Rabu, 23 Mei 2012

A half century

Posted by Jean Adams

This is the fiftieth post on the Fuse blog. In the spirit of using arbitrary milestones as worthy of note, I will now take stock. No, not make stock, that would take much more in the way of root vegetables and animal carcasses than I have right now. 

A cricket image  might have been better, but I don't get cricket
Over the last five months, we have had 49 posts, written by 14 authors, and more than 8000 page views (yeah, I wrote it that way because I know it doesn’t mean ‘more than 8000 readers’). There has also been a lot of #fuseblog twittering, coffee room chats, and (you surely didn’t think it could be any other way?) blog-related committee discussions.

I have enjoyed myself. I have learnt a bit about community and herding cats, I have made some real-life and virtual friends, I have enjoyed the discipline of having to write 500 words for public consumption every week, and I got some good marks for the two pieces of coursework that this blog has contributed to (you surely didn’t think I just did it for a laugh?). I think the other writers have enjoyed it too. Perhaps more so after I decided to stop taking it quite so seriously.

From all of this, I surmise that people value both reading and contributing to the blog. But I don’t have a clear view of who you are. You also seem to be discussing it in some forums. But you aren’t leaving comments on the blog itself. We have had a grand total of 32 comments posted, of which five were spam. So that’s 27 sensible comments. From 8000 reads.

So, I would now like to invite you to use the comment box below to post your thoughts on the blog so far. What sort of things do you like? What stuff would you rather we skipped? What would you like more of? Who are you? You don’t need to tell everyone your name, but what got you here? Why are you interested in this blog? What would make you more interested?

It isn’t that tricky. Depending on how you got to this page, you either start typing straight in the white box, or you need to click where is says “x comments” in orange at the bottom of the post to get the white box to appear. After unloading your thoughts, click on the “comment as” pull-down. If you know what any of the branded options mean, select one. If not, just chose Anonymous. Then do the ‘prove you’re not a robot’ thing and you’re done. I’ll get an email. If you haven’t used bad words or been horrible about one of my friends, I’ll approve your comment and you’ll be published.

That’s it. Easy.

And, just before you get to work: thanks. Thanks to the writers, the readers, the commenters, the RTers, the quiet guidance people, and the ranty ‘advice’ people. See you all again at the next arbitrary milestone.

Selasa, 22 Mei 2012

Listen to constructive criticism

I recently had a very interesting (not in a particularly good way) conversation with a writer who had benefited from the Romantic Novelists' Association New Writers' Scheme. This is a fabulous, fabulous scheme; writers are selected on the basis of the quality of their writing and they receive a free critique on their novel from an expert, worth several hundreds of pounds if they were paying a

Guest Post by Robert Gregory Browne

SCARED SHITLESSRobert Gregory Browne

Several years ago, Joe, Barry Eisler, Brett Battles and I all met at Thrillerfest Arizona, when Brett and I were probably two of the greenest guys in the room. We were both flush, however, with the success of finally being accepted by big-time New York publishers after years of trying to get through the gates. And, for me at least, Joe and Barry were far enough ahead of us that I felt a little intimated by them.

Come to think of it, I still do.

Flash forward and here were are, all seasoned veterans of the publishing world, facing the challenges of a new form of delivery which Joe, Barry and Brett have embraced wholeheartedly.

I, on the other hand, have been lagging behind. But when I told Joe that I had finally decided to take the indie plunge, he suggested that I sit down with Brett for a conversation about my current state of mind, which is an equal mix of elation, confusion and abject terror.

Brett Battles: First, I want to congratulate you on finally making the leap into Indie Publishing! Your first indie published book just came out last week, if I'm not mistaken. A mystery thriller called Trial Junkies (currently free on Amazon.)

Robert Gregory Browne: Last Tuesday. So it's been up for a week.

B: Well, it's about time! It's not like I haven't been pushing you to go independent for... well... forever.

R: I know, I know. I've been watching all of you guys jump in—first Joe, then Barry, then you and countless others. There's this great party that's been going on for a couple years now and I'm finally crawling out of bed, getting dressed and hoping I'm not too late for all the fun.

B: So what took you so long?

R: Well, until late last year there was this carrot dangling in front of me called fame and fortune that I wholly bought into. Not that anyone ever promised it outright, but I was told that the book I had coming out soon—after a year of waiting—would likely be my big breakout book that would launch me from the midlist into the big time. This was probably MY fantasy more than anyone else's, but I had high hopes for the book.

B: Right, I remember that.

R: So, while you and everyone else were trying to get me to join the party, I was still stuck in a contract and wedded to the old ideas and the old dreams, relying on other people to make them come true. The problem was that despite all this hope of breaking out big, I wasn’t even remotely convinced it would actually happen. Especially after I went to the RT Writer's Conference last April.

B: Why is that?

R: You were there. Barry. Lee Goldberg. I remember is you and Barry and Lee hovering around your iPad while you were showing them some cover art for your upcoming indie release, and all three of you were rhapsodizing about self-publishing. I mentioned that I had a book coming out in hardcover and you all groaned and gave me this "you poor guy" look that got me thinking, yep, the writing is on the wall.

B: I remember that. But you still waited. How did the hardcover do?

R: About as well as you could expect for a midlist author in this economy, with ebooks starting to dominate the marketplace. I won't deny that The Paradise Prophecy got me some of the best reviews I've had and certainly raised my profile—and who knows, when the mass market comes out next week it may raise it a bit more, but let's just say I'm no longer dreaming of fame and fortune.

B: All right, so that book didn't hit as you expected. Still, that was last summer. What happened between then and now?

R: A lot of soul searching. At that point in my career, I was also writing short legacy books under a pen name, had done a ghosting job and had a couple more potential ghosting assignments lined up. I suddenly realized that I was making a living writing books that I had no real emotional investment in. It was grunt work, I was burned out, and there were times I thought about quitting the business altogether—simply because I wasn’t having fun anymore.

B: We talked several times while you were working on those projects, and it was clear you were very frustrated.

R: Frustrated and depressed. And maybe a little crazy.

B: A little?

R: Okay, a lot. Just ask my agent.

B: Or anyone else who was around you. Trust me, I was one of those on the other end of the line trying to talk you off the edge. Anyway, so you did all this soul searching, and…?

R: All this time, guys like you were taking the digital original world by storm.

B: Digital original—trying to get fancy and coin a term?

R: You know me, I’m always trying to get fancy, but for some reason I’ve never liked the term ebook. But I guess we’re stuck with it. Still, digital originals is kind of how I think of them, because I often compare this current evolution to the fifties, when Fawcett started publishing paperback originals—which were brand new at the time and sold in dime stores—and the publishing establishment screamed that these books were destroying publishing and devaluing the work. Sound familiar?

B: Very.

R: So anyway, I could see that your books were climbing the Amazon charts and you were having great success, so I finally decided I needed to stop fooling myself, stop buying into the ridiculous notion that if I trust others to control my fate, I'll be just fine. It was finally time for me to take that leap.

B:And the result was Trial Junkies.

R:Right. When I sat down to write that book, I was beholden to no one but my readers and myself. And you know what?

B: What?

R: I've never had a better time writing. This wasn't a story that had been "approved" by an editor or a publishing staff or my agent, but one that I had been wanting to write for a long time.I felt free, and I really had a blast writing it.

B: Yep, writing for yourself has a way of making an author feel that way. So now that it's out, how do you feel?

R: Uh, you would ask that. To be frank, I'm scared shitless.

B: And that’s because…

R: Because now that I've finally dragged myself out of bed, hopped in the car, driven across town and joined the party, I'm suddenly petrified that nobody will ask me to dance. Despite all the success you and Joe and Barry and Lee are having, that doesn't guarantee success for me, and despite moments of elation—when I think I've made the right choice—I have periods of panic where I wonder if I've just cut my own throat. Remember how you felt when Little Girl Gone was first released?

B: Oh, yeah. Not something I’m likely to ever forget. I thought I was going to have a stroke pretty much everyday for two months. Have I done the right thing? Have I ruined my publishing future? Will I make any money? Have I gone insane?

R: Exactly.

B: There were a few nervous months there when I wasn’t sure if I was even going to be able to make my rent (not an exaggeration), but sales continued to grow, and now I don’t worry nearly as much as I use to.I'm sure this stage will pass soon for you, too.

R: I think part of the problem is that, as traditionally published authors, we're kind of trained to "listen to mommy," because she'll always take care of us. We feel we need to follow her lead. But now suddenly mommy's gone and we're on our own and as crazy as it sounds, it's a little unnerving. Until, of course, you look at the situation logically and realize that mommy didn't always know best. Far from it. In fact, mommy is probably far less interested in the relationship than you are.

B: Absolutely. A lot of things changed at Bantam Dell between the release of my third and fourth books—the most important being my two biggest supporters were no longer with the company, and the new folks made it pretty clear I was not a priority. When they passed on my new book proposal, once my contract was fulfilled, it was the best thing that could have happened to me. That book, btw, was Sick, which has gone on to become my best reviewed and one of my best selling books, and has spawned two sequels so far.

R: That seems to happen to a lot of people. Books getting passed on that become great sellers or even bestsellers on Kindle.

B: The key, at least in my mind, is to write the best books you can, AND get as many titles up on your virtual shelf space as possible. Last year I released almost twice as many books as I had in the previous five. The more books you have—as long as they're good—the less any single title has to carry the load. You know this, too. We've talked about it before. I believe you have several books you'll be releasing soon, right?

R: That's the plan. It took forever for me to get my backlist, but we finally got the reversion letters a couple days ago, so that's four books I'll have in addition to Trial Junkies. And I’m already working on Trial Junkies #2.

B: You mentioned what a pain it was getting the rights to your backlist. You want to elaborate?

R: Let's just say that it took a lot of cajoling on my part and from my agent and his assistant to finally get those letters in hand. It was like pulling teeth with slippery fingers. Surprisingly, they approved the reversions fairly quickly—for which I give them tremendous credit—but then it took months and months to finally get the letters themselves. But I remained patient.

B: Why?

R: Because I'm a nice guy.

B: Since when?

R: Okay, since never, but don't tell anyone else that.

B: It’s our secret. So now that you have the rights back, are you planning to release them all yourself?

R: Absolutely. With Trial Junkies going free on Amazon Select starting today, I decided to also release an updated version of Kiss Her Goodbye. And I hope to have the rest out early next month.

B: Kiss Her Goodbye was the one CBS made into a television pilot.

R: Right. A wonderful experience all around, which I wrote about in the new afterword in the book. They did a great job.

B: Yes, they did. So the big question is, are you all-in now? Or are you just dipping your toes?

R: In all honesty, I'm not sure. I was raised in this business with a certain mindset that I'm still fighting against. Like I said, I'm scared shitless because I have no idea how it'll all turn out. Not that I ever knew before.

B: Sure, it's back to the "mom" thing. It's the comfort level and the way we were brought up to think about traditional publishing versus self publishing.

R: Exactly. But with indie publishing I don't need mom's permission. I'm no longer begging her and dad to let me take the car out for a spin.

B: It's a kind of brainwashing. I don't mean that in an evil way. It's just that traditional publishing was the only way to get a novel out there for, well, like forever. Until ebooks came along. It takes a while to deprogram.

R: And I'm still deprogramming.

B: It probably took me six months to get to a point where I was no longer thinking, have I done the right thing?Six, nerve racking, stomach wrenching months.

R: I remember you telling me you couldn't sleep.

B: Yep...for a LONG time.Now, I don't even think about it. I'm just constantly excited about getting my next book done and out.

R: Plus you're writing like a fucking maniac. Book after book. And I'm envious as all hell. How many books have you written over the last year or so?

B: When PALE HORSE comes out in June, that'll be nine in fifteen months... three of which were written prior to 2011, but the rest since then. But the thing is I'm not writing any faster than I did when I had my contracts with Bantam Dell. I just had a lot more down time then…which I now wish I had used to write other books. Lost opportunity.

R: Like I said, I’m envious. And you not only write fast, but you write WELL.

B: Thanks. I think that's one of my favorite things about indie publishing. When I was with Bantam I was on a one-book-a-yearrelease schedule, and it was killing me. What that really meant was that sometimes it was up to a year and a half or more from the time I'd actually finished all the edits on a book before it hit the stores. Now I’ve hired my own editor andI just put them out as I finish them. I LOVE that. I actually remember what the book is about when people talk to me about it.

R: And it doesn't hurt that you're making very good money at it.

B: Good money. Working toward very good.

R: Which, of course, gives me hope. I was talking to my financial guy a few days back and telling him how much my friends are making through self-publishing. I said, "Some of these guys are pulling in 30-40K a month."

He says, "I'm not surprised."

I said, "Really?"

He said, "Sure, because that's the cut the publisher usually takes. You just never see it."

B: That pretty much sums it up. And ebooks are forever. Traditional publishing is ALL about that first month. But with ebooks, you don't have to fight for shelf space, and even those that have been out for a year just keep going and going.


Even if you have a bad month, or a bad year, next month or next year could be fine.

R: And the playing field is fairly even. Contrary to what some people believe, most readers don't give two hoots who published the damned book. They just want a great read.

B: Yep. And the stigma of "self-publishing," while still there, is quickly disappearing as more and more of authors jump in, and I’m not just talking about previously traditionally published authors, but also authors who’ve bypassed that path altogether.

R: But I suppose we're preaching to the choir here. Joe's been saying this for years.

B: Yes, he has.

R: And I'll be perfectly honest. When Joe first started talking about this stuff, I thought he was nuts. I really thought he'd taken a left turn into looney-ville. Shows you how much I know.

B: Many people thought that. What Joe was saying made logical sense, but it was playing against our brainwashing.

R: But Joe was a visionary and I wish I had even half the foresight he had. Okay, I'm done stroking him now.

B: Thank God.

R: But seriously, he saw something the rest of us were too blind to see. The future. And he seemed to know it was coming fast, and was prepared for it, while the rest of us—especially me—were still thinking about that dangling carrot. We were letting emotion override our common sense.

B: So what are you're expectations now that you're one of us?

R: I'm just hoping I'll make it through the next six months.

B: Don't worry. You'll eventually look back on this moment and think "that wasn't so bad."

R: Promise?

B: I promise.

R: I sure hope you're right. In the meantime I'll think I'll go puke.

Rob’s eBooks

TRIAL JUNKIES—First in a new series
BOTTOM DEAL—A Nick Jennings Digital Short

Brett’s eBooks

THE DESTROYED—Jonathan Quinn Thriller #5
HERE COMES MR. TROUBLE

Joe sez: Both Rob and Brett are terrific writers. If you like crime fiction, get them while they're cheap (or free.) I'm going to reiterate some of the advice Brett gave Rob, and add a bit more.

1. I've lost some of my faith in the Kindle Select program since it originated, and as a result I've opted my titles out. Select requires exclusivity, and I found I was making more money via Smashwords, Kobo, B&N, Overdrive, Sony, and Apple than I was through Select lends. 

The other advantage of Select--being able to make your ebook free--used to result in a nice bounce from the free list to the paid list. Lately, the bounce isn't nearly as dramatic. 


Two weeks ago Ann Voss Peterson made her thriller ebook Pushed Too Far free for a week. She gave away 70,000 copies--which is impressive, even beating many of the giveaways Blake Crouch and I had done (giveaways that got us in the Top 100 paid list and made us lots of money.)

Ann never hit the Top 100 paid. She's currently at #158. This is great, and she's thrilled, but she's only allowed to do this once every 90 days, and I don't believe the benefit corresponds to the loss of income from the other retailers.

If you do decide to make your ebook free, go all in. Use the 5 full days allotted, contact as many websites as you can find who announce freebies, and enlist everyone you know to help you spread the word.

2. Get as much content up there as possible. Virtual shelf space is like physical shelf space--the more titles you have, the more chance you have of being seen. The best advertising for your writing is your writing, so write a lot. Also, don't be afraid to experiment. If you write three books in a series that isn't selling well, try something else. Ebooks are forever. You can always go back to your series, or it could always get "hot" a few years from now and start selling like crazy. Until then, try new things.

3. Experiment with pricing, product description, and covers. Change stuff. Analyze data. Share what you've learned with your peers.

4. Bundle. Shorts can be compiled into collections. Novels and be bundled into sets. You and Brett and two other authors could each put a book into a four-novel collection and split the royalties. This is an easy way to increase shelf space without writing more.

5. Don't worry about advertising or marketing--I haven't heard of any instances where it has worked. My rule of thumb is: if it makes me buy a book, I'll try it for myself. I've never bought a book because of a  book trailer, pop-up, Facebook page, postcard, email spam, or print or online ad. I'm also not a big fan of marketing. I've never seen my sales jump because I did a print interview, radio show, or any other type of publicity. Fewer public appearances and money spent to self-promote, and more time at the desk writing. That's the best bang for your buck.

6. Pay attention. The more you know, the better off you are. Subscribe to the free daily versions of Publisher's Lunch and PW Daily even though they are biased toward the legacy industry. Read Passive Guy, Kris Rusch, Dean Wesley Smith, David Gaughran, Bob Mayer, and Mike Stackpole to understand how the industry is changing. Read Mike Shatzkin to see how some people are fighting to keep the industry how it is. 

7. Ignore the pinheads. It was brave to take this leap into the unknown. Most people aren't brave. So they will ridicule, deride, debase, vilify, disapprove, mock, judge, and even lie because the are desperate for you to be wrong. Fuck 'em. The best defense is being right and living well.

8. Do for others what others have done for you. Be successful, and teach other writers who to do the same.

The world needs heroes. Be one.

Senin, 21 Mei 2012

Pitch para - Dragonfire by Misha Herwin

As you may know, I'm giving published and self-published writers a chance to show us a pitch paragraph for their book and you the chance to comment, to the benefit of all concerned. Please see the post here for details of how to pitch your own book and about the possibility of it appearing in my forthcoming Dear Agent book. And meanwhile, PLEASE comment below - the writer would like your feedback

On Busyness

Posted by Martin White

Finally, I have committed pen to paper for my first blog post. Why has it taken me so long? The truth is, I just can’t find the time. Sounds like a lame excuse and one that is often interpreted as ‘I just can’t be bothered’. So, just in case you need convincing, here is a snapshot from a recent week.

Monday was a bank holiday. I helped organise and spoke at a two-day multi-disciplinary workshop in Glasgow, the previous Thursday and Friday. Spending the weekend Munro-bagging was a no brainer. Going to the hills is a great way to forget about the pressures of work, but by Monday afternoon, my in-box beckoned and deadlines loomed.

Stob Dearg from Ben Cruachan, Munro no. 79, 5 May 2012 (Photo: Martin White)
Sharing the five hour drive home meant I had time to read a PhD chapter in the car. Stopping for food in a pub allowed the first wi-fi access for three days and the chance to delete a mound of spam and identify priorities. Inevitably, this led to a couple of hours work back at home, responding to emails and assessing key tasks for the next week. I knew there was going to be no time to get all this done when I got back in the office on Tuesday.

On Tuesday I woke at 0555, an hour before the alarm. My brain was already in overdrive so I got up, made tea and tracked the changes on the PhD chapter from the previous evening. My diary was stuffed: seven hours of meetings with two 30 minute breaks.

Everyone wants a slice of my time. Sometimes for my scientific expertise, but more often these days because I can make things happen. I don’t resent this, it’s the nature of the job, but it’s frustrating not to be able to do more thinking, reading and writing.

The meat of my day was two one-hour research project meetings, one face-to-face; the other a teleconference with colleagues in Finland, Holland and the US. The rest of the day was taken up by individuals: helping a post-doc think through a fellowship application, a PDR, helping a senior lecturer work out how get the curriculum time we need for undergraduate teaching. 'The 'fillers' were unscheduled meetings relating to the day-to-day assortment of human and political (small p) complications a director comes across when dealing with staff on a personal level. No actual research, but all essential to keep the research going.

I usually go for a run after work, but having been in the hills all weekend, I ached. So I hung back and ground through the 50+ emails that had accumulated through the day. Then I had to go find my car, which I had left at the garage for an MOT when I went to London en route to Glasgow. Having been away for a week, the fridge also needed replenishing. After the supermarket, I eventually arrived home after 8pm.

Given the choice I would prefer not to work this many hours in a day or a week or a lifetime. But, everyone I know in positions of significant responsibility has a similar workload as far as I can tell. However, there are benefits. The job is incredibly stimulating – I learn loads from the interesting and talented people I meet at every research funding board, conference, research network, centre, school, consortium or project meeting I attend.

More importantly, for the first time in my career, I feel I am beginning to make a difference – in public health policy circles, with research funders, and, most importantly, supporting the career development of my daily ‘fillers’.

Minggu, 20 Mei 2012

Pricing Books and Ebooks

Some authors still seem to be confused about Agency pricing, what it means, and how does it compare to wholesale pricing on ebooks and paper books. They somehow think Amazon is a bad guy for trying to lower ebook prices.

Here's a deeper explanation.

Wholesale Paper Model:  This is the general pricing model for paper books. On a hardcover book with a $25.00 price printed on the cover, at a 15% royalty based on cover price, the author made $3.75. The publisher sold the book to retailers at a 50% wholesale discount, and so collected $12.50 on each sale.

Of that $12.50, I estimate about $4.25 went to the costs of paper production--printing the books, boxing them, shipping them to warehouses, the distributor's cut--leaving the publisher $4.50. So under the wholesale paper model, the author's profit ($3.75) and the publisher's profit ($4.50) on a standard $25.00 hardback book were pretty similar.

Both paper and ebooks have overhead costs. Employees, utilities, rent, advertising, etc. Some publishers may work these costs into the price of a book and claim they are making a smaller profit. As an author, I also have costs for advertising, utilities, rent, etc. That's just the cost of doing business.

Wholesale Digital Model:  This is the original model the Big 6 used when they began selling ebooks. On an ebook with a $25.00 cover price, the publisher sold the book to retailers at a 50% wholesale discount (same as for paper), and collected $12.50. The author then received 25% of the net amount the publisher collected, so 25% of $12.50, which comes to $3.12. That left the publisher $9.38 ($12.50 minus the author's $3.12.) In digital, there are no paper costs to deduct from the publisher's share of net amounts collected from retailers. So the publisher went from making a little more than the author in paper to making almost triple in digital--for no justifiable reason other than greed.

Publishers like to say that an ebook costs as much to produce as a paper book. This is bullshit.

Certain costs are comparable, like editing and proofreading. I don't know if typesetting a paper books costs as much as formatting an ebook (my gut says typesetting costs a lot more.) An ebook requires only front cover art, a paper book also requires spine and back covers, which costs more. But these costs are fixed. The more books that are sold, paper or ebooks, the more these costs are absorbed.

The main price difference between paper and ebooks is in copying, shipping, and distribution. A paper book has a tangible value. It costs money to print, and to ship, and a distributor often takes a cut. Ebooks have none of these costs.

Publishers may say that the cost of printing, shipping, and distribution is a fraction of the retail price. But it isn't. Those costs account for as much as a third of the wholesale price. Printing, shipping, and warehousing a hardcover may be a higher cost than the royalty an author gets.

If you're wondering why you never saw a digital book selling for $25.00, it's because the ebooks you see on Amazon and elsewhere are usually heavily discounted from cover price, just like paper books are. My guess is publishers knew Amazon would discount a $25.00 ebook, but not as drastically as Amazon did, in some cases selling under wholesale cost. This frightened publishers, who wanted to have some control over the selling price because it protected their paper sales where they had a quasi-monopoly. So the publishers (allegedly) colluded to make Amazon accept the Agency model.

The important thing for authors to remember, though, is that the publisher made $9.38 on wholesale whether Amazon or any other retailer charged customers $25, $15, $10, or $5 for a digital book, because no matter what the retailer charged, the publisher always collected 50% of cover price, and the author's cut was always 25% of what the publisher collected.

So the wholesale ebook model may look like the wholesale paper model, but somehow the publisher makes almost triple what it did before. It did raise author royalties slightly (from 15% to 25%) but hardly enough to justify the extra money its making.

Agency Model:  For comparison's sake, let's look at how much an author would make on a $25.00 ebook under the agency model. Under the agency model, the publisher sets the actual retail price for the retailer, and collects from the retailer 70% of that set retail price. The author then receives 25% of the net amount the publisher collects. So, with a $25.00 ebook under the agency model, the publisher collects 70% of the $25.00 from Amazon, or $17.50, of which the author gets a 25% cut, or $4.38, leaving the publisher $13.12.

But I haven't seen any $25 ebooks under either pricing model. The price publishers seem to be trying to enforce for new front list ebooks is $12.99, sometimes as high as $14.99. For a $14.99 agency-priced digital book, the publisher collects $10.50, of which the author gets $2.62 and the publisher keeps $7.87. At a $12.99 price point, the publisher collects $9.10, of which the author gets $2.28 and the publisher keeps $6.82.

Under the wholesale model, an ebook that retailed for $9.99 was earning the author $3.12. Under the agency model, an ebook that retails for $9.99 earns the author $1.75.

Do you see now why the wholesale digital model was so much better for authors? Publishers switched to a model (and apparently colluded to do so) in which authors, agents, and publishers all make less money than they made under wholesale--with publishers taking a dramatically bigger slice of the shrunken agency pie.

That's bad enough. What's worse is, the Authors Guild and the Association of Authors' Representatives want you to think this is good for you. Whose interests do you think the AG and the AAR really represent? Do you understand why I called my last post Exploited Writers in an Unfair Industry?

The Agency model that the Big 6 embraced is the worst one overall for authors. I go into more detail why in my post The Agency Model Sucks.

Publishers are also making less under Agency. So why do it?

Because publishers want to control retail price. And, in fact, they've been doing so for decades, long before the agency pricing model.

I'd like to direct you to a blog post by Mike Shatzkin called There's no level playing field without agency pricing.

This got me to think about--perhaps for the first time--why books have prices printed on them and if that's a good thing.

Off the top of your head, name ten other products that have prices printed directly on them.

I couldn't name any off the top of my head, other than books. Then I remembered magazines and newspapers.

Why do magazines and newspapers have prices on them?

If I had to guess, I'd say it is to make it easy for the retailer. Newspapers come out daily (years ago they came out twice daily) and magazines are weekly or monthly. They are disposable (they aren't normally kept forever and are thrown away after reading them) and those that don't sell are discarded. Magazines and newspapers aren't discounted either (at least not with the regularity that books are discounted.)

Having a price on something disposable that comes out in new editions frequently, like magazines and newspapers, makes some sense. Since these are constantly being replenished, and are sold in bulk to retailers, they don't have to be individually priced with stickers. And since many are still sold at newsstands--which up until recently were cash only--the price made it easy for merchants to sell to customers without extra work or extra thought. By extra thought I mean making the retailer set the price based on wholesale models.

In other words, the retailer doesn't have to think, "Let's see,  I paid 40 cents for this newspaper, and I mark up my goods by 50%, so I'll sell the newspaper for 60 cents."

But I believe the newspaper and magazine publishers had another reason for printing prices on their products. By doing so, they controlled retail price.

There are obvious benefits to controlling retail price. Doing so circumvents supply and demand. It also prevents discounting. It doesn't matter which newsstand you get the Chicago Tribune from, it's the same price universally. Have you ever heard of a case of, "Naw, I can't buy People Magazine on this street corner because they're charging full price, so instead I'll walk three blocks to another newsstand that has it 40% off."?

Should books be sold this same way? Unlike newspapers and magazines, books are pretty much permanent. I've met a few people who throw away paperbacks when they're done, but mostly books are held onto. Or given away. Or sold, as evidenced by the number of used bookstores in the world. (I've never seen a used newspaper store.)

I don't know the history of putting prices on books. I don't know who started it, or when it started. I can assume (perhaps erroneously) that back in the day, books, newspapers, and magazines may have had the same distributor, or were sold at the same retailers, so it made sense to print the price on all paper goods.

But is this still necessary today?

Books are more expensive than mags or papers. They aren't disposable. And, most importantly, they are discounted all the time by retailers.

Think about how harmful that is.

One of the reasons so many indie bookstores have been driven out of business is because of discounting. We've heard stories of a mom and pop store buying copies of the latest Harry Potter hardcover at Sam's Club because they got it cheaper there than through their distributors. But it goes deeper than just the wholesale cost. It's the price on the cover that signals to the consumer what the book costs, and because of that price, indies get screwed.

What if good old Harry Potter was like practically every other product sold in the world? What if it didn't have a price on it, and the wholesaler let the retailer price it according whatever mark-up they deemed profitable?

Except for a select few products that are the same price everywhere and never go on sale (Wii, Bose, Apple, Xbox) everything has a variable price. Things are cheaper or more expensive depending on who is selling them. Things go on sale. Retailers can discount, or they can jack up the prices dependent on location (the same bottle of Budweiser can cost you 50 cents or $10 based on where you bought it.)

This is how almost everything is sold. And this is how products find their natural retail prices. Supply and demand, market fluctuations, and locations all play a part.

So who ends up determining the price of a product? The customer.

Not so with books. With books, the publisher determines the price.

Does this sound familiar for some reason? Perhaps because the DOJ is currently investigating the Big 6 for price-fixing?

Why is publishing the only business so concerned with setting the retail price of its products?

Consider Harry Potter again. What if it didn't have a cover price? What if readers weren't conditioned to looking for prices printed on books, and instead they sold like everything else sells?

DVDs do not have prices printed on them. I was just at a Best Buy, and new DVDs ranged in price from $2 up to $25 (more for multiple DVD sets or limited releases.)

Then I went to a FYE. It also had DVDs in those price ranges, but often the same title sold for different prices. A $10 DVD at FYE was $15 at Best Buy. Or a $3 DVD at Best Buy was $7 at FYE.

Prices varied. Retailers put things on sale. That encourages competition, which ultimately benefits the consumer.

I'm suggesting that Harry Potter without a price on it would have made readers less price conscious. When the retailer sets the price, the price seems fair, because there is nothing to compare it to. When I went DVD shopping, I didn't look at a $10 DVD and think "I wonder if Best Buy has it for $8. I think I'll go and check before I buy." If I wanted the DVD, I bought it.

But if the DVD had $10 printed on the box, and I knew that Best Buy always discounts by 20%, I'd buy it at Best Buy because I knew I could get it for $8.

In other words, a printed price on that DVD can hurt retailers. Printed prices on anything hurt retailers.

That's why no products have prices printed on them.

Except for books. Publishers could do what all manufactures do, and have a suggested retail price without it being printed on the product. But because they are so gung-ho about setting the retail price, they continue to print it on their books, and I believe this keeps the price of books artificially high, hurts competition, and hurts consumers.

I'm pretty sure of this. And so is Amazon.

When I got some advance reader copies of my thriller novel SHAKEN, published by Amazon Encore, it said on the back cover" On Sale February 22, 2011, Fiction, 270 pages, $13.95.

Then I got the final copies, and I thought, "Amazon screwed up." Because SHAKEN didn't have a price on it.

I chalked it up to Amazon being new at this and making a mistake. I forgot about it until a few weeks ago, when I went to the Romantic Times conference and had to sell my books via consignment. The bookseller needed to have a price on the books in order to pay the authors. So I had to make labels for SHAKEN.

I also had to make labels for STIRRED, because that also lacked a price. I'd never noticed it before.

Hmm. So this isn't accidental on Amazon's part. It's intentional. And it's smart. It allowed me to price SHAKEN and STIRRED as I saw fit. Instead of selling them for the $13.95 suggested on the galley, I priced them at an even $10. Not having a cover price gave me the power of pricing my books my way. And that's a power booksellers have never truly had. I believe that lack of power put a lot of them out of business.

If you have a true fixed retail price, you can't allow for discounting. Bose speakers and Wiis and iPads never go on sale. (They don't have prices stamped on them, either, even though every retailer who sells them must sell them for a set price.)

But Big Publishing wants it both ways. They want to set the price and print it on their products, yet they also allow discounting.

At least, they allowed discounting until they forced the Agency model on Amazon.

This incident made me remember KDP. Back in 2009, when I first got started self-publishing on Kindle, I put in my product descriptions "On sale for $1.59." Amazon made me remove that, because KDP didn't allow prices in product descriptions.

Again, I didn't really consider questioning why Amazon wanted it this way. Until I read Shatzkin's recent post.

Much of what Amazon does is smart. Not having a printed price on their published books, and not having prices in product descriptions, means Amazon can change prices when needed. They can put things on sale, price-match, and allow retailers to find their own price point depending on supply and demand, location, and market fluctuations. The customer doesn't ever feel like they're paying too much. It wouldn't be immediately obvious if a book is discounted or not, just like it is with all goods.

I propose that no books should have prices on them. I think it would benefit everyone.

But that goes against what publishers want--control over retail prices. They want to condition customers to pay more. That's always been their game plan, and it still is.

That isn't good for customers. It isn't good for retailers. It isn't good for authors.

But if you're a regular reader of my blog, that shouldn't surprise you.

Jumat, 18 Mei 2012

A case of mistaken identity?

Posted by Janet Shucksmith

Towards the end of my undergraduate days I was directed to the notoriously duff University Careers Service. With no inclination to follow traditional Cambridge careers – think Burgess, Philby and MacLean spy ring or Cleese, Cook, Fry, Frost showbiz alumni – I told the careers officer that I wanted to make a difference to the world. Lacking information on entry level schemes to Supergirldom, he gave me a leaflet on the UN. Luckily for the world’s population, I grew up shortly thereafter.

Traditional Cambridge career: Footlights, 1981
My grown up understanding is more modest: as public health researchers we should perhaps be content to make small contributions. It is also morally unacceptable to claim more power for one’s work than is sensible when recruiting participants. I remember community education workers telling me how difficult it made life when youngsters naively believed things would change as a consequence of their research contribution – that they would get a dedicated playground with skateboard ramp or a sexual health service. The workers were the ones who had to cope with the let down kids when commissioners shelved our research report in the drawer marked ‘Pie in the Sky’.

Now our participant information letters are tediously correct in pointing out to people that they will get nothing personally from contributing to our research and nothing may change as a consequence. The best we can promise is that they will suffer no harm or detriment to the service they receive. Given this rather depressingly realistic estimate of how unimportant and inglorious research is, it still takes me by surprise that the general public occasionally invests the researcher with power beyond anything I currently dream of.

Lawrence, my PhD researcher, was castigated frequently by the citizenry of Gateshead last year for having singlehandedly introduced the National Child Measurement Programme. Whilst trying to explore the impact of the policy, a number believed him to be the original perpetrator of a rather unpopular regime, and called him to account for not having thought through the impact on children and parents.

Recently, invited to present research evidence to a local health scrutiny committee, my colleague and I spoke about a specific project on the impact of Human Resources leave policies on carers of those at end of life. At the conclusion, a councillor drew herself up to her full height and demanded to know why I had decided to close their local palliative care hospital? What on earth had convinced her that I had the responsibility and power to do any such thing? Me? I’m only a researcher, madam. You mistake me for someone with power and authority.

My worst case of mistaken identity came when we undertook research prior to the implementation of HPV immunisation. Despite ethically approved invitation letters and information sheets, it became evident that many parents thought we had come not to ask their views, but actually deliver the ‘jag’: despite our lack of medical qualifications or kit. We were more alarmed when it became apparent that many parents believed the vaccination was a precautionary small dose of cancer, and delivered straight into the cervix! The very limited permission we had to explore perceptions was construed by some as being sufficient to allow us to lay their children out and perform an intimate intervention. So much for informed consent?

As a researcher, one often feels relatively distant from the intervention that is being evaluated. But Joe Public sometimes has a great deal of difficulty working out our researcher role and distinguishing us from the rest of the cohort of powerful but unnamed and unspecified authorities who ‘do things’ to them.