Indie Thoughts: Authors, We Are Not Amazon

Sometimes I think some of us indies get this weird attachment syndrome and start thinking we’re Amazon.

Joe Konrath recently hosted a blog-conversation with Lee Child about the whole Amazon vs. traditional publishers thing. The Passive Voice had an active discussion about it as well.  Kudos to Lee Child for yet again showing up and injecting a new perspective into the conversation. It can indeed become something of an echo chamber in the main indie blogs, which I love, but which nevertheless do still tend to sometimes echo. Having someone with his experience come engage and share his two cents was helpful.

One thing his comments reiterated to me is that neither Amazon nor the publishers are in this as the author’s let’s-get-pinky-rings BFF.

I’m not going to carry an ounce of water for Amazon in their fight with Hachette. I’m not going to carry an ounce for the trad publishers either.

I think it’s helpful for all of us to try to understand the truth about the business, and spread that to other authors, but that’s very different from this knee-jerk Defender of Amazon thing that goes on, which seems so very much like Republicans and Democrats turning a blind eye to their own candidates and fixating a hyper-critical one the others.

Case in point: here’s a link to a description of Amazon’s Gazelle Project.

Why do indie authors care? Because we’re Amazon vendors as well.

Look, I love what Amazon has enabled me to do. I love that Nook and Apple are helping enable it as well. But was this Gazelle Project a good thing? A bad thing? If we stand by and cheer Amazon in such tactics, are we essentially standing by and cheering as Germany takes Austria, France, and Poland? Or are we like England cheering the USA coming in with their troops and bombers?

I’m NOT a traditional publisher. And I’m NOT Amazon, or any other retailer. Even when I contract with them. None of us are. I sometimes wonder if some of us have gotten a bit confused about this.

Konrath says don’t worry about the tiger (Amazon) when a wolf (traditional publishers) is gnawing on your leg. But if you’re an indie writer, you have no wolf gnawing on your leg. That’s someone else’s problem. But we are indeed in bed with the tiger.

Why haven’t we seen more posts about the Gazelle Project on the big indie blogs? Lee Child, darling of the traditional publishers, has to point me in its direction? Why haven’t we been more curious about this tiger’s behavior?

Let’s make hay while the sun shines. The tiger seems to be fairly decent right now. He’s not perfect. For example, eBay strangely enough only charges 15% to sell via their site while Amazon charges 30%. But let’s not forget that as decent as he is, he’s still a tiger. And he’s probably not like those poor guys being made to do tricks by Ringling Brothers.

Ringling_brothers_over_the_top_tiger

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    Indie Thoughts: When an author should self-publish and how that might change

    From publishing consultant Mike Shatzkin:

    For a number of reasons, the belief here is that most of the time for most authors who can get a deal with an established and competent house, their best choice is to take it.

    Sounds reasonable, but then we get to the money quotes.

    The strength of the traditional publishers and the traditional deals is directly related to the amount of the market that is served by inventory in stores. When that proportion was “nearly all”, the power allocation was “nearly all” to the traditional publishers.

    ***

    Self-publishing and new-style digital-first publishing can grow more to the extent that the book-in-store share of the market shrinks more. But while that’s happening, the big publishers are also adding to their capabilities: building their databases and understanding of individual consumers (something that all the big houses are doing and which the upstarts seem not to believe is happening, or at least not happening effectively), distributing and marketing with increasing effectiveness in offshore markets, and controlling more and more of the global delivery in all languages of the books in which they invest.

    It will compound the pressure on the alternative players if Amazon continues to grow its global market share for ebooks. The bigger the percentage of the market that can be reached by self-publishers with one stop at Amazon, the less interest they’ll have in picking up smaller chunks of the market with additional deals and the more powerful will be any incentives Amazon cares to offer for making the title exclusive to them.

    Link to the rest at The Shatzkin Files, and thanks to Passive Guy for the original link.

    Shatzkin’s discussion of the amount of the market served by inventory in stores is right on. But his “best choice” conclusion doesn’t follow.

    Why?

    Because the question for each author has to be which stores will I be in, what kind of floor space will I have, and how long will I be there? And in many cases the answers to those questions do not compete well with indie options.

    For example, a lot of in-store sales come from the drug store, grocery store, airport, Walmart, Costco type venues. But it’s rare than an author getting an average deal will see the light of day in those places. Those are reserved for bigger sellers. And not very many of those. So unless you’re getting a big deal, you can’t count that floor space.

    Poof. Tens of thousands of venues are now no longer part of the equation.

    So you are now left with whatever number of stores the publisher can get you into at Barnes&Noble (a max of 675 stores), Books-a-Million (max of 200 stores), Hastings (max of 149 stores), non-chain stores,  etc. I think the total number of book stores in the USA is around 10,000 or so. But publishers won’t get you into all of them. Some don’t carry your type of book: they’re used books stores, or kids book stores, or Christian book stores. And even if it’s a store like Barnes&Noble, you probably won’t get into all their stores. So how many stores will you actually be in?

    Next, you have to wonder where you’ll appear in the stores you do get into. Will you be face-out somewhere prominent? Or will you have two copies spine-out in the back? If you’re spine-out, that’s just reduced the value of the floor space publishers offer you yet again.

    Finally, how long will you be there? If you sell your two copies in a store, are you done at that store? Will your books be there longer than 12 weeks? Will they be there even 8 weeks?

    James Patterson can sell millions of books because he has multiple copies in tens of thousands of stores with great display. And he’s usually there for more than just a handful of weeks. If you have two books spine-out in each of 500 stores for eight weeks, how well are you going to do?

    Here’s some math on author revenue and units sold. Is selling 1,000 books with the royalties and contract terms offered really worth it? What about 4,000 books? 7,000? Are you going to be in enough stores with a decent placement to get those numbers?

    If you’re going to be in thousands and thousands of stores with good placement, and the terms of the contract are reasonable, then, good golly, working with a publisher looks great. But if you’ve got a book that’s good enough to make an editor somewhere want to buy rights to it and the publisher is offering to put you spine-out in a little over a thousand stores with all sorts of contract crap, then Shatzkin’s “best choice” is really a poor one. In those situations my money is on going indie.

    EDIT: It seems there are about 12,700 book stores in the USA. But that includes big-box stores, which I think are the Walmarts and Costcos.

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  • LTUE 2024 Writing Presentations

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    There are two types of plots that power almost all successful commercial fiction. Are you using them in your stories? Do you know how they work? In this class, you learn both plot types, their key beats, the 3 big mistakes writers make, how to generate scenes, and much, much more. Come learn how to make plotting easier and deliver the ride your readers are looking for.

    My lecture notes.

    The #1 thing that slays more writing dreams than anything else is the writer’s own head games. In 2005 I fiddled with death. Cognitive therapy (and God and a good counselor) saved me. And gave me an explosion of insights about writing stories and the distortions that sabotage so many of us writers. In this class, you learn the distortions, the truth, and a tried-and-true technique for removing the distortions that anyone can follow. You don’t need to struggle anymore. Banish your writer’s block, fear, imposter’s syndrome, comparisonitis, and more. Come learn how to unleash your awesome creativity and have a blast writing.

    PDF of presentation slides.

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  • Good Stuff! Two books, a movie, and a dinner

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    It tells the story of Adam Brown who was killed while on assignment in 2010. But this book isn’t about a special operations battle in Afghanistan, although the battle is detailed. It’s not a war book. Although it tells about many episodes in the life of a Navy SEAL operator. No, this book starts when Adam was a kid.

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    You’ll be flipping the pages to see what helps him turn it around and whether he can make the change permanent, or if he’ll lose everything, including the love of his wife and kids. You’ll also be amazed at his grit. It’s a tremendous read. If you can listen to it on audio, you’ll enjoy the narration by Paul Michael. Either way, if you like stories about redemption and triumph amidst struggle, if you like books about special operations forces and elite soldiers, then you’re going to love this book. Highly recommended.

    *

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    However, their mission falls apart soon after reaching Norway. A German warship attacks. The resistance fighters set fire to the TNT on their boat and jumped into the water just off shore. Eleven of the fighters are caught by the Germans. The twelfth, Jan Baalsrud, gets shot in the toe, but still runs across land and manages to elude immediate capture by swimming across the fjord, in the dark, in the freezing, winter water.

    Yeah, and that’s just the beginning. The story is about his attempt to get to the safety of Sweden, a neutral country. I watched this with my teenage daughter, and we were riveted with the suspense and action. And we were amazed at what this guy endured.

    You will have to read English subtitles during a large parts, but we found that after a few minutes, we really didn’t notice it. It was a great date night. If you like war movies and action, I think you’ll love this movie.

    *

    Tonight I ate a dish that instantly became one of my favorites. My oldest daughter and her husband found it. They love it and shared it with Nellie. And since it was her night to cook, she decided to give it a try. My first bite was wow.

    It’s a baked casserole, a cross between lasagna and spaghetti, called “MillionDollar Spaghetti” from tastesbetterfromscratch.com. Just click on the link the get the recipe.

    Now, here’s the thing: you can use spaghetti pasta, or you can make it totally low carb by replacing the pasta with cooked spaghetti squash like we did. The low carb version was awesome. I can’t wait to heat up the leftovers tomorrow.

    By the way, here’s a quick way to cook spaghetti squash.

    First, cut the squash in half lengthwise. The easiest and safest way I’ve found to do this is to place the uncooked squash on a cutting board. Next, get a big knife and set it along the line you want to cut. Finally, rap the spine of the blade smartly with a thick stick or long block of wood until the knife cuts through all the way. Using a knife this way is called batoning because you’re using a baton, a stick. It’s a slick and safe way to cut a hard squash.

    Once you have cut the squash in half, scrape out the seeds with a large spoon.

    Next, pour about a quarter cup of water into the hollow of the squash, and then turn the squash hollow-side down on a plate or microwave dish. Microwave the half on high for five to six minutes. It’s done when you can easily pierce the outside with a fork.

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    *

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    It’s a great little tale with an important insight. After hearing it, I knew I needed a copy of the book to read to all my grown up kids. 

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    If you’re interested in politics, if you are getting tired of the insults on social media and the news, if you’re tired of the way the parties are not working with each other in Washington, I think you’ll love this book.

    If you want a taste of what Brooks is talking about, watch his eleven-minute commencement speech at BYU this last April. Find it here. If you want another taste, watch his TED talk.

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  • Is Sad Puppies the right strategy?

    There are a number of great science fiction and fantasy authors who feel that the Hugo awards have become irrelevant because the folks voting–only those who are members of Worldcon–do not represent science fiction and fantasy fandom.

    Brad Torgersen describes it with this Venn diagram.

    hugo_dilemma

    But this is not only about the fact that the voting block is not a statistically valid sample of fandom. It’s also a campaign against what Larry, Brad, and many others see as a politically correct shibboleth in parts of the publishing community that they feel short shrifts authors who do not toe the liberal political line.

    Two years ago, Larry Correia decided to give this issue a lot of attention. He did this by asking his fans to purchase a Worldcon membership and then consider a list of authors he thought were very good but didn’t necessarily reflect the prevailing values of the traditional Worldcon audience. Last year he repeated the effort and created a shirt-storm (I like that image so much better than the one that includes flying poops). This year, Brad is carrying the banner. Read Larry’s post Sad Puppies 3: The Slatening? to see this year’s slate of alternative folks and a summary of why these guys are doing this.

    I’m friends with Larry and Brad. And I do not like the Should Police coming out and telling me I should or must include more X in my stories and less of Y, whatever that X and Y may be.

    But, I’m wondering if storming the Hugos is the right way to do this.

    Yes, the Hugo award has a lot of brand equity. But must the Hugo represent fandom?

    Is Sad Puppies attempting to storm the castle and force upon Worldcon something Worldcon members don’t care for?

    Let’s go back to the original issue that Sad Puppies is trying to shine a light on.

    Reader Kim wants more of X and less of Y in his or her books.

    But instead of saying, “Geez, where in the crap do I find books with more of X and less of Y?”

    Instead of trying to get with a bunch of folks and saying to suppliers, “Hey if someone would write more of X and less of Y, we’d buy it! Look at this market that’s dying for product!”

    Instead of developing the More X and Less Y website dedicated to helping readers who like that find their books.

    Instead of that, Kim says, “Gosh darn it! All books should have more X and less of Y. And if they don’t, they’re, they’re, they’re bad, and bad for you, and probably make kids smoke! And we should make all stories conform.”

    And the mandated “should” is where things get all tangled up. That should is what Sad Puppies is speaking out against.

    So instead of trying to stomp out differing opinions or requiring all authors to write stories with some allotted amount of XY content, would it not be more productive to simply work with our wonderful free market to try to create a new silk road (or pave the existing one fit only for camels) that connects readers who like XY stories with authors who are happy to write them?

    I think it would.

    At the same time, this same argument could be applied to the Hugos. Instead of trying to force Worldcon members to change their ways, why not let them like the stories they like, but create a fresh new award that seeks a broader base? It would require work to build its brand equity, but maybe that’s a more effective long-term strategy.

    It’s kind of like the New York Times best seller list. There are many problems with that list, including, but not limited to, the fact that it can be gamed. But instead of trying to change it, USA Today came up with something much better. Yes, “NY Times Best Seller!” still has huge brand equity. But USA Today is gaining on it. And as the market learns more and more about the difference between the lists, USA Today’s will only grow in luster.

    I suppose it’s true that you sometimes do indeed need to storm the castle. And maybe this one needed some barbarians to show up and sack it. But I wonder if it’s time to pivot. I’m wondering if in this case the best long-term strategy wouldn’t be to simply build an armored division of M1-Abrams with air and sea support and make the castle irrelevant. Maybe this is something to think about for next year.

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  • Indie Thoughts: Resources for Indie Writers

    About this time last year I got the last of my rights back to the Dark God properties. I thought it would take twenty or thirty hours to figure out the whole indie publishing thing. And then the awesome John Brown story machine would kick in gear.

    Reality promptly woke me up and slapped me around a bit. This last year has been quite the learning curve. Here’s what I’ve had to pick up:

    • Designing book covers
    • Finding artists
    • Working with artists in a way that actually works
    • Copy editing
    • Formatting book interiors
    • Fonts, fonts, fonts
    • Using ISBNs
    • Using InDesign to create files for both POD books and epubs
    • eBook structure
    • Editing ebooks (okay, just get Calibre ebook editor right now. We luvs it, Precious)
    • Validating ebooks (http://validator.idpf.org/)
    • Converting epubs to Amazon’s mobi format
    • Uploading ebooks to the various ebook retailers: Amazon, NookPress, Kobo, iTunes (I upload via Draft2Digital), Smashwords
    • The pros and cons of CreateSpace vs Lightning Source
    • Using CreateSpace to publish POD books
    • Registering books with the US Copyright Office
    • Writing better book descriptions
    • Using keywords and categories on Amazon
    • Setting prices in the indie market
    • Creating an email list (I love MailChimp. They make me happy every time I go to their site)
    • Advertising and promoting as an indie

    One of the things I love about this business is that there is always more to learn. But I’m happy to be over that curve. For folks just starting out, let me share some of the resources I found super helpful with a number of the things listed above.

    Posts by a mega indie-seller Russell Blake to give you the right perspective about indie publishing. I’ve read a lot of posts the last few years about being an indie author. These are the best I’ve come across.

    Online courses to help you on the publishing side.

    • Designing Book Covers and Designing Book Interiors with Dean Wesley Smith (look for “Online Workshops”). I don’t agree with Dean on all his ideas about pricing and promotion, but these two courses helped a great deal.
    • InDesign CS6 to EPUB, Kindle, and iPad with Anne-Marie Concepción at Lynda.com. Awesome.

    The most practical and clear-headed books about indie promotion I’ve read. For other clear-headed advice, see the Russell Blake posts above.

    The most helpful book on copyright.

    The most helpful book on copy editing as well as info to put into front and back matter.

    Helpful threads on Kindle boards

    Other great resources

    Good luck!

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6 Comments

  1. But was this Gazelle Project a good thing? A bad thing?

    What do you think? Was it a good thing or a bad thing, and why?

    I don’t want to read too much into your comments and would rather hear your plain, honest opinion on the Gazelle Project.

  2. This is something I’ve been thinking about for awhile. It feels like many indie authors side with Amazon on every issue just because, and many traditionally published authors side against Amazon for the same reason. They act like to agree with the other side on any one issue is a defeat. I don’t get it. I love indie because it means more books for me to read that otherwise would never be published, but at the same time I don’t like Amazon pricing rules (they should let the market decide what is the appropriate price for ebooks, not the the supreme court).

  3. James,

    Here’s what I think drives the knee-jerk response.

    #1. Group identity. Amazon is a blessed partner to many indie authors. It’s perceived as being part of the indie group, or at least as a super friendly ally. And so when the buddy gets attacked, there’s an urge to stand up and defend him.

    #2. This attachment can be stronger for those who feel like trad pub screwed or rejected them. How many indie authors who were once with trad pub feel they weren’t treated well? How many never got welcomed into the building by trad pub, but were received with open arms by Amazon?

    Of course we think about the fates of other authors in general. I don’t think there’s one motivation. But from all the comments I read and those I make myself, it seems there’s a knee-jerk defense of Amazon. And I think simple group dynamics are driving a large part of it.

  4. Mike,

    I don’t know if it’s good, bad, or neutral. That’s why I think it would benefit from a lot of discussion.

    On the one hand, it’s a bit troubling to hear Amazon characterizing its vendors/partners that way. Why wouldn’t they view us indies the same way?

    On the other, is KDP a major feature of Amazon’s attempt to take-down the wounded gazelles and this all about courting authors?

    Has Amazon done this elsewhere?

    And what can authors do now to make hay, but minimize the risk should Amazon turn on them?

    I think these lines of questioning are so much more fruitful than pages and pages and pages about Hachette.

    Personally, I hope Hachette wins because I think the higher prices make it easier for indies to compete.

  5. I’m a huge fan of Douglass Preston (and his co-author Lincoln Child), and upon reading his petition I found myself agreeing with the spirit of it. That being said, I firmly believe that indie publishing is the future, and that it’s an exciting future that probably doesn’t include traditional publishers (at least in their current incarnation). Amazon is an engine propelling that exciting future forward, and part of me is rooting for them.

    Reading Lee Child’s post on the subject, I think Amazon is probably behaving in a way that is unprofessional. Using their platform to punish publishers that don’t agree to more favorable terms (though it’s no doubt their right to do it) feels icky. Hachette should call their bluff and walk. I have no doubt they would/will use the same tactics on indie authors when the need arises.

  6. But it’s hard to walk when something like 40% of your revenue is tied up there 🙂 Where are they going to find those sales?

    At the same time, if Amazon doesn’t carry folks like James Patterson, that will ding them. Their model depends on being THE place to find what you’re looking for.

    I am very interested to see where this goes. In the meantime, I gotta make me some hay.

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