Category Archives: Amazon

A two-speed economy: How traditional publishers are benefiting from Amazon Kindle and the impact on Indies.

I’ve mentioned before the way Amazon publication has entered new territory since the Big Five managed to get their own way about e-book pricing. It’s become increasingly apparent that conventional publishers have worked out how the maximise their gains from e-books and distributors, and while still bemoaning their existence have seized on the new opportunities now available.

There is no doubt that a traditional publishing deal remains the aim of most writers. Other than genre fiction of a certain kind (explicit erotica, shape-shifters, Space Opera romance and so on) every serious writer still wants a deal with a “real” publisher. But a lot of readers don’t want to buy physical books, and want to buy e-books online.

Now the traditional publishers have worked out that they can offer e-books at the same time as they publish print books, and preserve the powerful traditional ecosystem. By ensuring the price of the e-book version is not far from the print version (which may indeed be available in bookshops and will receive traditional marketing, recognition and publicity) they can make profits from e-books which are virtually cost-free since they only need to prepare the files once, there are no publication costs, distribution costs, warehousing costs or any other costs to speak of. The writers meanwhile have presumably signed contracts for the standard royalties, like 10% or whatever, and the publishers are pocketing the difference. And keeping the e-book costs high for the readers.

So a newly published book, like Liane Moriarty’s Nine Perfect Strangers (2018) is selling on Kindle for $14.99 and in paperback on Amazon.au for $16.00.  And Sydney-based author Shirley Barrett’s The Bus on Thursday (2018) – a most unusual read about a woman who has breast cancer by an author who learns that she does in fact have breast cancer after she has finished writing the book – is published by well-known Australian publisher Allen and Unwin on Kindle for $14.99 and in paperback at $22.99. I have no idea whether these authors have made special royalty deals with their publishers regarding the e-book version, maybe they have and good luck to them.

But the point is, this process is pushing the distinction between self-published books and books from traditional publishers further and further apart, so most indie books on Kindle are $2.99 or even less and the trad pub books are now well above $10.00.  Do readers know, or care? Well, they probably don’t care about that, as such, but they DO get to hear about the books because the publishers have established methods of publicity which benefit the e-book sales in a way that the randomised chaos of Amazon Kindle at present cannot equal. So the traditional publisher sells lots and lots of e-books but makes the reader pay almost as much as they would for a paperback even though they don’t get to actually “own” the book, can’t lend it to anyone or do anything else with it. But somehow still think they are getting a good deal because it costs less than the paperback they saw in the store.

What a mess it has become. I wish some clever statistical analysis was going on right now to clarify what the effects of all this are. You can glean a bit from services like Alex Newton’s K-Lytics and Data Guy at the Author Earnings Report, but I haven’t found anyone who is tackling the divergent effects of the way traditional publishers are now using the e-book market to enhance their reach while re-consolidating their influence over publishing and pushing independent authors back down to where they think they belong. Is genuine independent publishing doomed? Does anyone know of any updates on this?

Amazon creates NoSpace for Australian authors: Ingram Spark to the rescue?

In my previous post I mentioned the problems Australian authors are having under the new KDP publication model. I wanted to offer a couple of observations based on personal experience.

I have used KDP, CreateSpace and Ingram Spark in my experiments with publishing to date. I found Ingram Spark quite problematic – this was a couple of years ago – it didn’t seem at all friendly and had difficult protocols which had to be followed exactly for it to work successfully. IS charged a set-up fee (unlike CreateSpace/KDP) and you had to re-pay every time you changed anything eg because of errors you discovered only after the first files had been set up. I had problems with a colour shift in one of my covers and when I asked IS why this was so they were completely unhelpful, and didn’t want to engage in any discussion about it. They said the problem was in my files, but they came out perfectly on Create Space. If you have published ANYTHING on Kindle in the previous year, IS cannot distribute to Kindle, ditto Apple. There were heaps of others to whom they distributed though, and this became important when I realized that Australian readers could order my books through sellers like Book Depository and Angus and Robertson online. Booksellers could, if they wished, order them too. Amazon didn’t offer anything like it and seemed to have no Australian outlets. If someone in Australia wanted to buy a print copy through Amazon they had to pay a huge postage fee.

Now Australian readers can’t even buy from the US site. If they want a print copy of a book by an Australian author who has published with Amazon they have to order from the Australian site and pay the A$ price and the postage from the US as well. What’s worse for authors, they can’t access their own books for review copies or place bulk orders as they used to be able to do from CreateSpace. So the need for an alternative becomes compelling.

Ingram Spark has printing facilities in Australia, in Melbourne to be precise. So they can print one copy, or multiples, and ship them to the author directly. Their printing costs are higher in some cases than CreateSpace used to be, but having local access more than compensates. Ingram Spark seems to be making a much more active effort to engage with the self-publishing community. If you belong to the Alliance of Independent Authors IS was offering free set-up, for instance. Not sure if that is still the case, but will find out in a few weeks when I set up two of my new publications and will report back.

Now to the option of local printing. I have checked out two Sydney-based printers and am about to see what a service in my local regional area can do. This is not old-time offset printing, but Print on Demand suitable for short runs. One printer offered quick service and lovely-quality print (including good quality covers based on the CreateSpace files I provided) but the cost was so far in excess of what IS or CreateSpace offered and you had to arrange your own pick-up and obviously storage. Another couldn’t work with the type of files I had at all and said they weren’t going to be compatible with their machines.

Once you go to the commercial printing universe you are in a world of pain. Here’s why: https://graphicdesign.stackexchange.com/questions/58921/which-file-format-is-best-for-printing

Printers have their own expectations and facilities. I had a professional designer do both interior layout and covers for my previous books but local printers still had problems. Now I’m looking at using either Pressbooks or Vellum for the interiors and getting a professional designer for the covers. Whether this would work with the local printer, we shall see. Anyway, if you do go the local printer route, you have to be able to pick up and store your books, and forward/deliver them to the customer. And charge a much higher price. I am thinking of doing some locally printed good quality paperbacks for my own sales (through the website and maybe some local bookshops) as well as using Ingram Spark AND KDP. Steep learning curves all around.

Is there really a future for independent publishing in Australia?

Ever get the feeling that independent publishing, which promised so much, is heading down the vortex, especially for Australian authors? When it all started rolling it seemed like writers would be able to reach readers without all the intermediaries deciding who and what would be allowed through the hallowed gates of author-dom.

selfpub diagram wikiIt looked as if new technology would link writers and readers all over the world and open up the artificial geographic zones which for half a century had been creating unnecessary boundaries around the best new writing. Readers were forced to pay absurdly high prices in some areas, including Australia, to accommodate the outdated business model. You might have thought the response would have been to change the business model, but no, that didn’t happen, and now things seem to be in some kind of weird spiral.

In the US E-books are still selling, and selling well. In number they far outweigh trad pub titles, and just recently they have superseded print books in dollar value. Of course many of these sales are for traditionally published books from established publishers, who bring out an e-book edition along with their print editions. It is very hard to get accurate figures separating the different market components out.

US eBook_Sales_to_Surpass_Printed_Book_Sales_in_2017_n

When Indie publishing took hold, a network of new support mechanisms evolved to help authors bring their work to an eager public. Traditional publishers went on doing exactly as they had been doing (but added in e-book versions) and everyone else was free to try things out in all kinds of ways while Amazon  provided the all-important technological platform.

For a while Amazon set the prices of the e-books from the traditional publishers. But after a legal case spear-headed by global giant Hachette Amazon was forced to raise the prices of the e-book versions  so they did not  compete with print books: take a look at the price box next to the Big Five published book you want to buy on your Amazon site and you will see “The price was set by the publishers”. This has pushed e-book prices higher for “good” books from all the global players who have eaten up the smaller niche publishers at least in the English-language market.

BigFivePublishers

Meanwhile millions of other books are left wallowing about at the lowest possible end of the price scale in the hope that someone, anyone, will buy a copy. The unregulated indie market has turned out to be a ghastly place full of bad writing, creepy fantasies, idiotic space-nonsense, buff six-packs and bizarre arrays of erotica. There are many notable exceptions, of course, but anyone who takes a close look at what is going on in the Amazon indie market better not be a serious reader who thinks books have something to do with improving society and culture.

In Australia, the e-book revolution hardy took hold although Australians are known as early adopters of new technologies. Try asking around among friends and workmates and see how many actually have and use a Kindle. The answer, if you are an indie author, is super-depressing. It seems everyone longs for the olden days.

old Angus and Robertson

But there’s more to it than persistent nostalgia. It’s not just that people like going to physical bookshops, or buying physical books (often as presents for others), it’s that the guardians of Australian culture mounted an incredibly successful campaign against Amazon among booklovers. They were readily convinced that anything coming out of a corporate US giant like Amazon was automatically going to be a Bad Thing. This impression was shored up among the writers’ groups, in publishing circles, among academics and general literati, the local press, the network of book clubs and whatever other areas of public communication had anything at all to say about books and writing. Indie authors did not appear at Writer’s Festivals. Nobody mentioned them on the TV book shows (all now defunct); everybody interested in books and writing in Australia knew that good writing only appeared through a reputable publisher. The books by Australian authors hailed by the literati sold in modest to low numbers. Books written by Australian indie authors had to succeed in the US market, or not at all. There has never been an identifiable market for Australian independent authors in Australia.

Now things are even worse. Amazon won’t let Australians buy e-books – or any books for that matter – from it’s American site. This is supposedly because the Australian government didn’t like it that e-books were being bought by Australians who weren’t paying GST on them. Now the reader is forced back to the .au site, no option. Add the GST to the cost of the e-book and it looks a lot more expensive than when it was $2.99 on the US site. Previously, readers who wanted to order a print version could do so from the US site and pay horrendous postage. It seems that hardcover versions of Big Five published books are available through the Australian site, but still have to be sent at a high postage rate from the US. So guess what? You might as well buy a print copy of the book from your local bookshop, or by ordering online. Who needs Kindles and e-books after all? Somehow all this seems to have shored up the ultra-conservative elements in the Australian book world.

E-book author earnings are still very substantial, and when you consider that many authors identify themselves with a self-managed publishing imprint, the result is even more impressive. But of course this is happening in the US, not in Australia.

ebook-author-earnings-1m-201605

Australian authors often made print versions through CreateSpace and ordered fifty or a hundred or whatever copies to distribute themselves in Australia, sell through their own website or send out as freebies. Now CreateSpace has closed down and everyone is supposed to use KDP for their print books. But nobody, not even the author, can order print books from their US-based Amazon account, and Amazon is not going to be printing books in Australia anytime soon. You can’t even order a proof copy of your new e-book from KDP, apparently, because that would involve sending it at the US price. I believe this issue is currently being looked at by Amazon, but the bulk print copies will never be available again. So it’s back to the Australian traditional publishers.tradpub cartoon

Several correspondents have asked why authors don’t just have their own books printed locally, instead of worrying about the whole Amazon/e-book experience? Well, there are three good reasons. Firstly, local printers quote for a paperback version around two-three times the cost CreateSpace used to be able to supply them at, even with shipping from the US. They can look a lot better with much nicer paper but the price needs to be set very high if the bookseller gets the 40-50% discount they expect. The author may finish up getting even less than the miserable payout from a book priced at $2.99 on Amazon. Second, local bookshops are very reluctant to stock books from independent authors unless there is some local reason to do so – like a book about riding bicycles along back paths here in the Blue Mountains, which sells well from just two or three bookshops. The author supplies the copies personally when the bookshops run out. But if you are trying to sell more widely it means you have to keep stocks of your printed books somewhere – in your garage, or in your bedroom, or in a warehouse-type space, then you have to post or send or courier copies to whoever wants them, then pick them up again if they aren’t sold.

There is no simple answer, obviously.

BTW I  want to thank Anna Castleton for her recent comment (August 31st) which prompted me to write this post sooner rather than later. I also should mention that my e-books, such as they are to date, have been illustrated and cover-designed and the interiors formatted by a well-regarded professional (in Mexico, as it happens) and the colour shift problems  I had with my children’s book The Priceless Princess when print copies were made on Ingram Spark were the result of the Ingram Spark presses not “reading” the PDF files correctly.  Ingram Spark seems much more responsive these days and  is making a significant push into the space being vacated by Amazon. And it prints in Melbourne.  More on this in a later post.

 

 

 

 

 

The Perils of Publishing

It’s been a while and I’ve gone through a lot in the writing and publishing world lately. I’ve been thinking about new strategies, doing a lot of re-editing, and working on the Memoirs. This has led to a long silence on the blog, for which I apologise.

But I was moved  to write today by yet another story about a writer who wanted to be published and parted with a lot of money thinking it was to a “real” publisher, only to discover that although her book – an illustrated children’s book – was lovely, no bookstores would stock it.

Ever since I launched myself into this world I have become aware of the many people who want to be writers and are determined to do it. Social media has made it so much easier to get in touch with these people and get to know them online. So many are looking for support and advice, but almost everything they can learn about the process leads them to part with their money. Advice to self-publishers is everywhere but so much of it is motivated by someone offering a service. It is obvious that a huge market exists and a lot of writers have discovered that there’s more money to be made by “helping” others publish their books than by publishing their own.

IF YOU ALREADY KNOW ALL ABOUT THIS STUFF, DON’T BOTHER READING ON. But if you are pretty confused about what is involved in getting your book out into the world, you might find a bit of clarity here. It is based in part on my own experience, as well as looking into the minefield of services on offer to would-be authors which are getting more difficult to understand by the day.

engraving publishing

You can get your book published entirely by yourself, if you have the skills. You start with a manuscript you have written. It will have to be written on a computer in a recognised program such as Word which is the standard. If you are still writing by hand on a yellow note-pad, you’ll have to pay to have it typed up.

What you need at the end of the day is a set of files in multiple formats. In theory you can do all of this yourself and it will cost you nothing, or almost nothing (some distributors such as Ingram Spark require a payment for each book being uploaded to your account). The files have to be laid out in particular ways and conform to certain requirements. If you only want ebooks they can be loaded one by one to different distributors or you can use an aggregator service. Your ebook can become a print book using Amazon’s Create Space or another print on demand service. Once the files are ready and in an acceptable form, you have a book all ready to go, it has cost you nothing to produce, you load your files onto the sales site and sit back and wait for someone to buy it online through Amazon, Kobo, I-Books or some other site.

You may have ordered some print copies for your friends and family and be happy to hold your real printed book in your hands. Does it look as good as the book you paid $30 for at the bookshop? Probably not. The paper will be thinner, the interior layout may be boring or clunky, and looking at the cover it doesn’t look quite how you expected. But still, it does look like a book and you know it’s great. But it won’t get into the bookshop, it won’t be reviewed in the paper, and nobody will get to hear about it unless you yourself undertake a crash course in Internet marketing because that is the only way it will actually exist for your readers.

Some people think that bookshops won’t take books printed by POD technologies. Print on Demand (POD) means a copy is made only when it is ordered. This is a huge advantage since there is no need to print multiple copies in advance, to store and ship them. Traditional publishers may use POD technologies for books which do go into bookshops, and it is not use of that technology which makes it unacceptable to bookshops.

Caxton self publishing

It is the fact that the book has not entered the circulatory system of traditional publishing which was designed a hundred years ago and has hardly changed since.  This requires a manuscript to pass through multiple selection channels. Most publishers won’t take a book unless it has been referred to them by an agent. Even where they will accept a submission, it will be read by someone very low down the totem pole. Some say that 90% of manuscripts are rejected by the end of the first page, and 98% by the end of the first chapter. There is a network of connections which create mutually agreed standards or expectations for what kind of book is worth publishing, when and by whom.

Self-publishing has been seen as a way to get around the archaic and outdated structures which still prevail. But it’s damned hard to do on your own. Not surprisingly many authors seek help to get their manuscript into an acceptable form. There are all kind of services to help you. They may offer to edit, to create your book cover, get all the files into the correct formats and then they may actually upload the files for you. You can engage and pay a different professional to help with any of these tasks, or you can find a single company who outsources the work or does it in-house. Most of them offer several options, or packages, which get more expensive as they include more items. It’s easy to see why many choose to go with the company which offers a comprehensive service even if it costs them up to several thousands of dollars.

But when you do it this way, you are still a self-publisher.

Hang on! That’s not what you had in mind. You want a publisher! Here is where the real danger lies. There are an increasing number of organisations which call themselves publishers and will accept your manuscript for publication. They have a name, Suchansuch Publishers or Ifonly Books. They will produce print and often ebook versions as well. They advertise on the web, you will find them whenever you Google “Publishers”. Wow, you think, I have a publisher. The catch is, they will ask you for money. A lot of money. They may produce a near-perfect book, far better than the book you can produce on Create Space or through Ingram Spark. They may even offer to market your book for extra money. But still your book will not appear in the bookshops.

Because you paid for it. The entire structure of book publishing prevents these kinds of books from entering into commercial circulation. The publisher has to pay you – usually what’s known as an advance, which used to commonly be between $5000 and $10000 (if you are lucky). You don’t get any royalties back until that full cost has been recovered by the publisher. If a publisher offers to publish you for money they are by definition not a “real” publisher and you won’t ever get your money back. Most people who publish this way finish up with a garage full of printed books which they cannot sell.

360_hoarders_0423

The rise of self-publishing has meant that anybody who wants to publish a book can do so. But that does not mean that anybody can be a recognised author whose books will be found in a bookshop. The many inexperienced writers who don’t realise this are easy prey for those who can convince them otherwise. Almost all the books by self-published authors are sold on Amazon, mostly for $2.99 or less. Some cover their costs and make some profit but many don’t. Becoming a best-selling author on Amazon has become ever more difficult. There are two or more million titles now and each year thousands more are added.

A recent phenomenon is the way traditional publishers issue expensive ebook versions of their conventionally published books through Amazon Kindle and others. At one time, the Kindle versions only turned up a year or more after the print books came out. Now the are issued more or less at the same time, but the publishers set a very high price, way above anything normally found on Kindle. This happened after a bitter court case brought by international giant Hachette against Amazon. The authors of the books don’t make any more out of it than they do from the print book – say, 10% in royalty payments – and the publishers keep the rest. So a two-tier structure is emerging in the e-book market where self-published ebooks are super cheap, or even free, while Kindle versions of recognised publishers’ print books are available at grossly inflated prices, often around the same price as a paperback. Meanwhile buyers who go to bookshops or order through companies like Booktopia are purchasing conventionally published print books since the ebook version won’t be much of a saving. This reinforces the power of traditional publishers and makes self-published writers very much second (or third? or fourth?) class citizens.

Without extensive marketing using all the bells and whistles of the Internet (Facebook groups, Good Reads, BookBub, paid review sites, email groups, increasingly Twitter and Instagram) very few self-published authors make it. There are spectacular exceptions which I will write about in another post. But the thousands of would-be authors who don’t know better, especially older people who don’t have much idea of how the new digital landscape works, are easy marks for those who offer the hope of authorship, especially the dream of “real” publishing.

So no matter how much you want to be an author, don’t part with any money until you fully understand what is being offered. Just because someone says they are a publisher and can send you good quality printed copies of your masterwork does not mean you are on an even footing with those who have benefited from the system of preferment and patronage so common in the publishing world today. You still won’t get into the bookshops, or be distributed to libraries, or reviewed in the newspaper, or invited to speak at a Writer’s Festival. If you want to get your work into circulation somehow, anyhow, you’ll do best to DIY or find someone you can absolutely trust to do the technical stuff for you.

 

 

 

 

Nightmare on the Red Spectrum

Red Priceless Princess small
THE PRICELESS PRINCESS IS RED-FACED

The Priceless Princess has been available for sale through Amazon for several months now. It was my first venture into self-publishing and I knew it would be a learning experience. And how! As I lamented earlier, I enrolled it in KDP Select, which means the e-book can’t be distributed outside the Amazon Kindle environment. Because it was in Select it meant that people with a subscription could download it as part of their service. All good, except that now authors are paid by the page read and the book is only 106 pages long – it is after all a children’s book. Quite a few readers have chosen it but being paid by the page it’s made almost nothing in dollar terms. Books stay in KDP Select for 90 days and I missed the deadline to get it off there so now I’m stuck with it until June and can’t use any other e-book distributor.

What about a print book? Would anybody buy that? I had a Create Space version printed and it came out beautifully. No sales, because it was free in KDP Select I guess, or maybe it was too expensive. Nobody in Australia would pay the postage. I ordered 50 copies for my own distribution purposes but that cost a small fortune in freight from the US which is the only way to get the books to Australia.

Amazon’s Create Space has no presence in Australia: you can’t get books printed here. If Australian readers want a print copy they have to pay the exorbitant cost of postage from the US. Amazon’s Australian Site: Authors Beware

Why didn’t I know this? It is obvious that most people in Australia, especially when buying children’s books, only want printed copies. Nobody here buys their kids a Kindle for Christmas (they do in the US apparently). I wanted to be able to distribute the print version through my website, put copies into schools as donations and do various other things so people in Australia could buy it.

So I followed everyone’s advice and went with Ingram Spark since they print in Australia and I could get print copies from them in bulk for a lower freight cost. And they distributed everywhere. But they wouldn’t use the same Create Space PDF files, the files had to be saved in a different PDF form, the very early x-1A or whatever it is. Finally got Keith to redo/resave the files, they were accepted by IS, then I had to pay $15 to get one copy to examine (by courier – what is wrong with using Australia Post?) and then I discover that the front cover in printing has shifted to the red spectrum and the Priceless Princess’s gorgeous face is now extremely flushed.

So I ask IS why this is since the art work is identical with what went to CS and I receive a prompt reply saying all printing machinery is different and they cannot guarantee any particular colour outcome or that it will match that printed elsewhere and I have to get the files redone to compensate for their machines.

But how? Nobody can see what the problem is on the artwork files, which look identical on both PDFs.

So now I have a very red-faced Priceless Princess circulating around the world, a very frustrated illustrator who doesn’t know how to help, and a particularly irritated author who is now trying to find a local printer who can use the original Create Space files and hopefully provide a better quality paper at the same time for a reasonable price so I can do my own local distribution.

Online technology obviously doesn’t combine well with legacy printing. The online world doesn’t mesh with traditional reader behaviour. A lot more work needs to be done to find some better alternatives. Meanwhile everyone under 30 is reading free books on their mobile phones. Is this a losers’ game or what?

Once more with irritation: high e-book pricing does no-one any favours.

Sometimes books appear and you know right away you want to read them. Nikki Gemmell is already a very well-known writer, with a lively career as a magazine journalist as well as ten plus full-length books, the best known being her first, The Bride Stripped Bare. I have to confess it is the only one I have read. I’m not quite sure why.  Her books seem to fall between a few stools: genre fiction, literary fiction, self-help, essay.

the bride stripped

But her new book, After,  is definitely in my territory. Memoir, true story, traumatic experience, mothers and daughters. I’ve already written my own version, about the death of my mother and my ex-husband within three weeks of each other back in 2008. I wrote it not long after but haven’t been able to bring myself to go back and edit it, let alone publish it. But it is on my list and should be finished by mid-year. I don’t think it will be much like Nikki’s book.

after

Nikki’s mother chose to die; mine didn’t. My mother never intended to die, ever, and the stupid accident which killed her could easily have been avoided. She was 93; she might conceivably even be alive today if she hadn’t lost her dentures. But that is my story, this is about Nikki’s, sort of, but not really, because I haven’t read it.

Tomorrow we are going to hear her talk about her book at a “meet the author” event in Katoomba, courtesy of the wonderful Gleebooks in Blackheath and Varuna Writer’s Centre. I have been looking forward to it. It’s so much better when you have read the book being discussed. So I did what I always do, and looked for it in a Kindle version from Amazon.  Yes, it was there, so that was good, until I looked at the price. $14.99.  In hardcover it’s $22.50. There doesn’t seem to be a paperback. What? Yes, it’s Harper Collins’ strategy to get you to buy the hardcover, or at least to stop you buying the e-book. Who would pay $15, even if it’s a great book and you really want to read it? And who is getting the lion’s share of the inflated e-book price? You can bet it’s not Nikki. No, for those who do pay for the e-book, Harper Collins will get the major part of it, even though their production cost for putting it up on Amazon as an e-book is probably near zero, since all the editing was done for the print version, the marketing costs cover both, and tweaking an already existing cover design for Kindle is so easy a kindergarten child could do it these days.

Nikki Gemmell

Sorry, Nikki, but I guess I won’t be reading your book for quite a while. I can put my name down for it at the local library, or maybe I will find some friend who has bought the hardcover. But I will not buy any more hardcover (or print) books unless they absolutely cannot be obtained any other way and I really really need them. And although I’m sure your book will be great, I just won’t support greedy publishers who expect readers to cough up absurdly high prices just to keep their existing legacy business model going. Just a reminder: when you “buy” an e-book you don’t really “buy” it in the traditional sense. It isn’t yours. The company who release it can remove it at any time. You can’t lend it to anybody else. You can’t give it away as a present. You are just hiring it. A price above $10.00 is wholly unjustifiable.

 

The Indie publishing community – and some thoughts on pricing your e-book.

One of the real pleasures of the Indie publishing world is coming across new writers and publishers you might never have found without the burgeoning online community. I love hearing from new authors and finding out what they are doing,  and really appreciate the amazing inventiveness and generosity so many show.

I just found a great post by one of my visitors, Joynell Schultz. Joynell writes speculative fiction, something I’ve never tried. In her most recent post she describes all of the techniques and strategies she tried to get her first Kindle book “out there”, what worked and what didn’t. Read her post here and take a look at her book. love-liesYou can buy it on Amazon at the current price of $2.99 (she started at 99c) and you can download six chapters free – she will tell you where in her post.

I do want to make a bit of a demurral here. While publishing free chapters may be a good way to get readers interested in your work I am not so sure about the wisdom of selling books on Amazon for 99c, or worse, making them “free”.  If you think that is what your work is worth, why would I want to read it? If you write purely to find readers, put your work on your website or one of the sharing sites such as Wattpad but don’t put  it up on Kindle. Amazon is a commercial site where people who want to sell their work meet other people who want to buy it. I can see an argument for 99c short stories or novelettes – maybe – but novel length work which has been invested with love and care, edited properly, with a good cover and hopefully a good story MUST be worth more than one dollar or worse, zero. I guess the next step is to pay people to download your book!

At the other extreme, traditional publishers are getting way with murder, pricing their e-book versions at absurdly high prices to artificially prop up the print book market. Don’t think you are doing the authors a favour by buying their e-books – the contract will ensure that the publisher still gets most of it just as if it was a print book, even though it costs them nothing to make available in digital form, so it’s all more profit for them.

There are millions of readers in the world. A lot of them want to read for free, so good, let them, give it to them however you like but don’t call it a published book. Others want to buy books for their collection. I have bought hundreds and hundreds of ebooks for my Kindle collection over the years and I don’t plan to stop. But I’m not going to clutter it up with cheap stuff. Sometimes I’ve tried something for a couple of dollars and usually I can’t be bothered reading it past the first chapter or so. If it’s annoying enough I might delete it altogether.  Until recently I didn’t write reviews of books I thought were bad, but I think the time has come when those of us who buy Kindle books call them out when they are terrible. Amazon reviews seem to determine which books succeed by getting noticed in the first place. Amazon itself has tightened up on the review process. Now they could tighten up even more by banning full-length books priced below $2.99.

If you’ve written a good book, price it properly to reflect that. Good on you, Joynell, for raising your price. You’ve got good reviews and  your second book should have eager readers waiting.

 

 

More cautions for Australian authors: Amazon reviews and a conspiracy theory.

I don’t know if I’ve missed something people have already commented on in other blogs or forums – should I have known this already?  – anyway, I have just grasped another big problem for Australian authors publishing on Amazon. If your Australian readers are in Amazon.com.au, buy your e-book and leave a review, that is where it will appear. Australian reviews will not appear on the US site. So unless you find a way to get  readers to leave reviews specifically on the US site, your book will languish unattended in the world’s biggest English-language market. Why don’t the Australian reviews appear on the US site? Why has Amazon apparently co-operated in recreating the kind of geo-restrictions which global digital communications was supposed to end?

I am generally not given to conspiracy theories, but it does look to me like some kind of deal was done when Amazon first made a push to enter the Australian market. I recollect there was vast opposition from the regulation publishers and literary players – oh dear no, we don’t want that horrible Amazon behemoth here, we must preserve our national cultural authenticity – now it turns out that the only books available through Amazon here in Australia are Kindle versions.  Since Australian readers have been brainwashed to believe that print books purchased through bookshops are far more worthy than e-books anyway, this ensures that traditional print publishers retain a dominant position in the market.

I worked this out just recently when I was reminded to get hold of the late Bob Ellis’s collected/curated writings, posthumously published in late 2016. bob-ellis-book-coverIt is a collection of previously published articles and personal memoirs, many going back to the 1970s, assembled by his wife Anne Brooksbank as a kind of memorial volume.

Googling, there were plenty of paperback copies available from different booksellers in Australia. The price was uniformly above $30.00. Booksellers’ sites listed only the print version. Kinokuniya in Sydney listed the on-line price at $34.99. At first I thought this referred to an e-book version but no, that was the price if you ordered the print book online as against through the bookstores “card members” price.

As far as I could see, there was NO e-book version available through any of the Australian booksellers. As I have a firm policy of never ever buying a print version if there is an e-version available, I thought I would try Amazon.  I have always kept the Amazon.com US site as my main site. So there it was: Bob Ellis In His Own Words at $11.87.  That is pretty high for a Kindle book, but way better than $34 or $35. And yes, there is a Kindle version on the Australian site, at $16.14. It is also available on Kindle Unlimited in Australia, for subscribers. But the US paperback is priced at US$34.99, which would make it over $40 for an Australian purchaser who would then also have to pay the very expensive postage.

So somehow Amazon is able to trade in Australia without significantly disturbing the traditional publishing ecology. Publishers and booksellers maintain the impression that there are no e-book versions. Amazon offers a Kindle version in Australia, but no print version, and in the US the print version is priced too high for any Australian purchaser to bother with it. A kind of cartel agreement, or just a happy accident to keep the Australian publishers happy? Whatever, the total effect is to disenfranchise Australian authors trying to write and publish outside the limits of the good-old-boys-and-girls publishing environment in Australia. So if you want to be a success at independent publishing, you really need to get up there on the US site and attract the  US readers. Your e-book will turn up on the Australian Amazon site but only if the reader knows to look for it there.  How this assists our national cultural authenticity I don’t know, especially when Australian publishers are unwilling to publish anything from new writers and are reducing their lists all the time.

 

 

 

 

 

 

 

 

 

 

by firstly deciding not to make any self-published Create Space books available in Australia

Amazon’s Australian Site: Authors Beware

skywind-1It’s hard to navigate the dangerous shoals of self-publishing. It took me the better part of a year just to get an already written story ready for the publishing process – editing, formatting,  negotiations over cover (and illustrations), first round of corrections, loading and reloading files, finding and correcting mistakes, reloading files yet again —2016 was coming to an end and I really wanted to get this book out. I had already decided publishing through Amazon was the obvious way to go.

It was my children’s book The Priceless Princess which was the test case. Things got complicated when I had to go into hospital for major knee surgery in early November so I was rushing to get the book ready for Christmas. My dear friends at Ciao Magazine in Sydney gave me some free publicity. The Kindle version went up through KDP, it was easy and gratifying once I worked it out.  There was my book online, with its great cover! I had a Facebook author page! The book had its own website! I had it up here on my main writing site! What could go wrong?

Time went by and suddenly there was a notification of a payment. It definitely wasn’t anything I expected, and not in a good way. I mean, yes, it was a payment, and that was welcome. But there were no sales!  Because the book was enrolled in Kindle Unlimited, US readers could read it and I was paid by the page. Well, it’s a pretty small book, and not many readers read it – and since it’s a children’s book, children themselves could not read it, unless their parents had given them Kindles, or let them read on their own. That’s why I published a print copy on Create Space, so they could order copies for their kids. They didn’t, so I thought they probably didn’t like it that much. Too exotic and scary?

But where were the Australian sales? None at all? It’s a very Australian story. Anyone who looked at the website on Amazon should realise this if only because of the bilbies and green snakes on the front cover. Australians aren’t so into Kindles, and they don’t buy them for their kids. They ought to go for the print version. I thought I’d priced it pretty well for the Australian market. This stuff is all about marketing, the elephant on the keyboard in the new writing world. Hidden traps, a thousand perils, it can make you pretty narky.

I thought I knew what I was doing, but I didn’t. It took weeks to get myself back in gear enough to work out what was happening. Today I discovered for the first time that AMAZON DOES NOT MAKE ANY CREATE SPACE  BOOKS AVAILABLE TO AUSTRALIAN CUSTOMERS  using the Amazon.com.au site.  Since they have been very actively persuading Australian customers to switch to the Australian site, this means that Australian authors who have published on Create Space will not even have the availability of their books noted on the Australian website!  And presumably potential readers are not going to know this, and so will assume there is no print version. Apparently the same has been the case in Canada, another place where I thought customers might like the book.

In the process of checking this out, I then discovered that the Kindle version, which I had originally put at US$2.99 had somehow magically transformed in the Australian Kindle store into something over $6.00. Nobody is going to pay that for a short children’s e-book. I have no idea what made them set that price, but I see that they are in fact at liberty to set any price they like.

So no wonder there haven’t been any sales. Well, there was one, but it was returned. I don’t know what to make of that. Meanwhile I got a batch of copies sent over from Create Space, at considerable expense, and I gave lots away for Christmas presents. Great feedback from the readers who especially enjoy that great cover and the way the illustrations worked with the text. I am not so happy with the internal layout, it is printed too close to the binding, but it’s fine for this first print version. If you happen to read this and want a copy of the book to give your kids, click on the tab above “Children’s Stories” and you will see how to get a real-life print copy of this version for the great price of $A5.50 posted anywhere in Australia. There will be Paypal option soon too.

So this is all about learning. Am working now towards getting my first book of short stories ready in the next month or two, and I won’t make the same mistakes this time. I do wish there was a comprehensive site or book specifically for Australian authors wanting to go the self-publishing route. The domination of Amazon in the US and international e-book field has made it pretty much inevitable that writers will go with them more-or-less automatically, but there are a lot of traps there and the complications are vast. And of course the demand for children’s books is infinitesimal anyway, at least beside those staggering Indie romance figures. Even less than literary fiction!

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Indie publishing and the Amazon Maelstrom of Doom

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I was a very early adopter of Amazon e-books. I opened an account straight away and I still have a collection of ancient Kindles with their grey screens and clunky keyboards. Once I realised the possibilities of self-publishing through Amazon I thought that might be for me. I knew a lot about conventional publishing especially in the academic field. But I had also looked into commercial publishing and knew some well-known published writers. Drusilla Modjeska is a kind of relation (my second husband’s first wife) and we had talked about the literary scene since the 1970’s. Still talking in the naughties, I tried to persuade her that Indie publishing was the way of the future but she, like most Australian literary figures, considered it completely unacceptable and infra-dig. I couldn’t persuade her of its virtues no matter what I said. Of course she already had a publisher and a secure literary reputation, so I can see why it wouldn’t have appealed.

By the time I was getting ready to publish my fiction and memoirs, it was another scene altogether. Traditional publishing had become almost impossible. The old literary circles were dying off and the Big Five international publishers had swallowed up one after another of the smaller presses. Agents at least in Australia just wouldn’t look at debut authors unless they seemed like literary prize material or were writing self-improvement texts or cookbooks and even then they had to have a profile on TV.

Self-publishing, or publishing through small presses, had indeed picked up the baton and become not merely successful but a huge industry with an entire infrastructure of its own.The demands on the independent writer now included the ability to manage all the things the old trad publishers had done, and as standards increased so did the expenses. And as the number of services for self-published authors bloomed, so did the number of titles, all neatly divided into nifty genres and subgenres which often bore little relevance to the actual book the author had written. There seemed increasing pressure to write to distinctive niches: alpha billionaire S and M, historical vampire fiction, sweet Amish romance, a whole submarket in stories about Mormon polygamy. Marketing became the watchword, but how to achieve it without paying for a marketer, with no guarantee of ever getting your investment back. The old days when the writer handed over a bundle of typed pages and received a cash advance began to look halcyon.

The Amazon publishing ecology is fantastic and offers every support to the writer, except the crucial one, namely, how to persuade readers to buy your book. The rise of Amazon’s own imprints is having another kind of impact, more on that later.

The glories of self-publishing are looking increasingly tarnished right now. In late 2016 the graphs of sales and income for Amazon self-publishers began to drift downwards for the first time in five years. Millions of e-books are washing around on Amazon and a few other platforms. Some estimates suggest that there are 5,000 new books published on Amazon each day. It’s almost impossible for readers to find good quality writing, the kind of book which is not repetitive trash genre fiction. Not to mention the ghastly low standard editing and typos in so much of it.

There is a huge market of people who love to read and appreciate the e-book format and like the low prices knowing most of it is going to the author but they want to read real stories with a certain kind of “truth”.  The enormous success of Sydney writer Liane Moriarty is an example. Liane is a really good Australian writer who tells well-crafted stories about real lives which readers can recognize. I found it at first unbelievable that her stories, set in Australia, were being snapped up by legions of American fans. She is almost completely unknown in Australian literary circles and certainly will never turn up on a literary prize listing. Her readers are not necessarily  part of the cultural elite, but they are still serious readers, who  get lost fast in the wilds of Amazon and will be generally turned off by the oceans of junk and rubbish now swirling about in the maelstrom. It was good luck as well as a good product which brought Liane to her readers at a time when Amazon/Kindle hadn’t reached the stage of terminal bloat and ultimate Doom.

We urgently need some method of curation which doesn’t go through the conventional route and can open a space for e-book publishing for serious readers and writers who want to engage with the new world of online publishing. That’s the number one challenge now, it seems to me.

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