In the piece below, Weldon is on the money and authors should keep that in mind:
He thinks publishing a new book is a bit like running a startup company, or – in an analogy closer to this horse-racing enthusiast – a flutter at the track, where “relentless optimism” is blended with controlled risk-taking.
via Tom Weldon: ‘Some say publishing is in trouble. They are completely wrong’ | Books | The Observer.
Interesting news this. I don’t know that it will revive ereaders as a segment and I think we would be better pushing smartphone readers to simply use their current screens to read rather than making life more complicated for them, but:
YotaPhone’s makers managed to fit two devices inside one surprisingly lightweight handset. This is not just a Kindle strapped to a phone. The slim contours are even more remarkable considering the layers of protection needed prevent heat from the battery impairing the e-reader’s “ink”.
Once the basic instructions have been mastered, navigating YotaPhone becomes relatively easy – especially the central conceit of being able to” flip” content from the smartphone screen to the back e-reader.
News from the FT feed, for example, rolls down the electronic ink screen, making it easier to read and, crucially, consuming much less battery. Books and magazines can be flipped to the back to read.
via Russian state fund takes 25% stake in YotaPhone – FT.com.
Much to think abut in the aftermath of Hugh Howey’s data dump! Thos is just one of the many god posts on it:
The reality is that publishing anything is a unique path. If you have a book, and you’re trying to decide whether to self- or traditionally-publish, there is only the apparition of help for you in these figures. It might be that you traditionally-publish and sell 100 copies, and would financially have been better off self-publishing. It may be that you sell a million copies through traditional publishing. That doesn’t mean that you’ve left money on the table simply because those million sales if self-published would have netted you more. You can’t say what might have happened had you chosen a different route – whether you would have got those 100 or those million sales or something different. This is one problem I see with Howey’s piece (and numerous others). The number of copies a book can sell is not some intrinsic part of its make-up. The way you choose to sell it, and what happens along the way, will play a huge part and can’t be discounted.
via the left room» Blog Archive » some quick thoughts on that report on author earnings.
Publishing is a complex ecosystem (something I wrote about nearly three years ago when I wrote about The Value Web that was emerging in trade publishing), one in which there is no ONE way to publish or be published. Here’s a very nice example of that reality in play:
Sandy Hall, a teen librarian from Hawthorne, New Jersey, posted A LITTLE SOMETHING DIFFERENT to the Swoon Reads site in November 2013. Within weeks, the manuscript was rated “Five Hearts” by the Swoon Reads Community and considered to be one of the most “Swoonworthy” on the site. This brought it to the attention of Jean Feiwel, Publisher of Swoon Reads, and the rest of the Swoon Reads Board. One e-mail and two phone calls later, Sandy Hall signed her first book deal for World rights.
via Macmillan To Publish First Novel From Swoon Reads, A Crowdsourced Romance Imprint And Online Community – Press Release – Digital Journal.
A smashing example of how data can both clarify and obfuscate. On balance this is a fantastic piece that brings much-needed information to the discussion and what is more provides a free download of that very data. That’s almost unheard of! On the downside, I have some misgivings about the section dealing with income estimates based on unit numbers which are themselves estimates. This is further compounded by the fact that the royalty split is never as easy to assume as the current model assumes, for instance non-US authors may not earn 70% on all sales that would appear to be 70% sales for a variety of reasons. Even allowing for these complications the data gathered is very impressive indeed.
One of the most fascinating sections though is this conclusion here:
Our first thought was that top self-published authors can put out more than one work a year, while Big Five authors are limited by non-compete clauses and a legacy publishing cycle to a single novel over that same span of time. Indie authors are most likely earning more simply because they have more books for sale. Was this skewing our results? We ran another report to find out, and to our surprise, it turns out that only the handful of extreme earners have this advantage. Most self-published authors are, on average, earning more money on fewer books:
This suggests that the earnings discrepancy will grow greater over time, as self-published authors develop deeper catalogs.
via The Report | AuthorEarnings.com
Worth reading mike’s thoughts on Sony’s move:
The wild card here is if some big outside player — Walmart being the most frequently mentioned — saw benefits to having the ebook business or even the whole book business in its portfolio. That’s happened in the UK, where supermarket chain Sainsbury’s bought a majority stake in Anobii a UK-publishers-backed startup, analogous to Bookish in the US and Tesco bought Mobcast because the ebook business was one that they thought fit in well with their offerings and customer base. Both Sainsbury’s and Tesco made statements about strengthening their “digital entertainment” and online retailing propositions. Tesco is investing in devices as well. Kobo has made it a pillar of their strategy to find brick-and-mortar partners all over the world.
via Sony exits and the ebook business loses an original player – The Shatzkin Files.
More n the end of Sony’s eReading efforts in the US and it’s impact of Smashword, which in the very words of Mark Coker makes clear why this, although notable, is not that huge a deal:
Sony’s devices and ebook store predated Amazon’s, so when the history books of the indie author revolution are written I hope historians give Sony the credit they deserve as a true pioneer. My sentiments and appreciation for Sony and their awesome people aside, the impact on Smashwords authors today will be minimal. The Sony store, as most authors know, is one of the smaller retailers in the Smashwords distribution network. To put this in perspective, on a typical month, less than 2% of our authors’ monthly sales come from Sony.
via Smashwords: Farewell Sony Reader Store.