the chamber there are six.  In other words, it’s a no-win situation for mid-list authors.  Basically, according to one industry insider, if you have several titles out and they haven’t sold at least 5,000 – 8,000 units each, publishers won’t sign you.  The problem with this is that more and more mid-list authors are finding that their first print runs are no more than 5,000 units.  Between that and the fact that most books aren’t on the shelves more than a few weeks and that there is no push for them, there is no way this magical sales number can be met.  The real problem with this scenario is that, while it may mean the mid-lister can’t get new legacy publishing contracts, it’s the publishers who will eventually suffer.  The mid-lister can publish on their own now or they can go with a non-legacy publisher.  But for the legacy publisher that has shoved them out the door, gone is a guaranteed money-maker.  I say guaranteed because those mid-listers have a built in fan base that can be counted on to buy each and every title put out by that author.  Best sellers with over-bloated print runs that don’t sell through and new authors who don’t connect with the public will not keep the houses afloat for long.

Each of these is worthy of a post, but something caught my eye on one of the boards I read last night that started me thinking.  The poster wanted to know what she could do to become an editor.  Her qualifications?  She’d read lots of books, many of them by “indies”.  Now, I’ll admit my first reaction was to roll my eyes and laugh.  To be a good editor takes more than reading a lot of books.  Believe me.

Then I started thinking about why she might have posted the comment and other posts I’ve seen recently came to mind.  One of them was about an “indie” who had proudly proclaimed that their work was so good it didn’t need an editor.  Another commented that if an author knows grammar and the basic rules of composition, he wouldn’t need an editor.  Then there was the one that posited that authors don’t know how to edit, period and end of discussion.  All of that reminded me of the book I was reading when I posted last week…a book that was in dire need of some good editing.

The problem, at least part of the problem, with each of those statements is that they don’t necessarily apply to “editing”.  They apply to proofreading and copy editing.  In other words, to the formatting, punctuation and spelling but not the content of the piece.  Editing deals with the meat of the story, the organization, the flow, the word choice and voice.  All are important and all are needed, especially by the self-published author.

So, what has brought on this sudden awareness of the need for editing and proofing and such for books, especially e-books?  Part of it is that even the legacy publishers aren’t putting as much effort into proofreading and copy editing as they once did.  Finances and a lack of business foresight have forced them to cut back on their staffs and much of this has been left to authors and agents to do.  I don’t know about you, but asking me to proofread something I’ve written is asking for trouble.  I KNOW what should be on the page.  That makes it hard to see that it isn’t there.  It’s a lot like Pam was saying in a comment earlier this week about how difficult it is to be sure you, as an author, have put in enough of your character’s thought process and emotion because you know what that character is thinking so you assume the reader does as well.  As for formatting, authors are used to standard manuscript format — although, as I see more and more slush come across the email transom, I’m beginning to doubt they know even that.  They aren’t used to formatting for print or e-books.  Worse, too many take the conversion tools at face value and run their manuscript through them and then upload to Amazon or Barnes and Noble or Smashwords without ever checking to see what the converted manuscript looks like.

When an author proofreads his manuscript, too many simply rely on spell check.  It’s so easy to do.  The only problem is that spell check doesn’t point out if you are using the wrong word.  It only tells you if the word is spelled wrong, and that assumes it knows the word in the first place.  My recommendation is to turn off spell check — and it’s evil cousin grammar check — and actually focus on the words and sentence structure.  You may have to do like me and print out your short story or novel, but it’s worth it.  Especially if you know your publisher doesn’t do as good of a job as they should in the proofreading/copy editing department or if you are self-publishing.  Believe me, there are readers out there who keep score and will stop reading a book — and post very harsh comments — if they find more than three misspellings, etc., in your work.  So it is worth making sure everything is as clean as possible before it goes to press.

The change from print to digital also plays a role, at least for me.  There’s something about reading a book on the kindle or my tablet or laptop that seems to point out the errors.  It’s almost like they jump off the page at me.  Kate and I were talking about this the other day when we were comparing the differences in basic formatting between several e-books from the same legacy publisher.  These e-books, all published within a two or three month period, had different paragraph indents, different fonts, etc.  One of them had no paragraph indents at all.  Another had a glaring error on the “Other Titles” page in that the title of a series by this particular author wasn’t capitalized when it should have been.  Another e-book had a glaring misspelling in the first sense.  All of these errors should have been corrected before the title went live and, with the exception of the title with no paragraph indents, all will appear in the hard copy versions of the books.

Why do I say the paragraph indent won’t appear in the hard copy version?  Because there is a dirty little secret about e-books every author needs to be aware of.  You can strip out the html coding that is the basis for most formats without any problem and see what programs were used to create the file, who did it, when it was done, etc.  Which is exactly what I did.  I opened the offending title in an epub creation program and read the html.  That confirmed what I suspected.  The e-book was built by simply running the pdf that had been created by for the hard copy through another conversion program.  No one took time to check the final output in all formats.

And THAT, my friends, is the problem.  It is so very easy to convert a document into an e-book that everyone is doing it.  There are a number of very good free programs you can use.  But the job doesn’t end there.  You have to check each and every format you convert to and you need to check them in a native viewer or e-book reader, not just the built in viewers these programs provide.  For example, when NRP converts a title, we check it on a kindle, kindle for PC, Adobe digital editions, the nook app for my tablet and usually one or two others.  Does it take time?  You bet.  But it is worth it.

So, this has been a meandering and probably confusing post that basically comes down to this:  readers are more demanding these days about what they are willing to pay for and much more vocal about letting other readers know if they don’t like something about a book.  As the author, we can no longer just worry about writing a good story.  We have to worry about all aspects of the publishing road, even if we are going through a legacy publisher.  We have to make sure the manuscript is as clean as possible before submitting it.  So find not only your beta readers but one or two people you know who can act as first editors.  These people won’t go ballistic over a misplaced comma or sentence fragment.  These are those who read with a critical eye for flow and consistency and organization.  If you are going through a publisher, when you get the proofs back, go over them and have someone else do the same.  It’s amazing what you can find.  When the e-book comes out, if you haven’t received a copy from the publisher, buy one and go over it again.  Let the publisher know if there’s a problem.  Hopefully, if the problem is a big one, they will correct it.

If you are going the self-publishing route, consider hiring an editor if you don’t have someone to edit for you.  Most authors can’t edit themselves because, as noted above, we know what is supposed to be happening and so we assume the reader will as well.  You need fresh eyes on it.  If you do the conversion into the different e-book formats yourself, check them and then check them again.  The indie author relies on word of mouth for most of their promotion.  So the last thing you want is for that word of mouth to be about how poorly formatted/edited/proofed the title happens to be.

As we’ve said many times before, the publishing industry is changing and no one knows where or when the dust will settle.  The sudden influx of self-published e-books and the explosion of micro-publishers and publishing co-ops are changing the face of publishing.  It is also showing that there are some steps in the process that shouldn’t be skipped.  Editing, proofreading and copy editing are three of the most important.  They are steps that a good publisher, no matter what the size, will provide.  For those going the self-publishing route, they are steps that must be considered and addressed. Otherwise, you run the risk of, as one person said on the boards “shooting yourself in the foot”.

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Filed under Musings