The Gang That Couldn’t Shoot Straight: How Apple and 5 Big Publishers Almost Got Away with a Massive Price-Fixing Conspiracy to Try to Turn Back the Kindle Revolution, and What It Will Mean for Readers, Authors, and Publishers Going Forward

(The following will appear in slightly different form, perhaps with the addition of a glossary, as the Introduction to a new book by Steve Windwalker.)

With most of the books that I have published about the Kindle, I am well aware that readers want to charge up their Kindle, turn it on, download some books, and start reading. The purpose of my books is usually to make the experience richer by sharing information about how to get most out of the Kindle and how to find the best books at the best prices.

But the clash of forces that have been at war, mostly behind the scenes, in the Kindle revolution has had a dramatic effect on the availability of and the prices we pay for ebooks, and those changes have just begun.

The machinations that led to the April 2012 U.S. Department of Justice anti-trust action against Apple and five of the six largest U.S. publishers will provide case study fodder both for law school and business school students for decades to come. The more you know about them, the more savvy an ebook consumer you will be. And while it is a fascinating story qua story, it is also no exaggeration to say that, if you have purchased any Kindle books at prices above $9.99 since April 1, 2010, you are likely to be a material party to the anti-trust action with a chance to benefit from a restitution fund that could grow to hundreds of millions of dollars.

So fasten your seatbelts, and here we go….

Apple. Hachette. HarperCollins. MacMillan. Penguin. Simon & Schuster.

One of the most innovative tech companies in the world, and five of the Big Six publishers,

That’s what we used to call them. Then, starting early in 2010, we all tried to come up with new names for them. Apple and the Apple Five. The Agency-Model Price-Fixing Co-Conspirators. The Greedy Dinosaur Publishers. But none of our phrase-making efforts had any special felicity.

But now the U.S. Department of Justice Anti-Trust Division, with its announcements of April 11, 2012, has made it easy on us.

Now there’s a new name for this wild bunch: The Defendants.

Many in the traditional publishing world believed that adoption of the ” agency model” was the biggest news of 2010 in the book business, and perhaps many of the same people will see the demise of the agency model as the biggest news of the next year or two.

Let’s take a look at how we got here, and where we are going. We’ll start back before April Fools Day, 2010 — the day that the agency model took effect — and continue right through to today and beyond by looking at some of the available tea leaves to see where prices, and the book business in general, are likely to go in the future.

The Defendants’ purpose in adopting the agency model was to end competitive pricing for ebooks, and to slow the growth of ebooks in general, and the growth of Amazon’s dominant market share in particular. They did this by foisting a new pricing model on all retailers — including Amazon’s Kindle Store — that had the effect of raising “new release” and many other ebook prices by 30% to 100% over the $9.99 price point that Amazon had established and maintained since the launch of the Kindle in November 2007.

That $9.99 price point involved Amazon taking a loss on some new-release bestsellers and selling others at breakeven, since most of the “copies” sold in the Kindle Store cost Amazon something in the $9 to $13 range, based on a wholesale pricing structure that involved a 50% discount on digital list pricing. Amazon’s strategic decision to lose money or only break even on such a significant part of its ebook sales was based on its belief that the overall “sweet spot” for ebook prices topped out at $9.99.

This limit on ebook prices would make them a compelling value proposition for consumers. Prices would be even lower in many cases for books from lesser known authors or books that had passed beyond new-release status. Beyond that consumer-driven approach to pricing, of course, the company was also pursuing two perfectly logical corporate goals: to achieve a dominant market share among ebook sales, and to grow the market share for the ebook format among all trade book formats.

Not surprisingly, publishers were terrified that Amazon’s loss-leader pricing for the Kindle Store would make it so dominant a player that it would be able to dictate wholesale and retail pricing terms throughout the marketplace. By the time Barnes & Noble launched the Nook in November 2009, Kindle owned a market share of well over 80% for ebook sales, and Nookstore pricing was, for the most part, roughly identical to Kindle Store pricing. Amazon had a powerful weapon that no longer existed for Barnes & Noble: its cash supply and overall marketplace power would allow it to continue taking retail losses or miniscule profits on the big publishers’ ebooks for years to come — or for however long it took Amazon, publishers feared, to be “the last man standing” in the book business.

It was this confluence of terrors — and the $9.99 price point that was at the heart of it — that drove five of the Big Six publishers (all except Random House) to enter into an obviously collusive price-fixing scheme with Apple to try, early in 2010, to block Amazon’s path to dominance. The publishers worried aloud to one another that the $9.99 ebook price point would lead to the erosion of hardcover prices, to ever-greater ebook popularity, and ultimately, perhaps, to demands by Amazon that the publishers lower their wholesale prices.

It’s worth noting here that the publishers might have taken a different, more innovative path. They could even have followed such a path collectively without fear of violating anti-trust laws. Although the agency-model publishers place the blame on Amazon for the business model disruption that the ebook revolution ignited, the fact is that Amazon’s highly successful entry into the ebook marketplace came, itself, out of its own private set of terrors. We have speculated before that back in 2003 and 2004 when Jeff Bezos, Steven Kessel, and others began dreaming up the Kindle and its associated publishing and retail platform, they were driven by fears that the rise of ebooks — with some other parties in the drivers’ seats — could, within a decade, destroy the retail print book business that was then the core of their business. It was only a matter of time.

So, it was Amazon that created the new, disruptive ebook business model, beginning ever so slowly at first in November of 2007. And publishers decided to fight back: not by reimagining the book business with new, innovative, profitable roles for themselves, but by marching in lockstep behind the late Apple CEO Steve Jobs in a baldly illegal and ultimately futile strategy to wield collusive power to save the past and block the future. They could have created their own retail outlets to offer their titles in Kindle-compatible ebook form. They could have worked with brick-and-mortar booksellers to bundle ebook and digital formats at handy little kiosks in every bookstore. They could have turned ebooks into the 21st century reincarnation of Literary Guild and the Book-of-the-Month Club, those 20th century behemoths that managed to sell millions of hardcover books for 99 cents each without creating any significant scare over the erosion of “the value of the book.” They could have tried to strip away the excess weight of unsustainable corporate costs and their reckless addiction to gamble huge advances for bestsellers, to rework their economics at new, competitive price points. They could have said, “We’re no longer going to pay for intermediaries that add no value.” They might even have pursued one of the collective strategies that they considered and rejected back in 2009, called Project Z, to create a joint venture that would establish a new ecommerce platform to sell ebooks wholesale to retailers, or retail to the ebook-buying public.

There were plenty of other publishers who wanted no part of the agency model. Venerable publishers like Houghton Mifflin Harcourt, Scholastic, Norton, Workman, Bloomsbury, and Disney’s Hyperion charted their own course, as did new and innovative companies like Open Road Media. Even Random House resisted considerable pressure from the Defendants and followed its own path — they held themselves out of the agency model for a long time and eventually used the agency model to take a more creative approach to price-setting. And then, of course, there were the most innovative new publishers on the scene — AmazonEncore, AmazonCrossing, Thomas & Mercer, Montlake, 47North and all the new imprints that have been rolled out over the past two years by Amazon Publishing. All of these companies — and I do mean all of them — have joined with independent authors and hundreds of small presses as well as millions of readers to take market share away from the Defendants and turn the book business upside down. It will never be the same again.

But none of that for Apple and the Defendants. Instead of innovating to become leaner, faster, and more profitable in the new world of publishing, they decided to try to stop time by breaking the law. “Come on,” you say, they didn’t decide “to break the law,” did they? It couldn’t have been that simple, could it?

Well, it always seemed pretty simple to us. I’m sure I was not the only observer, back in the early days of 2010, who watched the actions of Apple and their five co-conspirators and wondered, “Don’t they have corporate counsel with the guts to speak up and tell them they won’t get away with this?” But it turns out, according to the court documents, that none of the Defendants’ CEOs brought their corporate counsel along to the secret conspirators’ meetings that they held regularly at ritzy Manhattan eateries beginning in September 2008.

Sure, companies “collude” every day on a million little details, and most of the time they aren’t breaking the law. But there’s a big on-off switch that counts for a lot when anyone, including the Department of Justice or a federal court, is trying to figure out whether an instance of collusion is illegal: when companies collude or conspire to raise prices to the detriment of consumers, they are on thin ice. In this case, because of the Defendants’ collusion, consumers paid millions more than they would otherwise have had to pay for ebooks. So there it is in the most simple terms, but the more one looks into it, and the more one discovers about the law and the case history, the more it is clear that these jokers companies should have had someone protecting them from themselves. Because of what they did, they’ll not only have to stop doing it, but they will be under close regulatory scrutiny (spelled out in the court papers) for years, and they may well be required to pay tens of millions, and ultimately perhaps hundreds of millions, in restitution to consumers like you and me.

Strangely, in hindsight, one has to wonder if they thought they were invisible, or above the law. Part of their problem was their abject cowardice. Anything but fearless, they didn’t dare challenge Amazon’s pricing alone by pulling their books from the Kindle Store unless Amazon stopped its deep discounting of ebook prices. Had one of them done so, it might well have led to a different kind of legal High Noon where Amazon might have been vulnerable to regulatory scrutiny for monopolistic behavior of its own. After all, the point where the rubber hits the road for monopolies or near-monopolies is not whether they exist, but whether they use their monopolistic power to control the marketplace to the detriment of other parties. But Amazon has not — yet — had to defend itself on this terrain precisely because Apple and its co-defendants broke the law first. And with multiple smoking guns, many of them bearing Steve Jobs’ fingerprints.

Smoking guns? Here are a few choice tidbits from the court documents:

In December 2009, Apple approached each Publisher Defendant with news that it intended to sell e-books through its new iBookstore in conjunction with its forthcoming iPad device. Publisher Defendants and Apple soon recognized that they could work together to counter the Amazon-led $9.99 price. 

In its initial discussions with Publisher Defendants, Apple assumed that it would enter as an e-book retailer under the wholesale model. At the suggestion of two Publisher Defendants, however, Apple began to consider selling e-books under the “agency model,” whereby the publishers would set the prices of e-books sold and Apple would take a 30% commission as the selling agent. In January 2010, Apple sent to each Publisher Defendant substantively identical term sheets that would form the basis of the nearly identical agency agreements that each Publisher Defendant would sign with Apple (“Apple Agency Agreements”). Apple informed the publishers that it had devised these term sheets after “talking to all the publishers.” 

The volume of Publisher Defendants’ communications among themselves intensified  during the ensuing negotiation of the Apple Agency Agreements.  Through frequent in-person  meetings, phone calls, and electronic communications, Publisher Defendants, facilitated by  Apple, assured each other of their mutual intent to reach agreement with Apple.  After each  round of negotiations with Apple over the terms of their agency agreements, Publisher  Defendants’ CEOs immediately contacted each other to discuss strategy and verify where each  stood with Apple.  They also used Apple to verify their position vis-à-vis other Publisher  Defendants.  Penguin, for example, sought Apple’s assurance that it was “1 of 4 before  signing”—an assurance that Apple provided.  Two days later, Penguin and two other Publisher  Defendants signed Apple Agency Agreements.

To the extent Publisher Defendants expressed doubts during the negotiations about  whether to sign the Apple Agency Agreements, Apple persuaded the Publisher Defendants to  stay with the others and sign up.  For example, Apple CEO Steve Jobs wrote to an executive of  one Publisher Defendant’s corporate parent that the publisher had only two choices apart from  signing the Apple Agency Agreement:  (i) accept the status quo (“Keep going with Amazon at  $9.99”); or (ii) continue with the losing windowing policy (“Hold back your books from  Amazon”).  According to Jobs, the Apple deal offered the Publisher Defendants a superior  alternative path to the higher retail e-book prices they sought:  “Throw in with Apple and see if  we can all make a go of this to create a real mainstream e-books market at $12.99 and $14.99.”

The Apple Agency Agreements contained two primary features that assured Publisher  Defendants of their ability to wrest pricing control from retailers and raise e-book retail prices  above $9.99.  First, Apple insisted on including a Most Favored Nation clause (“MFN” or “Price  MFN”) that required each publisher to guarantee that no other retailer could set prices lower than what the Publisher Defendant set for Apple, even if the Publisher Defendant did not control that  other retailer’s ultimate consumer price.  The effect of this MFN was twofold:  it not only  protected Apple from having to compete on retail price, but also dictated that to protect  themselves from the MFN’s provisions, Publisher Defendants needed to remove from all other e-  book retailers the ability to control retail price, including the ability to fund discounts or  promotions out of the retailer’s own margins.  Thus, the agreement eliminated retail price  competition across all retailers selling Publisher Defendants’ e-books.

Second, the Apple Agency Agreements contained pricing tiers (ostensibly setting  maximum prices) for e-books—virtually identical across the Publisher Defendants’  agreements—based on the list price of each e-book’s hardcover edition.  Defendants understood  that by using the price tiers, they were actually fixing the de facto prices for e-books.  In fact,  once the Apple Agency Agreements took effect, Publisher Defendants almost uniformly set e-  book prices to maximum price levels allowed by each tier.  Apple and Publisher Defendants  were well aware that the impact of their agreement was to force other retailers off the wholesale  model, eliminate retail price competition for e-books, allow publishers to raise e-book prices, and  permanently to change the terms and pricing on which the e-book industry operated.

The negotiations between Apple and Publisher Defendants culminated in all five  Publisher Defendants signing the Apple Agency Agreements within a three-day span, with the  last Publisher Defendant signing on January 26, 2010.  The next day, Apple announced the iPad  at a launch event.  At that event, then-Apple CEO Steve Jobs, responding to a reporter’s question  about why customers should pay $14.99 for an iPad e-book when they could purchase that e-  book for $9.99 from Amazon or Barnes & Noble, replied that “that won’t be the case. . . .     The prices will be the same.”  Jobs later confirmed his understanding that the Apple Agency  Agreements fulfilled the publishers’ desire to increase prices for consumers.  He explained that,  under the agreements, Apple would “go to [an] agency model, where [publishers] set the price,  and we get our 30%, and yes, the customer pays a little more, but that’s what [publishers] want  anyway.”

Those, friends, are smoking guns.

Meanwhile, Amazon played its hand in masterful fashion. And thanks to existing assets as well as smart moves that it had been making all along, it had a great hand to play. While the company certainly has its detractors among competitors, some publishers, some authors, and progressives who decry the company’s labor practices, it is nonetheless an enormously popular company. So progressives like me might wring our hands over the conditions faced by Amazon’s warehouse workers, but at the end of the day Amazon has more progressive titles and more progressive customers than any other bookstore. And publishers and authors might lament this, that, or the other thing about Amazon, but we all know they were not checking their sales rankings every hour on Barnes and Noble.

When it launched the Kindle, Amazon began with an unbeatable combination of the 4 Cs — customer base (more online customers than any bookstore in the world), catalogue (more online titles than any bookstore in the world), connectivity (easy, seamless, free wi-fi and 3G allowing customers to download any of its Kindle titles in seconds from almost anywhere), and convenience (the bookstore environment that it began building in the mid-’90s appeared in the Kindle Store on Day One, so that every customer knew how to use it from the get-go, and it only got better).

But of course those 4 Cs weren’t the only factors in establishing Kindle dominance. Amazon’s corporate wealth and power enabled it to take the notion of loss-leaders to a new level under the terms of the wholesale pricing model that had existed in the book trades for decades. From the DOJ court documents:

Under this wholesale model,  publishers typically sold copies of each title to retailers for a discount (usually around 50%) off  the price printed on the physical edition of the book (the “list price”).  Retailers, as owners of the  books, were then free to determine the prices at which the books would be sold to consumers.  Thus, while publishers might recommend prices, retailers could and frequently did compete for  sales at prices significantly below list prices, to the benefit of consumers.

By selling nearly every new release issued by a mainstream publisher at breakeven or a loss, Amazon made the Kindle a compelling money-saving gadget for avid readers. Although ebooks had existed as a futuristic dream with antecedents in the Palm Pilot, Project Gutenberg, and Doug Adams’ 1979 novel The Hitchhiker’s Guide to the Galaxy, it wasn’t until the Kindle’s launch late in 2007 that the ebook revolution began in earnest. Amazon sold out of its first Kindle units in under six hours and continued to dominate the small but growing ebook space throughout 2008. Oprah Winfrey ignited a new wave of Kindle love when she devoted a show to the little eInk gadget in late October 2008, and Amazon further cemented its dominant role with new Kindle models in early 2009 and mid-2010 and free apps that allow readers to “buy once, read anywhere” on any computer, smartphone or handheld device.

Although the Defendants’ launch of the agency model left Amazon with no short-term choice but to go along, the company understood the value of a symbolic fight in making it clear to its very loyal Kindle  customers that it opposed the new higher prices:

Starting the day after the iPad launch, Publisher Defendants, beginning with Macmillan,  quickly acted to complete their scheme by imposing agency agreements on all of their other  retailers.  Initially, Amazon attempted to resist Macmillan’s efforts to force it to accept either the  agency model or windowing of its e-books by refusing to sell Macmillan’s titles.  Other  Publisher Defendants, continuing their practice of communicating with each other, offered  Macmillan’s CEO messages of encouragement and assurances of solidarity.  For example, one  Settling Defendant’s CEO e-mailed Macmillan’s CEO to tell him, “I can ensure you that you are  not going to find your company alone in the battle.”  Quickly, Amazon came to realize that all  Publisher Defendants had committed themselves to take away any e-book retailer’s ability to  compete on price.  Just two days after it stopped selling Macmillan titles, Amazon capitulated  and publicly announced that it had no choice but to accept the agency model.

After Amazon acquiesced to the agency model, all of Publisher Defendants’ major  retailers quickly transitioned to the agency model for e-book sales.  Retail price competition on  e-books had been eliminated and the retail price of e-books had increased.

All of that worked very well for Amazon, but no strategy has paid off more handsomely in Amazon’s path to dominance than the one that, of course, would never have occurred to the big publishers: Amazon made a multi-faceted commitment to emerge as the publisher of choice for thousands of authors. These authors ranged from the self-published to previously published authors who wrested their backlist rights away from legacy publishers for the chance to handle their own marketing, control their own retail prices, and earn 70% royalties that allowed them to make as much per-unit on Kindle books priced under $5 as they had ever received from legacy publishers on print books priced five times as high. Amazon saw authors and small publishers as its customers, too, and understood that more authors meant more readers just as more readers meant more authors.

Amazon’s Kindle Digital Publishing (KDP) platform was just the beginning. Over the course of the last two years the company’s new imprints, willingness to sign new deals with a wide range of authors, and hiring of Larry Kirshbaum — the former Time Warner Book Group CEO called “the ultimate publishing industry insider” by Business Week — to run its own New York publishing operation made Amazon Publishing not only part of the conversation in publishing but a potential dominant player within the next year or two.

The hundreds of thousands of ebooks published via these new channels have made for dramatic changes in the shape — and the pricing — of the offerings in the Kindle Store. Amazon was able to ensure that nearly all of these titles were priced at $9.99 and below. And many thousands of these ebooks proved to be quality books that consumers wanted.

Many Kindle Store customers didn’t like paying 30% to 100% more for ebooks under the agency model, and Amazon’s ability to let a (few hundred) thousand flowers bloom in the Kindle Store gave those customers lots of other places to go. A phenomenal array of promotional pricing programs such as the Kindle Daily Deal, the long-awaited opening of zero-price promotions to KDP authors, the Kindle Owners’ Lending Library, and Amazon’s monthly offering of 100 Kindle Books for $3.99 or Less put the spotlight on those places and rubbed the Defendants’ noses in what they were missing to such an extent that one wouldn’t blame some of the Defendants if they had breathed a sigh of relief when the anti-trust lawyers came knocking on the door to save the Defendants from themselves.

And they went to those other places, by the millions. Or, to put it another way, the Defendants lost millions of ebook sales over the past couple of years to indie authors, small presses, and the innovative publishers we mentioned earlier, including Amazon Publishing and its imprints. They lost extremely valuable real estate on the ebook bestseller lists, and they may not get it back. In many cases they lost the readers themselves: among 2,377 respondents in the Winter 2012 recent Kindle Nation Citizen Survey, 61% said they “agree” or “agree strongly” with this statement:

Higher prices for new releases from the big publishers have driven me to try more and more indie authors, and I like what I have found

While we have observed numerous indicators over the past two years that have shown the agency model’s lethal effect on the Defendants’ market share, we also have these remarks from the single individual who probably has more access to ebook sales and pricing data than anyone else in the world, in a June 2010 Fortune interview with Amazon CEO Jeff Bezos:

Fortune: In the past, you’ve been a big proponent of lower prices for ebooks and an open opponent of the book publisher agency model, which allows the publisher to set the final retail price whether there’s an intermediary retailer or not. Now that you’ve switched to an agency model, will ebookstores like Amazon’s get hurt?

Bezos: No. First of all, there are a bunch of publishers of all sizes, and they don’t all have one opinion. There are as many opinions about what the right thing to do is as there are publishers. So you’re seeing that some of them are being very aggressive on prices, pricing their books well below $9.99.

Others are trying to do everything they can to make prices as high as possible. And what you’re going to see is a share shift from one group of publishers to this other group of publishers.

Fortune: Do you expect a significant share shift? When do you see that happening?

Bezos: It’s a significant shift and we’re seeing it already.

The point, of course, was that Fortune’s inaccurately premised question notwithstanding, Amazon did not “switch to an agency model.” Amazon acquiesced in the decision by some publishers to force the agency model on it, and then took all possible steps to expose its readers to as many non-agency titles as possible.

To put it another way, the Department of Justice statement in court documents that “retail price competition on  e-books had been eliminated and the retail price of e-books had increased” due to the agency model is not accurate. Amazon’s multi-pronged initiatives with authors, other publishers, and its own new publishing imprints meant that that there would be a different kind of price competition: price competition between the Defendants’ titles and all the other titles in the Kindle Store. And the retail price of all those other ebooks would be lower, not higher than in the past.

On April 1, 2010, the day that the agency model went into effect for its proponents, there were 480,236 ebooks in the Kindle Store, and 23% of them were priced at $10 and up. As of April 15, 2012, the total Kindle catalogue had almost tripled, to 1,356,286, and fewer than 14% of those titles were priced at $10 and up. At that same point on Sunday, April 15, only three of the top 20 bestselling titles in the Kindle Store were published by the Defendants (two by Hachette and one by MacMillan), and two of those three were priced at under $8.

With trends like these, it’s probably fair to say that the agency model would have died, eventually, even without Dept. of Justice intervention. Apple’s failed iBookstore never grew to a point where it would have provided real cover for the Defendants if Amazon had called their bluff and started picking them off one at a time. By most accounts the iBookstore accounts for no more than 10% of the ebook market, and our anecdotal impression is that the Kindle App accounts for far more reading on the iPad and other Apple devices than iBooks. The Google books initiative that was touted (however ludicrously) as the savior of indie bookstores just a couple of years ago is dead.

One of the rich ironies in all of this is that the Defendants actually lost money by switching to the agency model. Under the wholesale pricing model that had been in effect for ebooks for over two years, the suggested list price for a new release Kindle book was usually the same as the suggested list price for a hardcover. For a book listed at $20 to $25, the publisher received $10 to 12.50 from Amazon for each copy sold, and Amazon was free to set its own retail prices — usually $9.99 on Kindle and about $14-$17 for the hardcover. Under the agency model, when the publisher mandated a retail price of $12.99 to $14.99 for an ebook, it stood to receive 70% from Amazon or another retailer — or somewhere between $9 and $10.50. You’ve gotta hand it to Steve Jobs for the sales job he must have done on those helpless Defendant publishing executives!

Now, of course, the publishers stand to lose even more under the agency model. The infrastructure required to support the model was expensive, and the switch-back will also be expensive. Whether or not the publishers’ corporate counsel were earning their keep back in early 2010, there are certainly some serious legal costs now as all of the Defendants are being represented in federal court by some of the highest-billing law firms in the country.

And then there’s the coup de grace: While the federal Department of Justice was acting to secure remedies that it said will restore competition to the ebook marketplace, 16 state attorneys general were suing for another kind of remedy. It was announced on April 11, 2012 that two of the Defendants had settled with these states to create a $51 million restitution pot for ebook customers. It now appears that this fund will soon become much larger, as Jeff Roberts reported on PaidContent.org that “a HarperCollins lawyer predicted that three publishers could reach a settlement with all 50 state governments in the next two months.  Such a deal would not only expand an existing proposed settlement that would refund money to e-book buyers…. The developments came at [an April 18] status hearing in Manhattan attended by Apple, the five ‘big six’ publishers who are under investigation, the Department of Justice and  three state governments.” By the time we’re done, the cost of these restitution settlements is likely to amount to hundreds of millions of dollars.

The hand-wringing by friends of the big publishers in the mainstream media over the Department of Justice’s moves has been something to behold, but it comes as no surprise. Big publishing and big news media are closely linked as a matter of economics, ownership, and corporate culture. The story line of much of the media coverage has been very simple: the DOJ has just killed off the entire US publishing industry and named Jeff Bezos king.

The truth is that the big publishers and their chosen intermediaries (traditional-model literary agents, brick-and-mortar distribution channels, etc.) had one collective dinosaur foot in the coffin before they launched the agency model strategy, and most of the moves that they have made since the launch of the Kindle will only hasten their coming descent into total irrelevance.

Where do we go from here?

Amazon has occasionally been criticized by investors and analysts for growing its gross-revenue top line and various digital and physical delivery systems at the expensive of net profits, but the company is certainly profitable. What it is really doing with loss leaders and paper-thin margins on products and services like Amazon Prime and Kindle hardware is growing market share. As the Defendant publishers and their physical book distribution systems get smaller and less profitable, competitors like Barnes & Noble teeter on the Borders of financial failure, and Apple becomes bored with an iBookstore whose marketplace it cannot control by illegal means, Amazon’s share of the total book trades market only grows, and grows, and grows. That market share grew dramatically throughout 2011 and early 2012 even while Amazon was barred by the Defendants from competitive pricing of their ebook offerings. Now that Amazon is free to hit consumers’ sweet spots with Kindle prices for all books, the growth will only intensify. As astonishing as it may seem, Amazon could well reach a 50% market share for the entire U.S. trade book business across all formats by the end of 2013.

Along the way, we can expect to see new release bestsellers offered again at prices under $10 in the Kindle Store, with prices falling to the $4 to $8 range after books have been available for several months, and hundreds of thousands of ebooks and many future bestsellers priced at under $4, with many of these highlighted through the promotional programs noted earlier. For an advance look at what Kindle prices and the Kindle bestseller lists may look like in the future, it’s worth checking out the 140,000 “Prime-eligible” titles that currently make up the Kindle Owners’ Lending Library:

  • All of them, of course, are priced below $10.
  • Among the 100 most popular titles on the list as of April 15, 43 are priced under $3, 24 are priced between $3 and $4.99, and 33 are priced between $5 and $9.99.
  • Authors earned 70% royalties on any sale of the vast majority of these 140,000 titles.
  • Kindle owners with Prime memberships “borrowed” these titles about 275,350 times in March 2012, and although each “borrow” transaction was free for the customer, Amazon paid authors or publishers $2.179 per borrow.

Of course there will continue to be some books priced above $10, as there should be. “Boxed set” offerings such as The Hunger Games trilogy at $15 do very well with price-conscious Kindle customers, and customers show a consistent willingness to pay over $10 for certain textbooks, business, and technology titles, to name a few categories. Readers generally will pay a little more for a book that will save them money, and even more for a book that will make them money. It’s not that the books we read for pleasure are of lesser value to us, but there is a lot more competition for our attention when it comes to a good mystery, romance, biography, or literary novel.

It all sounds like a rosy future for Amazon, but the company needs to proceed with caution and pay close attention to some ticking time bombs. The likelihood that Amazon will approach a 50% market share in the trade book market place will not, in and of itself, make it the target of any serious anti-monopoly actions. But if Amazon uses its market dominance in a willful way to put others out of business or constrain their ability to conduct business, there could be trouble ahead. The 140,000+ titles in the Kindle Owners’ Lending Library are only there now because their rights holders have given Amazon the exclusive right to sell them. That exclusivity clause is a winning tactic that is probably unassailable as a way of fighting back against the anti-competitive maneuvers of Apple and the other Defendants, but once the Defendants are forced to start behaving themselves, its demand for exclusivity could well bring Amazon unwanted legal or regulatory attention.

Other predictable consequences of Amazon’s dominance not only in the ebook sphere but beyond could create problems for the company if it does not make forward-looking changes in the way it does business. The company is seen by many as a tax-avoiding bogeyman that is destroying not only publishers and wholesalers but independent bookstores in particular and Main Street in general, and while there are major economic forces at work here that would probably lead to the same conclusion without Amazon at the head of march, Amazon has to realize that it should do everything possible to avoid being seen as the online version of Walmart. And while Amazon has escaped much of the kind of negative attention that has surrounded Apple and its FoxConn manufacturing plant in China, there is an emerging campaign among labor activists and progressive journalists to focus a spotlight on poor conditions in Amazon fulfillment centers. As with all of these concerns, there are real issues at play, and Amazon’s best moves would be substantive rather than media-driven.

Interesting story, eh? But just in case it might at some point have ceased to resonate with you — say, halfway through one of my 75-word sentences — here’s a paragraph to print out and stick to the refrigerator door.

Shorter term, there’s that restitution fund that could approach half a billion dollars by the time all the Defendants pay their share for all the states, and if Amazon plays its cards right it could end up seeing much of that money invested in Kindle book purchases. For starters, the company should make it easier for its customers to download and print out a spreadsheet of all their past Kindle orders, just as we can do currently for everything else we buy from Amazon via the Download Order Reports link on our Amazon account page. I don’t think many people use that link right now, but it could become a very popular page if some tech wizard in Seattle or Mumbai were to spend 15 minutes improving the link so that we could print out a list of all the Kindle books for which we paid $10 and up since April 2010 and get paid several bucks each for them by the Defendants.

 

This is a reprint of a post from Steve Windwalker, which originally appeared on his Kindle Nation Daily site.

Fifteen Reasons Why Other Writers Aren't Showing You The Love

This post, by Jean Oram, originally appeared on the From the Write Angle blog on 4/20/12.

Ever get the feeling that another writer isn’t exactly loving you? Maybe it’s just a slight niggling feeling that somehow, somewhere along the line you’ve annoyed them. Or maybe you haven’t had that feeling, but you’ve been noticing that you’re just not getting the responses and feedback from others that you’ve been hoping for.

Maybe it’s not them. Maybe it’s you.

But what did you do? And how do you fix it?

I’ve asked ten writers what their writer pet peeves are about other writers, plus added four of my own. Read on and see if any of them feel familiar or strike a chord.

FIFTEEN Things About Writers That Annoy Other Writers and What You Can Do About It:

1. It’s All About YOU

Writers (and people in general) who make it all about themselves and their work are annoying. They leave the impression that they don’t care about others.

Is it you?: If you notice that you’re not replying to others because you aren’t that interested in their problems and story, that you’re not offering assistance when you could, you never have the time for others, don’t bother to answer questions, and always seem to leave conversations feeling pleased that you got all your information on the table, but can’t really recall what those other folks were about, then you might be focusing a bit too much on yourself. I understand that we can’t all be perfect and our time is limited. But think about the impression you are leaving.

How to fix it: it is understandable that you want to get the word out about your book, contest, blog post, latest rejection, but others also want to feel heard. Bite your tongue and try to let others talk. Listen. Retweet or tweet their news. You will be amazed at what happens.

2. It Rocks to RECEIVE

Writers who take, take, and take from others whether it is getting others to do their promotion, editing, critiquing, or research, (the list goes on) without giving back are often dumped and eventually find themselves without many good writer friends.

Is it you?: If you find you are receiving more than you are giving back (really think about it here), you might be one of these dudes. When was the last time you helped someone directly? Either shared a link, retweeted their news, liked their page, provided feedback, sent them an agent’s name who just happens to be looking for that person’s genre, etc.

How to fix it: Look up "Giver’s Gain" and the term "Karma." Apply it.

Give for the sake of giving. Offering help to others will improve you in more ways than I can ever explain. However, I’m not saying if someone gives you a query critique that you have to critique theirs back, however, if you find a great article you think they would like, send it to them. Or help one of their friends. Keep the generosity and helping spirit going. Get in the habit of helping.

 

Read the rest of the post on the From the Write Angle blog.

7 Links To Understanding (And Finding) Beta Readers

Perhaps one of the most daunting things I have yet to accomplish with my current WIP, Apprentice Cat, is finding enough beta readers. I imagine its a problem many of you have or will face, too. I’ve put together 7 links to understanding (and finding) beta readers, as well as critique partners and editors, in this post in hopes that it will be helpful to us all.

 

  1. Finally, an answer! Here’s the difference between line, copy, and content editing by Pavarti K. Tyler: Besides giving a quick idea to what beta readers and critique partners are, Pavarti shares gives us the inside scoop on what each type of editor does and why you might want one.
  2. 3 Ways to Determine if Your Writing is Crap by Jody Hedlund: In this post Jody breaks down the different levels of readers an author might use from “unskilled” beta readers (those who aren’t writers) to fellow writers to professional editors.
  3. Does my manuscript look fat in this? 7 reasons why writers need critique partners by Laura Pepper Wu: Laura explains what makes a great critique partner and why having one is so important.
  4. Ask Jami: How Do We Find Beta Readers? by Jami Gold: In this post, Jami goes into detail what a beta reader does and some ways we can find them, including offering ourselves as beta readers.
  5. The Art of Critiquing: I explain what makes a good critique and give some suggestions of what to do before handing over your manuscript to a beta reader or critique partner in this post.
  6. Critters Makes for Better Writing: In this post I give a more in-depth look at one online resource for critiques.
  7. Bad Critique Groups—8 Things That Can Push a Group Over to the Dark Side by Ruth Harris: No one wants to be in a bad critique group, so Ruth gives us 8 things from having no rules to dogmatic PC/Religious policepersons to watch out for when choosing a crit group.

Do you know of other resources for finding a beta reader?

 

This is a reprint from Virginia Ripple‘s blog.

Indie Author – THE GAME

This post, by Melissa Conway, originally appeared on her Whimsilly blog and is reprinted here in its entirety with her permission.

Roll the dice. Move your token. Play the game everyone with a word processing program is playing! Learn as you go, because the rules change as fast as the publishing industry!

Land on the Goodreads square: Whoop! Whoop! Warning, Warning. Author approaching forum. Use extreme caution. Do not engage the indigenous readers in conversation about your book. Severe consequences will result! Move ahead one space.

Land on the Librarything square: Enter your ebook in the Member Giveaway program, where readers can get a free copy of your book in exchange for a review. Discover that ‘winners’ of Member Giveaway books are chosen at random, unlike the traditionally published books given away in the Early Reviewer program, where Librarything uses a complicated algorithm to ensure good placement. Give away fifty free ebooks, get two reviews and be thankful you got any!

Draw a Book Review card: Three Stars! A quick check on this person’s other reviews shows s/he is historically stingy with stars. You’re pathetically grateful s/he gave you the “It was okay” thumbs-unenthusiastically-up. Move ahead one space.

Land on the Publicity square: You’ve just been asked to appear on an unscripted podcast/internet radio talk show with an aggressive host, so polish your smile and prepare to field random questions LIVE on the internet in direct opposition to the introverted nature that made you a writer in the first place!

Draw an Expense card: You blow tons of money on video editing software that comes with a user’s manual written for a much earlier version. Then you spend weeks slaving to make a decent book trailer. After uploading to YouTube, you get seventeen views, two disgustingly profane comments (before you figure out how to change the settings to allow comments only with approval), and an anonymous thumbs-down. Go back three spaces.

Land on the Book Promotion square: Your endless marketing efforts have sucked every last drop of joy out of the thought of writing another book and your muse is actively trying to convince you to take up pottery. Go back three spaces.

Land on the Amazon Discussion square: Whoop! Whoop! Warning, Warning. You stumble into an Amazon Discussion titled ‘Badly Behaving Authors’ and are horrified at how much venom is directed your way. Leave with your tail tucked firmly between your legs and seriously consider changing your user name. Lose a turn.

Land on the ‘I Used to Enjoy Reading’ square: Your swaying TBR (To Be Read) pile is stacked a mile high with other indie authors’ books. You owe so many reads it will take you until the year 2525 to fulfill your obligation. Go back five spaces.

Land on the Facebook square: You are among friends of your own choosing, many of them indie authors like yourself. You may relax and spread the joy by clicking ‘like’ on other authors’ posts about their books. You may enjoy the steady stream of inspirational and funny pictures…until, that is, your former best friend begins tagging you in a series of embarrassing photos from your ‘wild’ days and your dad, who never learned that all-caps is shouting, posts a LOUD admonishment on your wall that you never call him. Bye-bye professionalism! Go back two spaces.

Land on the Twitter square: Welcome to the Land of Spam, where the one who dies with the most followers wins! Here, indie authors are free to spam each other to our hearts’ content. Make your followers happy and retweet their spam – they’ll return the favor and retweet yours! Spam it up! Nobody cares because with thousands of followers, we’d have to spend 24/7 reading tweets to keep up! Whee!

Land on the Family square: Of all your family members, the only one who bothers to read your book is ‘No-holds Barred’ Aunt Fanny, who promptly reviews it on Amazon and tells the world that funny story about how you lost your bikini bottoms while waterskiing on the Sacramento River. What a cute butt you had! Go back one space.

Land on the Kindle Forum square: Whoop! Whoop! Warning, Warning. You start a forum thread offering to swap reviews with other authors. Within 12.3 seconds, you have seven responses from the established forum cronies advising you that what you are proposing is sleazy and unethical. Leave with your tail tucked firmly between your legs and request from the forum administrator that your account be deleted. Lose a turn.

Draw an Expense card: You splurge for a portrait at the local J.C. Penny that makes you look like a refugee from an eighties Glamour Shot. In desperate need of an author headshot, you break out your ancient point-and-shoot and, ignoring the burning pain of holding your arm out straight for three hours, take exactly four hundred and twelve photos until you get one where both eyes are open the same width and your nose doesn’t look like it belongs on Mr. Ed.

Land on the Royalty square: You receive your first email from Amazon with your royalty statement. Take the family to McDonald’s in celebration, but restrict them to the dollar menu. Advance token to the Taxes square.

Land on the Taxes square: The IRS gleefully adds insult to injury by taxing your meager royalties. Enter the data into Turbotax and watch in horror as the extra income pushes you into a higher tax bracket. Attempt to conceal the information from your spouse, who always knew no good could come of this crazy author venture. Go back one space.

Draw a Book Review card: Two Stars! This reviewer got the book for free and admits to only reading the first chapter. S/he claims to not be in the habit of reviewing books s/he ‘couldn’t finish,’ but s/he immediately hated your flawed heroine and brilliantly deduced how the story would end anyway. S/he would have given it one star, but doesn’t like to be cruel. Go back three spaces.

Land on the Blog square: You’ve been blogging for years already, but have to go through and read all your old posts to clean out the ones in which you are ranting, raving, revealing TMI about yourself or your family, or otherwise coming across as unprofessional. From this point on your blog posts are strictly limited to discussion about books, writing, and the ‘author experience’ – just like all the other indie authors out there. Your followers, all six of them, don’t notice the changes.

Draw an Expense card: You purchase the cheapest drag-and-drop website design software on the market and begin the frustrating job of learning how to use it to create an author website. The user’s manual has been badly translated from some foreign language, but you eventually cobble together a somewhat professional-looking site. Advance token to the Domain square.

Land on the Domain square: Your dot com name is already taken, so you are forced to choose from an embarrassing dot net, dot org or dot biz. Once you own your spanking new domain, you begin to wade through the incomprehensible world of GoDaddy. You upload your site into the ether a dozen times before locating the problem on an obscure user’s forum thread. Yay, your site is finally live! Begin checking the site stats every day, several times a day. Be impressed at how many visitors you’ve gotten – until you find out what ‘spiders’ and ‘bots’ are. Move ahead one space.

Land on the Pirate square: Ahoy, Matey! You are happily Googling around to see where your ebook has been mentioned on the interwebs when you find that it is available, for free, on a site called Zippyshare. After you finish freaking out, you contact the site and accuse them of copyright violation. They quickly respond back that your book has been removed from their site, but you find it elsewhere, too – on sites that are using it as bait to get people to download it – but anyone who does will also be getting a nasty case of computer herpes! You struggle to reconcile your hatred for hackers who create viruses with your glee at the thought that there’s Karma out there for those who steal your book. You are at an impasse. Arrrr. Advance token one square anyway.

Land on the Formatting (alternate name: Author Hell) square: You spend three unwashed days in front of your monitor obsessed with figuring out how to format your manuscript to Smashwords and Kindle specifications. Several times you consider throwing the entire PC out the window. By the time you’ve uploaded and all seems right in the world, your family has taken to tip-toeing and whispering and you have several mounds of tear-stained tissues littering the floor around you. Move your token to the Upload square.

Land on the Upload square: Three days after uploading to Kindle, a writer friend contacts you with a long list of typos s/he spotted in your book. After suffering a debilitating anxiety attack, you fix the errors and reupload. You find yourself glad no one bought your book. Lose two turns.

Draw a Book Review card: One Star! Oh NOES! This reviewer did not read the book at all, but thinks since you are an indie author all your five-star reviews must be fake, so s/he wants to even the playing field by lowering your book’s overall stars.

Land on the Book Blurb space: A blood pressure spike sends you to the ER after several days spent attempting to write the perfect book blurb. Go back four spaces.

Draw an Expense card: You create an ad for your book and buy space on a popular reader’s site, among thousands of other so-tiny-you-can-barely-read-them authors’ ads. After two weeks, you’ve only received five accidental ‘clicks.’ Go back two spaces.

Draw a Book Review card: Four Stars! And from a stranger who paid actual money for your book without you having to beg them to buy it. Skip ahead two spaces.

Land on the Amazon square: You browse the Indie Book store looking for your book only to discover Amazon has limited the Indie Book store to only the first thirty best-selling (which does not mean ‘best’) self-published books. When you attempt to browse Amazon book categories, you give up after six hours of clicking through 7,000 pages. Your stomach begins to produce excess acid as the realization sinks in that the only way someone will find your book on Amazon is for them to use a direct link. Go back two spaces.

Land on the Author Interview square: Bloggers love author interviews because not only do you do all the work answering their list of questions, they don’t have to actually read your book. Plus, they get free content for their blog! Go ahead one space.

Land on the Book Blogger square: After three days of searching through blog after blog with big, bold “I DO NOT REVIEW SELF-PUBLISHED BOOKS,” in the review policy, you finally find a blog that does! Too bad they only have three followers. Go back two spaces.

Draw a Book Review card: Five Stars! Too bad it’s from a coworker who admits to knowing you in the review. Here come the downvotes!

Draw an Expense card: Advance token to the Book Cover square.

Land on the Book Cover square: You’re no artist, but paying one to make your cover is out of the question, so you fire up the old photo editing software that came with your computer and begin the process of bringing your vision to life. You buy a cheap, royalty-free photo online and settle on a font that conveys the genre without being overbearing. Yay, your cover is complete and looks pretty good if you do say so yourself! The first book review you get calls it, “Hideously amateurish.” Go back two spaces.

Draw an Expense card: Your vision of the perfect book trailer includes music from your favorite band – but you can’t afford that and wouldn’t dream of using another artist’s work without permission, so you find a website that sells music from the public domain. Your choices range from scratchy old recordings of Amazing Grace to Swing Low, Sweet Chariot. In the end, you find a royalty free music site and pay for a 15-second clip that you loop in the background and hope no one notices. Go ahead one space.

Draw a Book Review card: Five Stars! From a stranger who raved about it and posted their review on their blog as well as Amazon, Goodreads and Libarything! THIS is why you decided to self-publish. Skip ahead to the end of the game.

YOU SURVIVED – I MEAN WIN! 

 

Why Being In The KDP Select Is Not A Bad Business Decision — For Me.

My two historical mysteries, Maids of Misfortune and Uneasy Spirits, have come to the end of their first 3 months as part of the KDP Select program, and I have decided to re-enroll them. I know that a good number of authors are facing the question to re-enroll or not, (or to enroll at all) so I thought I would discuss why I have come to that decision, particularly in light of the persistent argument made by a number of self-publishing authors that KDP Select is a bad strategy for authors.

Just this week, as I was making the decision to re-enroll my books in the KDP Select Program, I read a post by Kristine Kathryn Rusch, where she made the following argument.

“The key to developing an audience is to stop searching for one audience. The key to developing a lot of readers for your books—audiences plural—is to do what musicians do: play a lot of venues.

“Yet writers make all kinds of bad decisions in search of the biggest audience they can get. And writers think of that audience in singular terms. These writers give their books away for free, hoping to hit some bestseller list and gain readers. They only sell in one marketplace because it’s the biggest one in its genre or its category.”

While I disagree with her conclusions, Rusch does pretty accurately describe two of my reasons for enrolling my books in the KDP Select Program. I entered Maids of Misfortune and Uneasy Spirits into the KDP Select program and used the free promotion days in the hope that my books would, at the very least, regain their position at the top of the historical mystery category (which they had lost because of a change in that category that increased the number of books from below 100 books to nearly 2000 books). I was also willing to accept the KDP Select requirement that I sell my ebooks exclusively on Amazon because Amazon had proven to be the biggest market for my books.

What I disagree with is Rusch’s characterization of these actions as “bad decisions,” or that they only represent a short-term versus long-term business strategy. First of all, of course joining KDP Select is a short-term strategy–since the contract only lasts 3 months. In addition, the program is new–none of us knows if it will continue, if the tweaks Amazon is making to the formula will make the free promotions less and less effective, or if the pot of money for borrows will continue to be sufficient. And if Amazon asked for exclusive rights for a longer term than 3 months at a time, given these unknowns, I would probably not sign.

However, almost any action an author takes in the midst of the rapid changes within the publishing industry can be characterized as short-term. Putting your ebooks in the Barnes and Noble Nook store, given the effect of the Department of Justice decision on agency pricing, might turn out to be a short-term strategy if this corporation goes under. Concentrating on building relationships with bookstores to get them to carry your print on demand books (a strategy that Rusch’s husband Smith is currently advocating) may be a very short-term strategy if those bookstores go under in the next 2-3 years. Whether or not you can guarantee the long-term effectiveness of a strategy shouldn’t determine whether or not it is a good decision. What does matter to me is whether or not my decision to enroll my books in KDP Select for a short time will further my long-term goals.

Those goals are, coincidentally, ones that Rusch strongly supports. Over and over Rusch, her husband Dean Wesley Smith, and other successful self-published authors have advised that it is important that authors view themselves as engaged in a business (Rusch calls her Thursday posts “The Business Rusch.”) and that part of a long-term effective business strategy for authors is constantly increase their content. In Rusch’s words, “An audience can’t be goosed. The audience must be built. And then it must be nurtured. Audiences aren’t fickle. They’ll return when they see a notice of something new from one of their favorites. But if their favorites cease to produce, the audience will move onto something else.”

My decision to enroll in KDP Select was very much a business decision. The main reason for that decision was my need to make enough money so I would have the time to write my next book. I didn’t believe I would be able to do that if I continued a strategy of having my books in as many e-retail stores as possible, while forgoing the opportunities of the KDP Select promotions.

I first discovered the effectiveness of using free material for promotional purposes to gain an audience when my short story Dandy Detects was free on Kindle Nation Daily in July 2010. This 3-day promotion of the short story had the side effect of pushing my novel, Maids of Misfortune, to the top of the historical mystery category on Kindle. That, in turn, positioned the novel to sell well, particularly during the winter holidays when a whole slew of new Kindle owners were looking for books to read. This first jump in sales (you might say they were “goosed up” in Rusch’s terminology) permitted me to take the financially risky step to retire completely from teaching so I could write full-time. Consequently, in the next nine months I wrote and published a second novel, Uneasy Spirits, satisfying my audience’s demand for a sequel.

While my sales in 2011 had been just enough to replace my teaching salary, most of that income had come in the first 3 months of that year (the post Christmas boom in ebooks). However, even with a second book out, my sales at the end of 2011 were steadily decreasing. This was in part because of the expansion in the historical mystery category and my books drop down the bestseller list, and, I suspect, in part because of the beginning of the KDP Select Promotions. I was facing the real possibility that in 2012 I wouldn’t be making as much money as I did the year before in sales. So, if I wanted to have the time and income to write a third book, I was going to have to figure out a way to increase my income.

Hence the decision to give KDP Select a try. This was a business decision: not a short-term emotional desire to see my book on a best-seller list, but a calculated move to ensure the long-term goal of making enough money so I could produce more work, thereby continuing to build my audience and its loyalty. And it worked. In January, February, and March of 2012, I sold over 20,000 books and made over $40,000 — more than enough to replace my lost part-time teaching salary and ensure another two years of full-time writing during which time I hope to write two more books and additional short stories.

But didn’t my decision to go with KDP Select – which required that I sell my ebooks exclusively on Amazon – mean I had to sacrifice those multiple audiences that Rusch and Smith say are so important? Well, I would beg to differ with the opinion that selling exclusively in the Kindle store only develops one audience. My first free promotions through KDP Select (at the end of December and again in mid-February) were successful, not just in pushing my books back up to the top of the historical mystery category but also in putting them at the top of numerous other categories. In fact, Maids of Misfortune ended up in the top ranks of eleven different categories. As a result, not just the historical mystery audience, but the often very diverse audiences who like mysteries with female sleuths, traditional mysteries, romance, and historical fiction all got a chance to see and buy my books. I didn’t sell over 20,000 books in 3 months to a single historical mystery audience. I tapped into multiple audiences — which is exactly what Rusch is advising.

But I am sure she would argue that it is equally important to cultivate audiences who do not have Kindles or use Kindle apps. Yet I had already tried the strategy that Rusch and Smith are advocating — making my ebooks available in multiple markets. For two years I sold my ebooks in six e-stores in addition to Amazon: Apple, Barnes&Noble, Diesel, Kobo, Sony, and Smashwords. (And I still make my print book available to any bookstore who wants to order it through Amazon.)

Nevertheless, in the those two years, over 90% of my income had come from Kindle sales. Since the most recent data suggests that Amazon holds about 67% (down from 80%) of the ebook market, it is pretty clear that the other booksellers haven’t been doing a very good job of selling my books. The books are the same, the covers are the same, the descriptions are the same, and my social media presence is the same. Yet that potential 30% of the market (or audience) that these non-Amazon bookstores represent are not finding my books. In other words, my books are languishing in some back room, on some back shelf, of these virtual bookstores. In the Amazon store, however, my books are front and center within categories, promoted by email blasts, recommended through “Customers who Bought” lists, and listed on my Author page (along with links to my twitter and blog posts).

This is not to say that there isn’t a way to tap into those other bookstore markets, or that in time those bookstores won’t do a better job of selling my books, if they want to stay competitive. But I needed the income now, to go on writing, not in some future when the other e-retailers learn how to market my books as effectively as Amazon does.

My decision might not be right for every author. If I were Rusch or Smith and had a large number of books, in multiple genres, a smaller return in sales from these multiple markets wouldn’t be a problem, and these other markets would be worth cultivating now. And I applaud the success of an author like Sarah Woodbury, who has effectively followed the strategy of using one book as a loss leader to bump up sales for her other books in multiple ebook stores. But she has nine books, and a smaller return over nine books is still substantial.

My conclusion: the decision to forgo the possibility of increasing your income and reaching new audiences within Amazon with the KDP Select, in order to keep books in multiple ebook stores, might be a good decision for some authors, but not necessarily for all. For authors like myself, who have tried the multiple store strategy and found it wanting, who only have a few books out, and who need the income to keep writing and expanding our content in order to keep building our audience, then KDP Select can be a very good short-term strategy for long-term success.

This brings me to the question of why I decided to re-enroll in the KDP Select program. This wasn’t an easy decision since there is now a lot of evidence that it is becoming more difficult to translate free promotions into higher sales. For example, my last promotion at the end of my first enrollment period was not particularly successful. I put Maids of Misfortune up for free March 30, 2012 and Uneasy Spirits up for free March 30-31. Compared to the previous promotions, the results were not impressive. I had 3900 downloads on the one day Maids was free — compared to 14,400 over two days for the first promotion and 13,000 free downloads in one day for the second promotion. And Uneasy Spirits had fewer downloads than Maids — around 1320, even though it was available for free for two days. Unlike the first two promotions, neither book broke into the top 100 bestseller free ranks, which generally translates into the largest number of downloads—and subsequent sales. During the first week after the promotions Maids did better than it had been doing, but now, in the second week after the promotion, it is actually selling less than it was before. Sales of Uneasy have stayed steady before and after this latest promotion, but not increased.

I suspect that I have saturated the markets for Maids of Misfortune, at least temporarily. If it follows the pattern of last year after the post Christmas bump, it will slowly lose sales every month. Uneasy Spirits, on the other hand, may continue to sell steadily as people who have read and liked the first book in the series buy the second. Even though I have re-enrolled my books, I don’t plan on doing another free promotion until the beginning of summer when my books, which make good summer time reading, might pick up some more sales.

So why re-enroll? Why not step out of the program for a few months, see what the changes in the formula of downloads to sales does to the continuing effectiveness of the free promotions, see whether or not the newest strategy of group promotions of free books work, or just wait until next Christmas when a new round of new Kindles hit the market and re-enroll?

And, why not make my books available again on those other e-bookstore sites in the hope that sales there will compensate for slipping sales on Amazon? The answer is simple. Borrows. I never expected to benefit from the borrowing aspect of the KDP Select Program; few of the indie authors, with our lower price points, did. We expected that the customers who enrolled in the Amazon Prime program would spend their once-a-month free borrows on more highly priced books. But I have found that people have borrowed my inexpensively priced novels and even my very inexpensive short stories. In January through March, I made $4,558 from Amazon Prime customers who borrowed my works. So, even if I don’t do another free promotion, I will come out ahead with my books in KDP Select, as long as I make more than $200 a month from borrows. That is as much as I was averaging in sales from non-Amazon bookstores.

In the next months, because of the sales I have made already as a result of being in KDP Select, and because of my borrows, I won’t have to spend time doing free promotions and I won’t be trying to figure out why people with Nooks don’t buy my books. Instead, I will have more time to write. Because, as Rusch pointed out, if I don’t produce more books, “the audience will move onto something else.” Sounds like a good short-term strategy to reach my long-term goals and not such a bad decision at all.

 

This is a cross-posting from M. Louisa Locke‘s blog.

Not Sharing, Not Stealing – Infringement

This is a cross-posting from the Copyright Clearance Center’s Beyond the Bookcast, and it is provided in its entirety with that site’s permission.

At the recent OnCopyright 2012 conference, Robert Levine explained for the audience in a keynote speech how the commonly used language of copyright shapes the debate and makes for confusion on the fundamentals.

“I don’t think copyright infringement is stealing,” he told the Columbia Law School audience. “The idea that this is stealing, I think, introduces a moral tone that I don’t like. I don’t like to treat it as a moral issue. I’d like to treat it as a legal issue and an economic issue.

 

Free Ride“It’s also not sharing,” he continued. “ Sharing implies good. If you’re sharing my book, that implies that you’re doing something good. I think stealing and sharing are both not what’s going on. I think copyright infringement is a very good term for what’s going on. I would encourage more people to use it.”

Robert Levine covers the culture business from New York and Berlin. Free Ride: How Digital Parasites are Destroying the Culture Business, and How the Culture Business Can Fight Back is his first book. Fortune called it, a “smart, caustic tour of the modern culture industry,” and Bill Keller in his New York Times review praised Free Ride as, “a wonderfully clear-eyed account of this colossal struggle over the future of our cultural lives.” Levine previously was the executive editor of Billboard and has written for Vanity Fair, Rolling Stone, and the arts and business sections of the New York Times.

This week, CCC’s Beyond the Book podcast series presents Levine’s full address at OnCopryight 2012; for video and more on the full day’s programming, go to www.oncopyright2012.com.

PODCAST:  Not Sharing, Not Stealing – Infringement [31:01m]: | Play in Popup | Download |

TRANSCRIPT: Not Sharing, Not Stealing – Infringement | Read Online As A Webpage | Read Online/Download As A PDF |

 

Please Don’t Write Bad Novels

This post, by Catt Dahman, originally appeared on the Moonbooks site on 4/16/12.

To say I read a lot is an understatement; to say I read lot of well written material is sadly untrue. With the apocalypse/zombie craze going on, there are some good ideas but the execution of the writing is lacking; it’s lacking in a lot of the horror I read. I’ve recently thrown in my zombie tale as well and that got me to thinking about what some writers do that ruin their novels. Ever the helpful (okay, critical, jeez) person that I am, I came up with a few ideas of what to do and not to do when writing zombie (or any horror) tales.

 

This one is huge. Tell the reader what kind of weapon the characters use, but then, can you call it a gun and not have to give us specs each time you mention the gun? A full fifteen pages about the weight, sale records, and history of each gun is really boring and I stop reading. A scope. Tell us they use a scope, but really, you don’t have to share the brand and everything you read in the Wiki. (yawn) Some technical information is fun, but too much is boring. At least warn us in your description so we can decide if we are technical-information-loving people or just want a fun story. The authors I like never write a five page diatribe on the functions and specs of a grenade. Just saying.

Next, please spare us the sound effects. BAM, POOF, VROOM, POW and SPLAT are enough to drive me to ERRRPPP up my lunch. Yes, they are fun in a comic book, but in a mainstream novel, the bomb can explode without a BOOM and the brains do not need to go KERSPLAT. Alas, this means forgoing the PLING, THUMP, and the BANG as well.

Speaking of word choices, one of my editors and I have a running joke about “atrocious zombies” after having read that description in a book. “Atrocious” is one of those words that unless a character says it, it should be avoided. “Cantankerous” is another that bugs me. I find that many writers find a nifty word from their thesaurus, and then over-use it. If a word isn’t one you commonly hear or use, then skip it. Sometimes “feces” is a useful word as opposed to the more vulgar term, but above all, please, please, don’t use “poop” (as in the ‘zombie stepped in poop.’) Are you laughing? I have read these things! I see things and shiver. One of my favorites was: “The walking dead corpses were FUBARed”. Please don’t write “Ginger ran, her jiggly bits bouncing.”

 

Read the rest of the post on Moonbooks.

Monopoly Power Makes You Fat, Dumb and Slow

This post, from Passive Guy, appeared on The Passive Voice on 4/16/12. Taking current fears about the possibility of Amazon becoming a monopoly bookseller or publisher as a jumping-off point, the post provides a lengthy and fascinating analysis of some real-life, past examples of monopolies and what became of them. Passive Guy then circles back around to the implications for publishing.

A reprise of two posts from last October.

A few quotes will warm you up for a discussion of monopoly in the publishing industry.

The best of all monopoly profits is a quiet life.

J.R. Hicks

And a quote from Adam Smith:

The monopolists, by keeping the market constantly under-stocked, by never fully supplying the effectual demand, sell their commodities much above the natural price, and raise their emoluments, whether they consist in wages or profit, greatly above their natural rate.

[Considering allegations of price-fixing discussions over expensive food and wine at a restaurant in Manhattan], a second quote from Adam Smith is timely:

People of the same trade seldom meet together, even for merriment and diversion, but the conversation ends in a conspiracy against the public, or in some contrivance to raise prices. It is impossible indeed to prevent such meetings, by any law which either could be executed, or would be consistent with liberty and justice. But though the law cannot hinder people of the same trade from sometimes assembling together, it ought to do nothing to facilitate such assemblies; much less to render them necessary.”

PG hesitates to supplement Adam Smith, but he would point out that monopolists can increase their profits by raising prices for what they sell or lowering prices for what they buy. From authors, among others.

One of the elements in the many predictions of the future of traditional publishers that Passive Guy has not seen anyone discuss is the effect of being a participant in a shared monopoly.

Many people fear the effect of a monopoly on a particular market. Some of the comments regarding Amazon made in response to recent blog posts have reflected this concern. While Passive Guy can certainly understand such worries, he takes a different view of monopolies.

Absent stringent government protection or physical boundaries that protect the monopoly, the long-term effects of overly-dominating a market tend to weaken the company or companies involved. If competition is permitted, the bloated and inefficient monopolist can present an easy target for an innovative and flexible competitor.

 

Read the rest of the post on The Passive Voice.

What Amazon's Ebook Strategy Means

This post, by Charlie Stross, originally appeared on his Charlie’s Diary blog on 4/14/12.

It seems to me that a lot of folks in the previous discussion don’t really understand quite what makes Amazon so interesting—and threatening, for that matter—to the publishing industry.

So I’m going to take a stab at explaining.

Amazon was founded in 1994 by Jeff Bezos. And today it’s the world’s largest online retailer.

I submit that, as with all other large corporations, you cannot judge Amazon by the public statements of its executives; they are at best uttered with an eye for strategic propaganda effects, and at worst they’re deeply self-serving and deceptive. Rather, you need to examine their underlying ideology and then the steps they take—and the actions they consider legitimate—in order to achieve their goals.

Now, first, I’d like to introduce three keywords that need defining before you can understand Amazon:

Disintermediation

is the removal of intermediaries in a supply chain: "cutting out the middleman". Instead of going through traditional distribution channels, which had some type of intermediate (such as a distributor, wholesaler, broker, or agent), companies may now deal with every customer directly, for example via the Internet. One important factor is a drop in the cost of servicing customers directly.

Disintermediation initiated by consumers is often the result of high market transparency, in that buyers are aware of supply prices direct from the manufacturer. Buyers bypass the middlemen (wholesalers and retailers) in order to buy directly from the manufacturer and thereby pay less. Buyers can alternatively elect to purchase from wholesalers.

It should be fairly obvious by now that the internet is an intrinsically disruptive force in traditional distribution channels because it makes disintermediation very easy.

Jeff Bezos recognized this very early on, and designed Amazon to be a disruptive disintermediary: to buy wholesale and sell retail, using the internet as a tool to reach remote customers directly. Initially Amazon relied on large warehouses, but as its database expanded they moved to just-in-time ordering, whereby obscure items would be listed as available but only ordered from the supplier when a customer requested one.

(So far, so good.)

But there are two other key aspects of Amazon that we need to understand.

 

Read the rest of the post on Charlie’s Diary.

If You're Not Ready To Invest, You're Not Ready To Publish

This post is about the alarming sense of entitlement I’m seeing out there among indies and would-be indies now that we’ve become empowered to publish. I’m sure I sound like a broken record (or damaged MP3) by now, but apparently I need to keep saying this:

The decision to self-publish for profit is a BUSINESS decision. When you decide to self-publish for a profit you are deciding to LAUNCH A BUSINESS. You are going into direct COMPETITION with every other publisher and self-publisher out there, and many of them have a lot more money, time and experience than you do, no matter who you are. No one who goes into business has an inherent right to success or profit, or even the attention of consumers. All of those things must be earned, and are generally hard-won.

Anyone who wants to launch a new business like a restaurant, widget manufacturer, accounting practice or pool service expects to invest a certain amount of start-up capital, both in terms of actual cash and sweat equity. Neither is dispensable. Yet plenty of would-be indie authors seem to think it’s unfair for me, and even the book-buying public, to expect them to invest anything more than the sweat equity part of the equation. They expect the public to be able to look past a cut-rate cover, ignore the typos, bad grammar and the many other substantive flaws that can be eliminated by a good editor, and see the excellent story within. These indies are wrong, and they’re hurting all of us by lowering the collective bar.

In a recent Facebook exchange, one indie author directed this to me:

Not all self published authors can afford to hire out for pro services. If that were the case, why not go with a vanity publishing company and all their promises.

To which I responded, in part:

…if we self-publishers wish to compete head-to-head with mainstream books, we have to be willing to invest what it takes both in terms of effort and money. Hiring a pro editor and cover designer yourself is a far cry from going with a vanity press, which will usurp your rights and take a cut of your royalties. A pro edit, file conversion and cover design shouldn’t cost most self-pubbers more than about $400-$600, if you check the freelancer listings on Smashwords—and many can beat even those prices by shopping around and calling in favors. Yes, it’s a lot of money, but compare that to how many thousands of dollars a mainstream publisher invests in every book *it* acquires and releases. If we want a seat at the poker table, we have to be willing to invest at least a small stake.

Another commenter replied:

I work as a handyman. I’m barely making it. $400 to $600 is half a months’ wages for me. How would you suggest I scrape together enough to pay someone to edit my book and another someone to design a cover for it?

My response was: 

I’m sorry to say this…but the realities of launching and running a business are what they are, and I have often advised would-be indies NOT to publish until they can afford to do it right. The vast majority of authors, mainstream and indie alike, do not earn enough from sales of their books to live on. Virtually all of us still need day jobs.

The fact that the content is gold won’t matter if all the reader notices is typos, bad grammar or spelling mistakes, and an amateurish cover. For years us indies have been saying all we want is the opportunity to compete against the mainstream on a level playing field—but that means we have to be willing to do (and spend) what it takes to compete. I’m all for DIY when the person has the skills, and for trading favors and doing whatever else one can to shave costs. But it’s unrealistic to think one can go up against multi-million dollar publishers without spending even a few hundred dollars.

Hopeful Olympians pay for quality equipment, coaching and travel. Hopeful artists pay for quality supplies, professional framing and gallery space. Hopeful filmmakers pay for quality cameras and professional editing, or at least time in a professional editing bay to do it themselves. The fact that it’s much easier for a rich hopeful to afford the necessities of his craft or sport than it is for a poor one doesn’t make those things any less NECESSARY for the poor hopeful.

People DO judge a book by its cover, as I’ve learned firsthand. The cover for my novel Adelaide Einstein is much less slick than the one for my novel Snow Ball , and Snow Ball outsells Adelaide month in and out despite the fact that Adelaide has nearly three times as many positive reviews. I can complain all I want about how unfair it is that more readers won’t give Adelaide a chance, but that won’t sell more copies of the book. 

And ebook fans DO post negative reviews based solely on bad editing and poor formatting. I’ve found most ebook fans to be very welcoming to indies, and even willing to cut us slack to an extent in acknowledgment that we’re not backed by a Big 6 publisher. But when poor formatting or bad editing gets in the way of their enjoyment of the content, they stop reading and let others know about it.

Remember: publishing was never meant to be fair. It’s a business. Mainstream-published authors have the luxury of a whole staff of businesspeople standing between their delicate, artistic sensibilities and the harsh realities of commerce, but they pay for it pretty dearly in reduced royalties and the loss of control of their work. We indies have to be willing and able to play both sides of the net, art AND commerce, ourselves.

If you’re not willing, or you’re not able, you’re not ready to publish.

Having seen comments here and elsewhere, I’m kind of shocked that this is such a controversial stand to take. I mean, if I wanted to go into business making and selling any other product, and openly admitted I had no money for quality control (editing), packaging (cover design) or marketing (author platform) for the product, that I didn’t have the skills to do all of those things myself at a level comparable to a professional, and I don’t know anyone who’d be willing to offer those services to me for free, everyone would just say, "Well, maybe you need to wait till you’ve saved up some money, then."

But for some reason, to some people, when the product in question is a book, it’s somehow a special case. To those people, suggesting the author delay publication till he can make his product—a book—the best it can be is elitest. I’m not saying that only the rich should be able to publish, not remotely. I strongly encourage controlling costs, acquiring as many skills as possible so you can do a professional job of things yourself, calling in favors and comparison shopping for services. And I’m not saying those who don’t do these things should be barred from publishing.

All I’m saying is, if you’re going to step into the spotlight and invite the scrutiny of a paying public, doesn’t it make sense to put your best foot forward? If "good enough" is inadequate when it comes to the quality of your storytelling and characterization, why is it acceptable when it comes to the quality of your book’s presentation?

 

This is a cross-posting from April L. Hamilton‘s Indie Author Blog.

I'm Here

It has been a quiet day in rural Connecticut with time set aside for a brief note announcing my presence. The best way to know of my writings is to visit www.delighteer.com

Friday the 13th

Today is Friday the 13th. Ooooh, cue Twilight Zone music. Of course, it’s all superstitious bollocks, like being afraid to walk under a ladder or thinking a political agitator died two thousand years ago for your sins. I mean, really? Get over yourself. But why is Friday 13th considered unlucky? Folklore and superstition is some pretty interesting stuff and it’s great fodder for stories. The more we draw on existing mythologies and folk tales, that have endured over centuries for a reason, the more we can make our own stories feel authentic and convincing, thereby helping readers to suspend disbelief and enjoy a fictional journey.

And who knows, maybe in two thousand years there’ll be a group of weirdos attending the Church of RealmShift, praying to the god Isiah for absolution. That would be quite funny, but we really should have grown out of this stuff already, so considering another two thousand years of it is a bit sad.

Anyway, Friday 13th – where does that particular bad luck superstition come from? Well, the answer, as is so often the case: No one knows. But there are a lot of theories. Interestingly, this particular superstition seems to be quite young, with no real references before the 20th century. Going to the fount of all knowledge (Wikipedia, obviously), we get these possibilities:

1. In numerology, the number twelve is considered the number of completeness, as reflected in the twelve months of the year, twelve hours of the clock, twelve gods of Olympus, twelve tribes of Israel, twelve Apostles of Jesus, the 12 successors of Muhammad in Shia Islam, etc., whereas the number thirteen was considered irregular, transgressing this completeness. There is also a superstition, thought by some to derive from the Last Supper or a Norse myth [more on this later – Alan], that having thirteen people seated at a table will result in the death of one of the diners.

2. Friday has been considered an unlucky day at least since the 14th century’s The Canterbury Tales, and many other professions have regarded Friday as an unlucky day to undertake journeys, begin new projects or deploy releases in production. Black Friday has been associated with stock market crashes and other disasters since the 1800s.

3. One author, noting that references are all but nonexistent before 1907 but frequently seen thereafter, has argued that its popularity derives from the publication that year of Thomas W. Lawson’s popular novel Friday, the Thirteenth, in which an unscrupulous broker takes advantage of the superstition to create a Wall Street panic on a Friday the 13th. Records of the superstition are rarely found before the 20th century, when it became extremely common.

It seems that there were existing superstitious issues regarding both the number 13 and Fridays, so it seems “logical” that Friday the 13th is doom with extra tragic sauce.

Another theory is that Primitive man had only his 10 fingers and two feet to represent units, so he could count no higher than 12. What lay beyond that — 13 — was an impenetrable mystery to our prehistoric forebears, hence an object of superstition.

That doesn’t really take into account toes, though, so seems like a dodgy idea to me. Not to mention that surely there would be no evidence of anything beyond 12, thereby nothing to be scared of. It certainly wouldn’t have been called 13… or would it? That one makes no bloody sense at all.

Here’s another interesting idea from David Emery at Urban Legends:

Still other sources speculate that the number 13 may have been purposely vilified by the founders of patriarchal religions in the early days of western civilization because it represented femininity. Thirteen had been revered in prehistoric goddess-worshiping cultures, we are told, because it corresponded to the number of lunar (menstrual) cycles in a year (13 x 28 = 364 days). The “Earth Mother of Laussel,” for example — a 27,000-year-old carving found near the Lascaux caves in France often cited as an icon of matriarchal spirituality — depicts a female figure holding a crescent-shaped horn bearing 13 notches. As the solar calendar triumphed over the lunar with the rise of male-dominated civilization, it is surmised, so did the “perfect” number 12 over the “imperfect” number 13, thereafter considered anathema.

I quite like that theory, not it’s got just enough bastardry in it to make it an enduring myth, and enough impetus for men in power to keep pushing their agenda. It would explain a lot about why 13 is so consistently recognised as a “bad” number if it meant men could retain some patriarchal power. Of course, it also means that superstitious feminists should embrace Friday the 13th, and that might give rise to some brain implosions.

And from the same source, here’s that great Norse yarn, mentioned earlier:

Twelve gods were invited to a banquet at Valhalla. Loki, the Evil One, god of mischief, had been left off the guest list but crashed the party, bringing the total number of attendees to 13. True to character, Loki raised hell by inciting Hod, the blind god of winter, to attack Balder the Good, who was a favorite of the gods. Hod took a spear of mistletoe offered by Loki and obediently hurled it at Balder, killing him instantly. All Valhalla grieved. And although one might take the moral of this story to be “Beware of uninvited guests bearing mistletoe,” the Norse themselves apparently concluded that 13 people at a dinner party is just plain bad luck.

David also points out that there were 13 present at the Last Supper, one of whom betrayed Jesus and triggered the Crucifixion. And that crucifixioin allegedly took place on a Friday. The bad news is just stacking up for the mythologically-minded.

David Emery’s entire article makes for great reading on the subject, so maybe you should just go there and read the whole thing. I’ll wait here.

Good, wasn’t it?

Here’s an interesting extra tidbit, though:

The Dutch Centre for Insurance Statistics (CVS) on June 12, 2008, stated that “fewer accidents and reports of fire and theft occur when the 13th of the month falls on a Friday than on other Fridays, because people are preventatively more careful or just stay home. Statistically speaking, driving is slightly safer on Friday the 13th, at least in the Netherlands; in the last two years, Dutch insurers received reports of an average 7,800 traffic accidents each Friday; but the average figure when the 13th fell on a Friday was just 7,500.”

It’s a small difference, but I do love me a bit of irony.

Anyway, if you really want to test your superstitious credulity this is the year for it – there will be three occurrences of Friday 13th in 2012, exactly 13 weeks apart. OH MY GODS WE’RE DOOMED!

Not that everyone needs to worry. The Spanish and Greeks consider Tuesday 13th bad luck, and the Italians are concerned about Friday 17th. You see, it’s all bollocks.

On the upside, we do get some brilliant words from the superstition:

The fear of Friday the 13th has been called friggatriskaidekaphobia (Frigga being the name of the Norse goddess for whom “Friday” is named and triskaidekaphobia meaning fear of the number thirteen). Seriously, say that word out loud and see if you don’t love it. FRIGGATRISKAIDEKAPHOBIA! Now, your mission, should you choose to accept it, is to use that word today in casual conversation. Best of luck.

There’s also paraskevidekatriaphobia a concatenation of the Greek words Paraskeví (Παρασκευή, meaning “Friday”), and dekatreís (δεκατρείς, meaning “thirteen”) attached to phobía (φοβία, from phóbos, φόβος, meaning “fear”).

My preference definitely goes with friggatriskaidekaphobia, though.

Regardless, the only real bad luck I’ve ever heard of relating to anything directly related to this stuff is a stunt in the US many years ago. A guy was going for a bungee jump stunt where he would bungee off the side of a building and pick up a can of soda from the pavement. Extremely careful calculations were made, regarding his weight, the bungee rope, the distance and so on, to make such a dangerously accurate jump. Finally ready, he made the jump and smashed his head into the pavement and died. Why? Because many US buildings don’t have a 13th floor, skipping from 12 to 14, so the calculations of the building’s height were out by one storey. So 13 was definitely unlucky for that guy, but in a rather ironic way. Of course, all that could just be an urban legend, but it’s a great story nonetheless. And good stories are the best thing about all superstitions.

 

This is a reprint from Alan Baxter‘s The Word.

Amazon vs. Apple And The Agency 5: Let’s Get The Facts Straight

Given that anyone who reads my blog is an author, publisher, or otherwise involved in the book business, I don’t think I need to trouble myself with recounting every detail of how the U.S. Department of Justice came to charge Apple, Inc. and publishers Macmillan, Penguin, Hachette Group, Simon and Schuster and HarperCollins with collusion to fix ebook prices. But judging by the many hysterical, righteous articles and editorials I’m reading in the wake of antitrust charges being filed and three of the five named publishers promptly settling out of court, there’s plenty of inaccuracy and flawed logic out there that needs to be addressed.

1. Before Apple and the Agency 5 publishers established their Agency Pricing plan, Amazon was hurting publishers’ bottom lines by offering their Kindle-format bestsellers at a discount price. Publishers had to do something to stop Amazon from doing this, so they could earn enough money to cover their expenses and still earn a modest profit.

FALSE

Prior to Agency pricing, publishers sold their Kindle-format books to Amazon under the same basic wholesale terms they used to sell their hard-copy books to Amazon. Publishers set a suggested retail price for the public, but sold each copy to Amazon at a lower, wholesale price that generally constituted 60% of the suggested retail price. That percentage is standard across the industry for all booksellers, and is fixed regardless of the price at which a given book, digital or hardcopy, actually sells.

This means that if the publisher set a suggested retail price of $20 for a given Kindle book, Amazon had to pay the publisher $12 per copy sold. Even if Amazon elected to sell those books at a discounted retail price of say, $9.99, it still had to pay the publisher $12 per copy sold. Most of the mainstream Kindle bestsellers Amazon was selling at $9.99 were being sold at a loss to Amazon, but publishers still earned the same cut as they would if Amazon hadn’t discounted.

 

2. If Amazon is allowed to offer mainstream bestsellers as a “loss leader” product, it will soon have a monopoly over ebook sales in general and will then demand that publishers accept a lower cut on each copy sold—and in fact, they are already starting to do this with their 2012 vendor contracts with publishers.

FALSE

While it’s true that Amazon’s 2012 vendor contracts do charge higher prices for on-site promotion than in prior years (though specific details of the new contracts have not been publicly disclosed), no one is claiming Amazon is demanding any decrease in the publishers’ usual 60% cut. It’s unclear whether publishers can opt out of the on-site promotion, but still offer their books for sale on the site.

 

3. Amazon has already driven most of its competition out of business through predatory pricing tactics.

FALSE

While it’s true that Amazon operated at an annual, multimillion dollar loss for its first five years in business (as detailed in the documentary film series, Nerds 2.01: A Brief History of the Internet, 1998), during which time it was primarily a bookseller, the primary reason for its losses had to do with the usual business startup expenses, plus Jeff Bezos’ very ambitious growth and expansion plans for the burgeoning e-tailer. Amazon spent immense quantities of cash on advertising and setting up a nationwide network of fulfillment centers in those early years.

Amazon also invested heavily in making its customers’ buying experience the best it could be. Recall that Amazon launched at a time when online shopping was far from typical, and most consumers viewed online stores with suspicion, fearful that their credit card and other personal information couldn’t possibly be kept secure online. A second obstacle to overcome was consumers’ habit of instant gratification: why buy online, which is essentially no different from mail-ordering, a product one could buy in any local store? Amazon had an answer to both issues.

First, it could afford to offer products at a lower retail price because its overhead costs were much lower than those of a brick-and-mortar store. Warehouse space is cheaper to buy or rent than retail space, and fewer workers are needed to run a fulfillment center than to staff a retail store; much of its processes could be automated.

Of course, a lower retail price is meaningless if the difference is made up in shipping expense, and the customer has to wait for his purchase to arrive in the mail to boot. Amazon’s answer to these two problems was to frequently offer free shipping, and (for its first couple of years in business) to ship every domestic order out via Federal Express, regardless of whether or not the customer opted to pay for expedited shipping, as a standard practice. Remember that?

These were strategic moves aimed at establishing the internet as a safe place to shop, and Amazon as a trusted retailer in the minds of consumers. Of course Amazon also wanted to become a preferred retailer in the minds of consumers, but that’s true of any retailer. If its mail-order business model is simply more financially efficient and convenient for customers than brick-and-mortar shopping, that’s more the natural outcome of a major technological and cultural shift than the result of any targeted, purposeful attempt to drive all competitors out of the marketplace. As plenty of others have observed, I’m sure the buggy whip manufacturers were pretty angry when automobiles became the standard mode of transportation, too.

 

4. Amazon is now in a position where it can strong-arm publishers into whatever pricing and sales terms it wants, slowly bleeding those publishers to the point where they can no longer survive.

FALSE

Publishers are no more dependent on Amazon for their survival than computer manufacturers are dependent on Best Buy for theirs. Publishers are free to enter into direct competition with Amazon by pulling all their titles from the site and selling them exclusively through their own online stores and selected brick and mortar outlets, such as Barnes and Noble, Target and airport stores. Computer and other manufacturers have long offered direct sales to consumers through their websites, and there’s nothing stopping publishers from following suit, other than a reluctance to alter their failing, bricks-and-mortar-centric business model.

Certainly, a considerable amount of effort and capital investment would be required to set up an online sales outlet where none exists today for most publishers, but the realities of remaining competitive in a changing marketplace are what they are. The fact that publishers dragged their feet and dug in their heels rather than adapt to changing market forces can hardly be blamed on Amazon. The internet moved their cheese, not Amazon.

As to slowly killing off publishers, it behooves Amazon NOT to bleed its primary suppliers dry. Amazon has been launching its own publishing initiatives, but unless it succeeds in luring most major authors away from every major publisher, unless it starts buying up competing presses (a mistake the major publishers have made in spades and have probably now come to regret), it will always be one among numerous publishers.

Finally, consider the digital music example set by Apple with its iPod and iTunes. Apple undoubtedly dominates the digital music market, but it has not bled any labels dry or begun gouging the music-loving public. Tower Records, Licorice Pizza and The Wherehouse have disappeared from the music retail landscape, but I don’t recall anyone accusing Apple of any kind of orchestrated campaign to cause their demise. Again, it’s a simple case of consumers voting with their wallets.

 

5. Publishers have to play ball with Amazon if they want to offer their books in digital form, because the Kindle is the dominant e-reader platform.

FALSE

The Kindle is the dominant e-reader platform, but it can read formats other than Amazon’s own proprietary .azw file type. It can read .mobi files natively, for example. Publishers are free to sell non-.azw format ebooks directly through their own websites, and Kindle owners would still be able to read those books on their Kindle devices. It wouldn’t be as convenient for customers as downloading books directly to their Kindles from Amazon, but this is the same situation as loading digital music files that weren’t purchased from iTunes onto an iPod: it can be done pretty easily, though it does require transferring files to the device.

Furthermore, if publishers really wanted to ensure the Kindle couldn’t dominate the e-reader landscape they could do so, by offering customers the one thing the ebook reading public has most wanted from the beginning that they aren’t already getting from Amazon: a cross-platform, DRM-free ebook format that can be read across multiple devices. They could invest in the development of cross-platform e-reader software users could run on devices they already own rather than having to buy a Kindle, Kobo Reader, Sony Reader or Nook, but here again, there’s a reluctance on the part of publishers to take risks, expand their business model, innovate and compete.

 

BOTTOM LINE: Amazon has achieved a dominant position in bookselling and e-tailing through aggressive, risky and costly startup efforts. Unlike most CEOs who hold the title today, Jeff Bezos took and held the long view through some very lean and nerve-wracking years. If his ultimate goal for Amazon is to become and remain the #1 company in its sector, then all he’s guilty of is the same thing that can be said of ALL CEOs. 

Perhaps if publishers and competing retailers had been a little more forward-thinking, and willing to take the same risks, they would now be reaping similar rewards. Since they weren’t, they are reaping a bitter harvest of resentment and fading market share instead. It’s still not too late for publishers to turn the situation around, but their time, money and effort would be better spent on R&D than M&C*.  

*(moaning and complaining)

This is a reprint of an editorial from April L. Hamilton’s Indie Author Blog. UPDATE, 4/15/12 – The author adds:

It’s time for publishers to shift their focus away from Amazon, and toward consumers (the people who buy books) and authors (the people who write books). In fact, this shift is long, long overdue.

Railing against Amazon isn’t winning any hearts or minds among consumers, who generally have a positive opinion of the e-tailing behemoth. Telling consumers they owe it to the publishing establishment to tolerate arbitrary delays for paperback and ebook releases, to keep subsidizing publishers’ dated and unsustainable business model, and to pay ebook retail prices that FAR exceed those books’ production and distribution costs, isn’t endearing publishers to the book-buying public.

And when top authors have the power to pack up their fanbase and go Pottermore, it’s time for publishers to face the cold, hard, devastating truth: Amazon is the least of their worries if publishers lose the geese who lay their golden eggs. Once an author comes to feel her publisher isn’t adding any value, and is actually putting obstacles between herself and her fanbase, that author is prone to jump ship. No top authors means no reliable bestsellers, and no reliable bestsellers means bankruptcy. But not every author wants to run his own mini-empire; hmmm, might there be some value publishers could add in this area, perhaps by redefining their corporate mission, setting up and overseeing a whole bunch of Pottermores for their authors?

A scary proposition for publishers, to be sure. But if competition were effortless and risk-free, it wouldn’t be called competition. Right now publishers are losing with authors, the ones who create their product, and consumers, the ones who buy it. Worse yet, it’s all too easy for those two factions to deal directly with one another, and cut publishers out of the equation entirely. If the Big 6 publishers can’t justify their inclusion in the book feeding chain, if they can’t give authors a reason to stay and consumers a reason to buy, then they have no business being in business.

 

Five Reasons Great Horror Stories Work

This post, by Joe McKinney, originally appeared on the Moonbooks site on 4/11/12.

There is a fine art to scaring people, and like all art, it is the product of raw talent honed by craft and technique. No one can teach raw talent, of course. You either have it or you don’t. But craft and technique can be taught, and in the following few sections I’m going to walk you through five basic characteristics that all great horror stories share. Learn to incorporate these into your stories, and you’ll find your stories make more sense and, hopefully, sell better.

Creating Insularity

First, let’s talk about your story’s setting.

The key to good, memorable horror is much the same as it is in the business world – location, location, location. Many beginning writers come up with potentially great settings, be it an abandoned town, or a graveyard, or a mill, or a big scary house, and then fail to carry through on its potential. As a result, their great setting never rises above the tired old mainstays of B grade horror.

Think about all the great works of horror you’ve ever read. My guess is that, in every single one, you can point to the setting and say, “That right there sealed the deal for me. When the mother and child were trapped in that Pinto in Cujo, I was scared. When the priests entered Regan’s room in The Exorcist, I felt her bedroom door close behind me. When Pennywise the Clown spoke to the children of Derry, Maine through the drains in their bathrooms, I wanted to escape.”

But why does Stephen King’s story about a creepy old hotel in the middle of nowhere get the scares, and Joe Schmoe’s story set in a similar creepy old hotel fail to deliver? Well, think of some of the words I used in the previous paragraph. “Trapped.” “The door close behind me…” “Escape.” In every sense, the effect created is one of insularity. Through the characters in the story, we get a sense that we are closed off from the rest of the world, that we are no longer free or able to run away, that we are shut in with something very bad.

This explains why old graveyards, or cabins deep in the woods, or small towns, are such common destinations for the horror story. But it doesn’t explain why they work. The challenge, you see, is to show, through your characters, the setting going through a change. The way your characters perceive the setting is key. Think about the movie Jaws for a second. Remember when Brodie, Quint and Hooper are headed out to sea, and they get drunk and trade sea stories? They’re laughing and having a great time. Some might say they’re simply whispering in the dark, but the result is effective nonetheless. The sea seems a peaceful, welcoming place. But the next day, as they engage the shark, and it starts to wreck their boat, they begin to feel small and helpless, fighting for their lives in a hostile, brutal environment. The sea has not changed, obviously. It’s the same sea that seemed so comforting for them the night before. What’s changed is their perception of the sea. The characters in all great horror stories show this changing reaction to the settings in which they find themselves.

To achieve this in your own writing, you need to make readers feel that what was once familiar and comforting has suddenly become oppressive and menacing. In other words, you need to change your characters’ attitude toward the setting, and you do this by showing the setting before and after the horror takes the stage. If you’re sending your protagonist into a small town, you might start off by making that small town feel comforting, friendly, perhaps even nostalgic. Once you’ve established this, you’re free to turn the thumbscrews.

There’s no set rule on how long you have to take to create this feeling of comfort, of normalcy, but you do need to create it. Horror is, after all, the intrusion of the extraordinary into the ordinary, and if you’re going to make that work you have to first create normalcy. A comfortable, familiar setting that suddenly becomes hostile and claustrophobic is the best way to do this.

 

Read the rest of the post, which includes four more keys to success in horror, on the Moonbooks site.

Amazon Announces Intent To Start Slashing Kindle Book Prices In Wake Of Antitrust Settlements

Today the New York Times is reporting:

As soon as the Department of Justice announced Wednesday that it was suing five major publishers and Apple on price-fixing charges, and simultaneously settling with three of them, Amazon announced plans to push down prices on e-books. The price of some major titles could fall to $9.99 or less from $14.99, saving voracious readers a bundle.

But publishers and booksellers argue that any victory for consumers will be short-lived, and that the ultimate effect of the antitrust suit will be to exchange a perceived monopoly for a real one. Amazon, already the dominant force in the industry, will hold all the cards…

The government said the five publishers colluded with Apple in secret to develop a new policy that let them set their own retail prices, and then sought to hide their discussions…After that deal was in place in 2010, the government said, prices jumped everywhere because under the agreement, no bookseller could undercut Apple.

On Slate, Barry C. Lynn argues that these developments will ultimately ruin the entire book business and supply chain:

On the surface, the DoJ’s action may seem perfectly reasonable. The antitrust enforcers charged that five big publishers conspired with Apple to raise the prices of e-books by creating a new regime in which the publishers, rather than the retailers, priced their books.

Absent any other consideration whatsoever, higher prices do indeed result in a bad outcome: namely, fewer books in the hands (or on the screens) of American citizens.

But while cheaper e-books might be a good short-term outcome for some readers, and for those companies pushing for wider adaption of e-readers, there are significant downsides on the horizon…

Lynn goes on to paint a doom-and-gloom scenario in which Amazon systematically drives every other bookseller (and many publishers) out of business, then begins the inevitable process of ratcheting up its prices to a by-then captive audience of consumers. Commenters on the article don’t seem all that worried.

Similarly over-the-top accounts can be read in The Atlantic’s The Justice Department Just Made Jeff Bezos Dictator For Life and Forbes’ Amazon’s Greed May Prove Its Undoing In E-Book Price War.

Salon offers a completely different view of Amazon in its story about Amazon’s little-known largesse in offering grant money to small publishers and literacy programs, totalling up to approximately $1 million annually.

For another informed counterpoint, see this post by author JA Konrath, who takes big publishers to task for failing to offer reasoned counterarguments to his and others’ rebuttals of their various Amazon-will-be-the-death-of-us-all scenarios.

So is Amazon the Big Bad Wolf, or an aggressive, though misunderstood, corporate good citizen, just looking out for the best interests of its customers and literacy at large? Read up, and judge for yourself.