Is Amazon’s game totalitarianism?

nazi_flagAmazatzi?

Franklin Foer and Scott Turow recently made comments which suggest Amazon is in the process of ushering in a totalitarian book economy.

Is Bezos, as Hitler was in the 1930s, biding his time, playing a long game, one that will lull the masses into a false sense of bookish security? Are we appeasing him, letting him take over the continent bit by bit? Is the blitzkrieg less than a decade away?

If you listened to a recent Intelligence2 debate, you would have heard Foer-Turow claim that, yes, that’s exactly where we are headed. On the other side of the debate were Joe Konrath and Matthew Yglesais, arguing that Amazon is the reader’s friend.

Konrath and Yglesais made some good points. But they left the central Foer-Turow argument standing like a citadel. It was left standing because much of what they had to say, as good as it was, frittered around the edges or went off into beer land.

But the Foer-Turow argument is not a citadel. It’s a house of crackers.

Here’s why: publishers, authors, readers, and entrepreneurs all have brains. And somehow, in their threat assessment, Foer-Turow forgot that.

How could they forget something so fundamental?

Well, their argument went like this.

  1. Amazon right now provides an amazing service that’s far and above anything any other bookseller currently provides. They have made more books more accessible to more readers than anyone else ever in history. Readers, of course, love this. But this is a bad thing.
  2. It’s bad because Amazon is becoming a monopoly–it already has 41% of all new book and 67% of all e-book sales, and in many divisions of those markets it has even more.
  3. If Amazon were an enlightened ruler like Aslan, okay. But Amazon is a business, and as a business it only cares about its profits. And the way to make profits is buy low and sell high. So when Amazon finishes consolidating its hold on the market, it will force publishers and authors to take less of the pie.
  4. In fact, Foer-Turow claim Amazon wants to not just reduce the share of the pie publishers get, it wants to kill off the publishers and take their share of the book pie completely. In addition to being very poor manners, this is bad for three other reasons.
  5. First, authors of non-fiction books that take a long time to research will never be able to get the money they need to do that research. Publishers are the only ones who can give them that money, which they do in the form of an advance.
  6. Second, few authors of fiction will be able to afford good editing, marketing, and book design, and so the many voices that could have been heard will be stifled, or never rise out of the crap to their true potential.
  7. Third, and this is the nefarious Nazi part, if Amazon is the only place you see books, they can control which books you see, which means they will exert enormous control over our culture because they will be able to suppress some books, and therefore the ideas in those books, and promote others. Foer-Turow claim Amazon has already done this.
  8. Finally, because it’s a business and has a goal of profit, when Amazon covers the land, it will probably eventually charge readers more. In fact, it may charge them a lot more. It can’t avoid it; it’s a business.

So Amazon is taking over more and more book territory. When it’s taken over enough territory to be unassailable, it will then proceed to ruin our culture because its model of book selling will suppress quality non-fiction and fiction alike. And then it will gouge readers.

Sounds depressing.

Sounds like Orwell’s 1984 or global warming.

The only problem is that there is a big honking flaw in all of that.

Like BIG and HONKING.

And I’m not talking about the issues like the idea that publisher advances are the only way non-fiction writers can be funded, or that publishers are the only way the vast majority of fiction writers can obtain quality book covers, marketing, and editing. Or that one internet site has the power to put a choke hold on ideas.

No, it’s about something else.

You need to know I’m not an Amazon groupie. Nor am I a hater of publishers. I am a businessman. I’m looking for good partners. And I recently wrote a post pointing out that it’s delusional for authors to think Amazon is their BFF with pinky rings. They are just, at the moment, a great indie partner. But their interests and mine are not perfectly aligned. Our love is definitely not written in the stars.

So I’m not here to stand up for Amazon. I’m here to say that the scenario Foer-Turow paint is fantasy.

Why?

Because they’ve set up a chess board and assumed that Amazon is the only player.

Monopoly

How does a monopoly stay a monopoly?

The government either legislates it. Or the company maintains their position by force. Or they own something that nobody else can get. Or the barriers to entering that market are so high nobody can get in to play. In all these scenarios, if people want the goods, they are forced to interact with the monopolies.

But has the government given Amazon a legal monopoly?

Um, nope. No charters here to be the only fur trappers in the West.

Does Amazon have an army of thugs who are going to beat people up and make them join Amazon Prime?

No. Well, maybe that’s what the drones are for, but they haven’t rolled them out yet.

Do they own something nobody else can get, like a piece of land? Are they sitting on the world’s largest reserves of cheap book oil?

Nope. They’ve got a great website and excellent logistics. But websites really aren’t that hard. And if we’re talking ebooks, you don’t need logistics.

What about the barriers to entry?

The big advantage Amazon has is that they usually have the lowest book prices around, the biggest selection (you can find almost any book you want there in any format it’s available in), and are incredibly convenient, providing samples, reviews, recommendations, and easy checkout. And they have the crowds.

It’s hard to get crowds. It’s hard to get all that content. It’s hard to beat their prices. Those are some dang good barriers that keep new guys out.

And Foer-Turow figured that’s all set. In stone.

Human Beings

But what happens if publishers have brains and are actually headed up by, like, real humans who aren’t just going to roll over and play dead? What would such folks do should Amazon keep killing off more and more of them and stealing their pie?

Amazon doesn’t own the rights to their books. As soon as any contract ends, publishers could simply say, we’re done. Our books will no longer appear in your store. If you’re faced with extinction or something else, what do humans normally do?

Amazon’s advantage is being the everything store. You can find every book imaginable there. So what happens when shoppers go there and can’t find the most popular books of our time? How long do they stick with Amazon when the shelves are empty? Anyone think about why Amazon kept selling Hachette books even when they were having contract disputes?

What happens if indie authors have brains and are real humans who aren’t going to roll over and play dead either? What would such folks do should Amazon keep squeezing more and more profits out of them? Could such folks pull their books (like many bestselling indies have from Kindle Unlimited), form a co-op, and create their own site?

What if everyone was talking about this awesome book that was all the rage, but it wasn’t stocked by Amazon? It was stocked on the indie site, and Apple, and all the others. How would that affect shoppers?

What happens if there are real human entrepreneurs out there or real humans leading other businesses, and they were all wanting to make a buck, and they see Amazon charging readers a ton and swimming in easy dollars? What happens when they see those tempting profits?

Do you think they might offer disgruntled publishers and authors better terms? Do you think they might give better deals to price-gouged readers?

So is Amazon going to kill publishers? Only if the humans have left the building.

Will they kill authors? Only if authors let them.

Will they gouge readers? Not when other folks see there’s money to be made by undercutting them.

Amazon is playing in a global market with the likes of Alibaba, Google, Apple, Walmart, etc. Amazon is playing in an internet economy where college students can come up with an idea and become billionaires. Equally important, Amazon owns nothing that somebody else can’t recreate. They have no legal monopoly. They have no army of thugs. What they have is a lot of content, a well-known URL, logistics for the hard copies, and good prices.

But what they do not have is a marketplace where everyone else involved is absent a brain.

Rewriting the On Writing page

I’m a teacher in the private sector. I’ve developed and taught courses on everything from accounting to how to small talk. Heck, my official title is education program manager (that sounds really official and, like, powerful, doesn’t it).

For a long time, I’ve wanted to deliver a 12 week course on writing. But I ain’t got not time for 12 weeks and all that would require. However, that doesn’t mean I can’t turn my education brain on and get my stuff on writing into a format that will actually help.

So that’s what I’m going to do.

You want to learn how to write?

I’ll share what I can. The first revision is up. In it, you should learn what the crap you’re doing. Enjoy.

When I finish more, I’ll be sure to notify you with a post.

Indie thoughts: being realistic

I know a lot of authors who are trying indie publishing. Some are doing fabulously well. Most are not. I’ve talked to a lot of folks wanting to indie publish. Very often they have stars in their eyes, even though the vast majority of books don’t sell well. But does that mean indie publishing is a pipe dream?

Here’ is a perspective I agree with from Hugh Howey.

The fact that self-publishing provides better chances doesn’t mean great chances. The fact that self-publishing can be less frustrating than the query-go-round and the delays inherent with traditional publishing doesn’t mean that self-publishing is frustration-free.

Read more on Howey’s site. And here’s another by Dylan Hearn. With the Hearn post, I don’t know where he’s getting the “average book sells 100 copies” data. I don’t think that’s accurate. But his intent is to tell authors to have modest expectations, and I think having modest, realistic expectations is the most helpful way to approach this.

 

New site design!

Thanks to Rick Hellewell at CellarWeb, a web developer of many years with great skills and excellent rates, I have a new responsive website, which means it adjusts between desktop and mobile displays so the page looks great no matter how you visit. He fixed a number of other things, like my lack of indenting comments, as well as adding features on the back end. I’m so excited. I hope you enjoy the new look!

If you have any issues or suggestions, please let me know. And if you’re looking for help with a website, I recommend Mr. Rick without reservation. He’s been a pleasure to work with.

And now, back to Awful Intent.

Why stories follow patterns

There is a lively discussion on The Passive Voice about Kris Rusch’s recent blog post which challenges the use of the term “churn out” to describe writers who write quickly. In the comments, someone said that folks also use “formula” or “formulaic” as a pejorative. Another commenter said that in computer design, they use design patterns, and suggested that’s probably a better word. Here’s my response.

Design pattern is right.

The people who decry familiar patterns are those that completely misunderstand one of the main purposes of fiction.

Readers go to fiction to have an emotional experience–thrill, horror, dread, falling in love, mirth, wonder, wish-fulfillment, etc.

Those emotions are not created out of nothing.

They’re not created haphazardly.

They are generated by a specific . . . pattern.

1. You receive some stimulus–from your environment or your own thoughts or something you’re lead to think, such as via a book.

2. You make an assessment about what’s going on and what might happen in the future and how that impacts you or someone else. There are two assessment systems. One is incredibly quick. Almost subconscious. The other is a bit slower. You can read about them in Daniel Kahneman’s Thinking, Fast and Slow and Jenefer Robinson’s Deeper Than Reason. Robinson even relates the science to fiction.

3. If the assessment says it’s something that will affect you or someone you can sympathize with, you feel an emotion. The emotion focuses your attention. For example, if there’s a mountain lion stalking you, you don’t want to forget she’s there. It also prepares you to act–to pursue something desirable, avoid something that’s not, etc. It also writes that emotion on the face to communicate it to others to solicit help or warn (we are social animals).

Okay, so certain cues or assessments are required to produce certain emotions. If the cues aren’t there, the emotion doesn’t arise.

Certain stimuli lead to an assessment that there’s a threat. Other stimuli lead to assessments that there’s an opportunity, for love, money, sex, security, etc.

Suspense, surprise, and curiosity have all been studied in experiments. There’s a certain structure required for each. If you take the same story, but simply change the structure, you end up with different reader effects. See more here.

This means that a reader who wants to feel the experience of falling in love is going to have to be guided through the pattern of cues that produce the assessments that lead to the emotion.

There are lots of variations in the pattern that will work. But we can’t give a reader the pattern for horror and expect them to feel romance.

Duh.

You can’t give a reader a downer ending and expect her to feel joy.

Again, there are certain delights readers are going to certain genres for. Folks read romance after romance precisely because those romances do specific things to them. And they want to experience them again and again.

For example, one thing romance readers love is the joy of a happily-ever-after (HEA) ending. So if that’s what they’re looking for, then that’s what the product must provide for them to be satisfied. We follow patterns, but change them enough so that the reader doesn’t get bored.

So, yeah. Patterns. It’s like the very essence of what we’re doing.

We are all working with patterns, whether we know it or know. And the sooner we learn what the general patterns are for the type of story we’re trying to tell, which could also be called the type of experience we’re trying to provide, the quicker we gain control over our writing.