Publishing – Page 21

GBS 2.0

November 14, 2009 By Mark 1 Comment

It’s never a good sign when a corporation starts acting like a government agency.

Last night, late on a Friday, Google and its co-conspirators dropped the court-mandated revised settlement to the Google Books case. This was done to limit news coverage of the event over the weekend, which predisposes me to think bad thoughts about Google in general, and about the revised settlement in particular.

On the merits of the actual case, the New York Times says:

The revisions to the settlement primarily address the handling of so-called orphan works, the millions of books whose rights holders are unknown or cannot be found. The changes call for the appointment of an independent fiduciary, or trustee, who will be solely responsible for decisions regarding orphan works.

Cutting to the chase, if only because I’m loathe to deconstruct the disingenuous layers of marketing spin, legalese and outright fraud being marshalled by Google in their attempt to hijack other people’s copyrighted works, it seems to me that this revised settlement is pretty much what anyone would have expected. In sum, an attempt to polish up the chrome while making no changes to the underlying structure of the previous settlement, wherein Google becomes the beneficiary of a new legal standard of copyright ownership. If they scan a book, they own it until you prove it’s yours.

(Yes, I know, that’s probably not legally correct, but I’m not really a fan of the way the legal system has been functioning lately. See also: state-sponsored torture, Wall St. bailouts, housing bubble carnage.) [ Read more ]

EA Pounds the Nail

November 12, 2009 By Mark Leave a Comment

Yesterday I noted that Electronic Arts joined the ranks of publishers across all industries trying to embrace the internet and decrease exposure to retail. Today EA addressed the timing of its announced layoffs and acquisition of PlayFish by emphasizing the point:

“It’s no coincidence that we simultaneously announced a cost reduction in connection with the acquisition of PlayFish, because that represents, in our mind, a very important shift to digital direct,” said EA SVP and CFO Eric Brown, speaking at the BMO Capital Markets 2009 Annual Digital Entertainment Conference in New York Thursday.

The parallels here between interactive and publishing (and other industries), even including emphasis on free-to-play and freemium models, are unmistakable:

Like other publishers, EA is becoming increasingly focused on downloadable games and extra content. Brown said that the download-only PlayStation 3 and Xbox 360 title Battlefield 1943 has sold 1.2 million units to date across both platforms. Half of those sales were in the game’s first week.

DLC trends at EA will continue to snowball. Dragon Age, a packaged and digital game developed by EA subsidiary BioWare, is selling “very well” and will receive regular DLC through the next “12 months-plus,” Brown said. Giving consumers the option to spend more than the $50 or $60 can be advantageous for game makers. “You can find extra demand customer by customer,” he said. And that goes for microtransactions too in free-to-play games.

And of course distribution plays a key part in this move (despite the soft-selling in the quote, which was probably added to keep partners and suppliers from freaking out):

“What you build sells through. There’s no physical good that has to be handled, printed, transported, et cetera, so you pick up this real efficiency gain in terms of the sales return allowance. So overall it’s slightly more beneficial to us as the publisher.”

You could map this to any content-driven industry:

For EA going forward, the four key principles of its business are to drive hits, expand digital services, “aggressively manage costs,” and continue focusing on the Nintendo Wii. But digital services — DLC, subscriptions, free-to-play, PC browser gaming, advertising — is clearly where EA sees its future.

“I think it’s important that everyone understands that the definition of the interactive sector needs to include online. It can’t be associated with the more limited definition of packaged goods through retail. Online is indeed a high-gross segment,” he said.

The internet is killing the retail content-distribution channel. Everything else is a variation on that truth. Whatever industry you are in, whatever content you create or sell, you are going to be affected by this truth.

— Mark Barrett

The Last Nail

November 11, 2009 By Mark 3 Comments

You know all there is to know about the disintegration of music publishing, in part because you’ve lived it, and in part because you’ve done your homework. You know the newspaper-publishing business is getting killed because you can hear Rupert Murdoch squealing. You know the movie business is hurting. And of course you know the book-publishing industry is coming apart at the spine.

But even as all this is happening in concert, and even as the internet looms large in every instance, there are still people explaining how what’s happening in one industry has nothing to do with what’s happening in another industry. Or how it’s the recession that’s causing these problems. (It’s not.)

To this litany of carnage now add the computer gaming industry. On Monday Electronic Arts (EA), one of the the largest developers and publishers of interactive titles, announced that it was cutting 1,500 jobs. If that was the end of the story we could chalk up the layoffs to the recession, but that’s not the end of the story. [ Read more ]

Richard Nash’s Ears

November 11, 2009 By Mark Leave a Comment

Steam:

That pain in our foot? It’s not outsiders stomping on it, it’s us, shooting ourselves.

I have nothing but respect for anyone trying to reform publishing from the inside. And I wouldn’t wish that challenge on a dog.

— Mark Barrett

Palin’s Profit (or Loss)

November 10, 2009 By Mark 1 Comment

At the beginning of October, in a post gnawing at the subject of ghostwriting, I wrote:

Will Palin’s book include shared credit with her collaborator? I don’t know, but I hope so.

The answer, apparently, is no:

Lynn Vincent, a senior writer for Christian World, is widely reported to have done the gruntwork on Going Rogue — proving so efficient that Palin’s manuscript was delivered early and allowed HarperCollins to move the publication date from spring 2010.

Vincent is not getting a byline on Going Rogue, and she’s not disclosing her fee.

My concern about ghostwriting, as previously noted, is that it is lying. In some cases these lies are killing people. I also don’t think it helps our political process to allow people to be credited with things they did not do, and I would say that about any candidate.

Regarding HarperCollins’ deal for Palin’s book, it looks like all the high-flying cynicism displayed in the production and marketing of her book may be for naught:

For Going Rogue, no publication has publicly stepped up to claim first serial rights — running the juiciest excerpts before the book comes out, which either kindles or extinguishes public anticipation for it. Such an excerpt deal may have been struck for The Oprah Winfrey Show, which features Palin in an interview the day before the book’s release; the public will find out on Monday.

…

Of course, the stars could still align in Palin’s favor. She could produce the hit she and her publisher are looking for. But the math suggests that it may be the readers who go rogue on Palin — and on HarperCollins’s plans to right the wrongs of its dismal book sales.

If the book stalls, I would like to think that the brute-force mockery of the authorial process had something to do with it, but I know that’s naive. It’s the recession.

— Mark Barrett

Following the Money

November 10, 2009 By Mark Leave a Comment

What are the economics of being a professional author? I know how much I’ve made as a storyteller in various mediums, but the book business is still pretty much a mystery to me.

To the extent that I’ve been able to fill in any blanks I owe individual authors for having the courage to talk about their own experiences. While each story is different, they’re all adding up to a useful composite, and particularly so given all the forces at work and changes taking place in the industry.

For example, today I ran across a follow-up post by Lynn Viehl on Genreality, talking about The Reality of a Times Bestseller:

So how much money have I made from my Times bestseller? Depending on the type of sale, I gross 6-8% of the cover price of $7.99. After paying taxes, commission to my agent and covering my expenses, my net profit on the book currently stands at $24,517.36, which is actually pretty good since on average I generally net about 30-40% of my advance. Unless something triggers an unexpected spike in my sales, I don’t expect to see any additional profit from this book coming in for at least another year or two.

Is that a sobering reality? Easy money? I have no idea. I don’t know how many hours Lynn put into that title, so I can’t do the workaday math. Still, if you didn’t live a big city or have any consuming vices you could probably squeak by on that money, provided you had the same amount coming in next year…but then that’s not a given, is it? (Speaking of givens, Lynn blows up a number of myths in the post, and in the prequel.)

In a previous post I noted Joe Konrath’s sales figures for both traditional publishing and self-publishing of his novels, and that’s also worth a look.

For pure self-publishing numbers I’ve been relying on posts by Dan Holloway writing as a pair of shoes. You can read his initial accounting here, and his latest here.

If you’re a literary fiction writer, how many books do you have to sell to call yourself a success? 7,000.

If you’re an online fiction writer, are there ways to monetize your content? Sure.

Update: Publishing your own RPG? Here’s what it cost someone to do just that.

I’ll post more as I find it. If you’ve already found it, let me know.

— Mark Barrett

Andrew Sullivan: Going Rogue

November 9, 2009 By Mark Leave a Comment

In late summer I noted that Andrew Sullivan was preparing to release a book via print-on-demand (POD). That day is now here:

The Dish is very psyched to announce that the first edition of “The View From Your Window” is now available for purchase. You can preview the book here at Blurb.com, the print-on-demand company that is publishing the book. It’s 200 pages of window views, selected from all the submissions sent in over the past three years, with the front image and the back one picked by you, the readers of the Dish.

If that’s not smart enough, Sullivan and his team are leveraging Sullivan’s platform (his built-in audience and online presence) to improve things for his customers. This is not simply another retail opportunity, it is a community gathering and co-operative effort:

$29.95 is not a bad price for a 200 page, four-color coffee table book/toilet-browser. But new technology can bring this price down. Here’s how:

If we order a mass offset printing, each unit costs a lot less (just like in old-style publishing). It will take a little longer than ordering the book yourself right now, but the savings could be considerable. The Dish is not looking to make money off this – we’ve decided to forgo any profit to get you the book you created at the cheapest price possible. So if 1,000 of you pledge to order the book, we can slash the price; if 2,000 do so, we can slash it some more. The goal is to bring the price of the book to under $20. Perhaps well under.

A few years ago, this book would have been published by a traditional publisher, on the publisher’s terms, or it would not have been published at all. Today Sullivan’s team is determined to push the envelope:

No old-media publishing house would give you those options. The combination of a blog and print-on-demand publishing can. And if this model works, it could help launch a whole new wave of books created with user-generated content and priced with crowd-sourcing efficiencies. We hope the Dish will help pioneer this, and help do to the book publishing industry what blogs have helped do to MSM establishment journalism. A four-color 200 page book is an ambitious place to start, but, as always at the Dish, our attitude is: why the hell not?

Why the hell not, indeed. We all profit by watching how this project unfolds. Whether you want to buy a copy of the book or not, take note of what’s happening here.

This is what you find when you walk a ditch.

— Mark Barrett

Book Tour Dreams

November 6, 2009 By Mark Leave a Comment

Looking forward to your first book tour? Well, after reading the ravings of Bill Simmons (ESPN’s Sports Guy and all-around humorist), I’m not so sure being a New York Times best-selling author is all it’s cracked up to be:

My body clock is so screwed up that, on consecutive nights, I woke up in the middle of the night and had no idea where I was. My right thumb has swelled to 140 percent the size of my left thumb. My back is crumbling like blue cheese. My immune system might turn me into Patient X of Swine Flu 2.0 before everything’s said and done.

Because Simmons is a celebrity of sorts, I don’t have a lot of sympathy. He may have had to grind it out, but he was grinding out a nation-hopping, flight-plan-driven barnstorming tour with various people in tow. This was not your covered-wagon book tour where the lone author’s nineteen-year-old Isuzu breaks down outside of Grand Forks in the dead of winter. [ Read more ]

A Ghostwriter Speaks

November 3, 2009 By Mark Leave a Comment

A few weeks ago I went on a three–post rant against ghostwriting as an industry practice. I didn’t comment much on ghostwriters themselves because a job is a job.

(And we don’t have to wade into sex-trade analogies here, or references to slavery. I’ve been paid to write a lot of stuff that didn’t have my name on it, but there was no lie attached. In the publishing industry, it’s the goal of willful audience deception that perverts the honorable practice of writing for money into a for-profit lie.)

Today I ran across a new blog (via LisaCollierCool) called Ghostwriting Revealed, and it delivers on the premise:

5.Can you really make a living doing that?

Yes.

6.How do you get paid?

That’s the questions I often get next because nobody quite believes me when I say I make a living as a ghostwriter (and I do.) Often, I am paid directly by the author/expert (that would be the person whose name appears in big type on the book cover.) Sometimes, I negotiate for a slice of the royalties, but not always. Generally, the bulk of my payment is made before the book even hits the shelves.

Writer-for-hire agreements are common. Somebody pays you X dollars, you write Y words, they own the copyright when you’re done. There’s nothing wrong with it, or with ghostwriting as a concept.

Everything has a dark side, however, and it seems to me that a job that conspires to profit by paid-for silence probably has more than a few dark alleys. I’ll be interested to see if the blog author addresses the inevitable shenanigans, or the broader ethical issues that are of concern to me.

— Mark Barrett

It Isn’t the Recession*

October 30, 2009 By Mark 2 Comments

Lying is a part of doing business. When things are good, you leverage trust as long as it makes you money. When things are not good there’s no lie you won’t tell in order to survive.

The problem with the publishing industry is that I can’t tell whether the people in charge are lying or simply oblivious. Here’s a quote from an AP/WaPo article at the end of last year:

The economy has crashed on a supposedly recession-proof industry: book publishing. There is consolidation at Random House Inc., as well as layoffs at Simon & Schuster and at Thomas Nelson Publishers.

And here’s a quote from the Boston Globe a week ago:

“Historically, the conventional wisdom was the publishing industry was recession-proof, and if the adage was ever true it doesn’t remain the case,’’ said Gary Gentel, president of the trade and reference division at Houghton Mifflin Harcourt, a sponsor (along with the Globe) of the Boston Book Festival. “That said, this is the perfect time for a festival. What a great escape.’’

It’s hard for me to believe that people actually think constriction in the book business is being caused by (or primarily by) the recession. If the adage that publishing is recession-proof was ever true, it would make sense to look for other causes of trouble even if you were in the middle of a recession. There’s also the rather obvious point that the music business has been pulverized by the effects of the internet for the better part of a decade, and that the decline of newspapers has accelerated because of the internet, making it at least plausible that what’s happening in publishing has something to do with the internet.

Which would mean that these publishing voices, like all vested voices in a darkening market, are simply lying into the wind, hoping that enthusiasm, confidence, and bravado will shore up an eroded foundation. And if that’s all this is, I’m fine with it, in the same way that I was fine watching high-flying kamikaze pilots on Wall St. and in government smile as they blew up the foundation of our economy.

For the record, however, what’s hurting publishing is not the recession. It’s the internet.

* Apparently the recession is over, so we can all stop worrying and love the bomb.

— Mark Barrett