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Buying Your Way to the Top

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Want to be a wildly successful author? All it takes is a big pile of cash:

In the cases mentioned above, the authors hired a marketing firm that purchased books ahead of publication date, creating a spike in sales that landed titles on the lists. The marketing firm, San Diego-based ResultSource, charges thousands of dollars for its services in addition to the cost of the books, according to authors interviewed.

As ResultSource’s website points out, hitting best-seller lists can mean fame, and potentially lucrative consulting assignments.

“Publishing a book builds credibility, but having a Bestseller initiates incredible growth—exponentially increasing the demand for your thought leadership, skyrocketing your speaking itinerary and value,” ResultSource says.

ResultSource’s principal, Kevin Small, declined requests for an interview. On its website, the company outlines its ambitions: “‘We create campaigns that reach a specific goal, like: “On the bestsellers list,” or “100,000 copies sold.'”

Note that this is not about self-publishing, but about publishing. Which means this kind of thing has been going on one way or the other for a very long time.

Also, don’t miss the Wall St. Journal refusing to comment about the issue in a story appearing in the Wall. St. Journal.

— Mark Barrett

Nook News

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Barnes & Noble may be getting out of the e-reader business:

Riggio, the chain’s founder, largest stockholder, and chairman of the company’s board, is looking to buy both the Barnes & Noble Booksellers brick-and-mortar business and Barnesandnoble.com, according to an SEC filing.

The company’s e-book, e-reader, and tablet division, Nook Media, would apparently be spun off or possibly even shut down if the deal comes to pass. The Barnes & Noble board’s strategic committee must still review the plan and the company said in a statement that there is no timetable for that happening yet.

I still don’t own an e-reader, but of all the devices on the market I thought the Nook Glowlight was a big step in the right direction. The lesson here is not simply that you should be careful which product you buy among competing manufacturers in any market segment, but that there are long-term risks inherent in adopting a proprietary device-and-service solution for your e-reading habits:

There has been no word yet what might become of the Nook division, or what this move could mean for Nook device and app users who have downloaded books, magazines, and apps. Microsoft currently owns 17.6 percent of Barnes & Noble’s Nook subsidiary. The software giant did not immediately respond to a request for comment.

It may well be that the iPad and Kindle will dominate their respective markets, but that doesn’t mean they’re without similar risk. If you’re sinking money into digital copies of anything, make sure you have the right to take those copies with you to a new device if the device you’re currently using goes under. Because sooner or later, all devices go under.

— Mark Barrett

CreateSpace vs. Bing — Fail Update

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My quest to get Bing to be able to see two e-store pages on CreateSpace.com remains at an impasse. (You can see the pages here and here, and you can see Bing fail to find them here and here.) The robotic email tech-support droids at CreateSpace insist that everything is fine on their end and that the problem is with Bing. The robotic cut-and-paste email tech-support droids at Bing insist that CreateSpace has never submitted a sitemap by which they can index that site, and have repeatedly given me instructions on how I can do so even though I have repeatedly explained to them that I am not the site owner.

Now, I know there’s no joy quite like the joy of being crushed between two monolithic and ruthless companies like Amazon and Microsoft, each of which is 100% committed to pretending that it is customer friendly as a means of owning all internet traffic and content throughout the known universe. So it’s not as if I don’t appreciate how fortunate I am to still be alive at this point.

Having said that, if you’re Microsoft, and you’ve launched a search engine to compete head-to-head with the best search engine in the business — which, oddly enough, seems to have no problem finding the two e-store pages that Bing is resolutely blind to — you would think you might have a better approach to maximizing the efficiency of your search engine than adamantly insisting that people register and log into your Bing Webmaster Tools site so you don’t end up looking like an idiot.

(Have I mentioned that I’m not actually the webmaster or owner of CreateSpace.com? I keep forgetting whether I’ve mentioned that or not.)

If you’re Amazon, and you’re interested in making your CreateSpace.com site available via the smaller of the two dominant search engines in the US, it seems to me that at some point you might actually go ahead and submit your sitemap to Microsoft’s Bing search engine, even though you hate Microsoft as much as you hate Google and Apple combined. And if one of your customers wrote you multiple times to say that they couldn’t find their e-store pages via Bing search, you might actually do a proactive check on your own to figure out what the problem was, and work with Bing to resolve it instead of dumping it back in your customer’s lap.

Having put in multiple hours trying to get this problem resolved over the past week I am now giving up. A week ago I would have given CreateSpace an unqualified recommendation to anyone looking for a print-on-demand publisher. Now I’m taking a second look at other options myself, and I would encourage you to do the same. Having not used Bing at all since it launched I haven’t really had an opinion about it until now. My opinion now is that Bing seems to be incapable of doing the one thing it was designed to do.

Update:

As of 2/24, searching for my grandmother’s title on Bing now returns the correct link. My short story collection is still MIA.

Later Update:

As of 3/12, after several more tech support emails to and from Bing, the Bing search engine can now also reliably find the page for my short story collection. I have no idea what the problem was or what I specifically did to solve the problem. My only advice to anyone having similar problems is to be both persistent and patient.

Headdesk Update:

Or not.

— Mark Barrett

Self-Publishing, CreateSpace and Bing

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If you’re a self-publishing author, one of the important chores you can do to avoid having to actually write anything is to see how the two most popular search engines report back on you and your work. The dominant US search engine is of course Google, with about 66% of the search market, while Microsoft’s Bing makes up most of the remainder. (Bing powers not only the Bing.com site, which is 16% of US search, but also Yahoo.com’s search engine, which accounts for roughly 12 percent.)

If you’re not already obsessed with your personal and professional rankings on search engines and social networks, the good news is that you don’t have to become your own favorite celebrity in order to make sure people can find you. All you need is a basic understanding of how search engines work, and how people may try to find you using various words and phrases — like, say, your name or the title of something you wrote.

While it may seem as if all search engines see the internet the same way, that’s not actually the case. In order to return hits for any search you conduct, the search engine you’re using must have already visited the page you’re looking for in order to point you to it. This process of scouring the web for content is done automatically by what are called web crawlers, which follow links from one page to the next. In general web crawlers do a good job of indexing most of what’s available on the web, but depending on how often a search engine crawls a particular site there can be some lag between when a page is published (or updated) and when that page is indexed.

To get around this lag it’s possible to go to most search engines and submit pages and sites directly so search engines know where to find new content. Since this is a bit of a chore you can also use various aggregating services to submit new pages or sites to most of the popular search engines at once, albeit often for a fee. In my own experience it’s almost never necessary to submit URL’s to search engines yourself, and in no case would I pay to have this done. In a relatively short amount of time almost any new content will show up after the web crawlers make their next sweep.  [ Read more ]

E-book Price Fixing Update

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Two years after the heavy hitters in the publishing industry colluded with Apple in order to fix the price of e-books, most of the legal dust has finally settled. Today Macmillan threw in the towel on anti-trust charges brought by the U.S. Justice Department:

A small firm that is also known as Holtzbrinck Publishers LLC, Macmillan was the lone holdout among five publishers that the government sued in April 2012. Three publishers settled immediately and the fourth, Pearson Plc’s Penguin Group, settled in December.

The Justice Department will continue to litigate conspiracy allegations against Apple Inc, the department said in a statement. It accuses Apple of conspiring with the publishers to raise prices and fight the dominance of Amazon.com Inc.

More here and here.

The lone holdout, Apple, is probably betting that its haughty image and cultural cachet can keep it from becoming associated with yet another revolting act of corporate brutality. The Apple vs. Amazon battle is of course a deeply cynical dispute in itself, with both companies striving to dominate (meaning, monopolize) the distribution of digital content. In years to come it won’t be surprising if Amazon finds itself the target of anti-trust investigations on multiple fronts, including, ironically, attempting to monopolize both the sale and resale of digital content, thereby effectively allowing it to fix prices.

— Mark Barrett

E-book Revolution Update

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The writing is on the wall page display:

“We’re now seeing the transition we’ve been expecting. After five years, e-books is a multi-billion dollar category for us and growing fast—up approximately 70 percent last year,” Amazon CEO Jeff Bezos said in a statement. “In contrast, our physical book sales experienced the lowest December growth rate in our 17 years as a book seller, up just 5 percent. We’re excited and very grateful to our customers for their response to Kindle and our ever expanding ecosystem and selection.”

Touting growth in percentages is always misleading when comparing new products to mature ones, but there’s no question that e-book sales are cannibalizing print sales as expected. Given that Amazon is positioning itself as the dominant e-tailer for all digital media it’s also not surprising that it would be facilitating this transition, and willing to take a short-term revenue hit in order to grow long-term market share.

For authors, the question is not whether e-books are good or bad. The question is how e-books can best be used to help you reach your intended audience. Economics will always play a part in that calculation, but given that it’s now possible to produce and widely distribute content with little or no up-front capital I think every writer should feel good about that.

— Mark Barrett

Personal Publishing, Micromarkets and Meaning

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Toward the end of last year, as a holiday gift, I put together a self-published book for my family. The manuscript was originally written by my grandmother (1910-2009) when she was in her eighties, and brings to life teenage trips she took to visit her eldest sister, who lived on a Wyoming homestead. To that original document were added photographs from the trips, a short page about the author, and a cover.

My grandmother originally intended her manuscript as a young-adult title. She submitted it to a few publishers, but after finding no interest she rewrote it as a more personal family memoir. In putting a book together based on that text I was conscious both of the work’s history and of her intent, but even more so of the responsibility of presenting her fairly and well. Fortunately, she did most of the heavy lifting with her own words.

What surprised me most about producing such a work was the impact the physical book had as an object when I finally held the first proof in my hands. The words had been around for decades, the pictures for decades more, but merging them into a book created something greater than the sum of its parts. And this feeling was shared by members of my family as well.

There is, obviously, something about a book as an object that confers a sense of importance about the contents. However that book came to be, and whatever the quality of the contents, at a bare minimum someone took the time and effort to assemble it — to create a new object from various pieces of source material. The result might be the functional equivalent of a scrapbook or personal journal, but the fact that it can be held and shelved alongside other tomes gives it a familiar, almost universal purpose and place that it would otherwise lack.

The question of an object’s worth — of a book’s worth — often devolves to critical and commercial assessment. At the same time, however, most people recognize that living a life dominated by (if not determined by) money and the artistic judgment of others leads to an inevitable corruption of self. If you can make a living pounding out words or creating images or raising and lowering hemlines that’s fine, but who are you when the crowds go away and you’re alone with your millions? (You may care about your money, but your money doesn’t care about you.)

To the great, brutish publishing industry this tiny little tome has no value of any kind. If traditional publishing cast even a glance my grandmother’s way it would do so only to sputter and spit about vanity publishing, as if I was trying to sneak past the industry’s desperate gatekeepers in order to make a buck or a name for myself without first coughing up whatever percentage they feel they deserve. But this simple book was not created to get around anyone or anything. It was created as an act of love, to honor someone who lived a full life and gave as much or more than she got.

I own a fair number of books, some of which I love for personal reasons and some of which I love because of the invaluable information they contain. My family is and always has been bookish. My grandmother probably read more books in a year than I read in a decade. But of all the books that have come through our collective lives, it would be hard to say that any of them are more meaningful to us now than this little self-published title that sprang from the hand of a woman who did so much for us all.

The fact that this book is a personal work aimed at a tiny micromarket says nothing about its inherent value and everything about how important self-publishing can be.

— Mark Barrett

Mediums and Authorial Control

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The rules that define any medium at any particular point in time may vary in complexity, but they are still binding. If the medium you’re playing around in is space travel, you should probably pay strict attention to the rules we call the laws of physics. On the other hand if the medium you’re playing around in is abstract sculpture, you can pretty much do anything you want as long as it ends up being a physical object — or, if your intended audience is purely intellectual or academic, some non-physical or negative-space meta-commentary on physical objects. If you try to present an action painting as sculpture, however, you’re probably going to get confused looks, if not some serious push-back.

The tendency over time is for all mediums to become more plastic. Rules that were previously assumed to be inviolate are challenged by artists and craftspeople who chafe at those limitations, until ultimately all non-essential rules are pared away to reveal the bedrock foundation of the medium itself. Like sculpture, a painting is defined today simply as any application of paint to canvas, board or wall. It doesn’t matter whether a painting is abstract or representational: all that matters is that the materials being used are paint or some paint equivalent, but that clearly wasn’t always the case. This creative freedom for painters was hard-won over centuries, with each subsequent school balking at restrictions imposed by those who came before, until, ultimately, all rules of what defines a painting were abandoned in favor of unbridled creativity.

And yet, as with sculpture, rules still apply no matter how plastic a medium becomes. If what you call a painting is in fact a pumpkin sitting in a field then you’re objectively wrong. You can do anything you want with paint, you can paint anything you want, or paint on anything you want, but without paint (or its equivalent) you don’t have a painting.

Compared to painting, storytelling as a medium — even in the rarefied air of experimental literature — is and will always remain constrained by complex rules. Some of these rules are a result of the way human brains take in and process narrative information. Some are cultural rules that define the meaning of objects and people and places before they are redefined or repurposed by authors. Some are logical rules having to do with time and place and order, which can only be broken when some plausible new rule (time travel, say) replaces the assumed rules so the reader does not become lost. And there are of course rules defined by language.

When authors say of literature that there are no rules, what they mean is that you can write about anything in any manner you see fit, as long as it pays off in the way you intend. If you see a literary objective and you need to break a specific rule to reach that goal you’re allowed to do it. What you’re not allowed to do is put ten thousand words in a blender, hit puree, and call that a story, or literature, or even a dictionary mash-up. If you do that with paint people may actually pay you for the result if you spew it on a canvas or sell it in gallon cans, but nobody is going to pay you for pureed words.

— Mark Barrett

The Long View in Context

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Following up on the previous post, I think it’s worth taking a moment to consider where we are as a culture, and how we might evolve in the future relative to independent authorship and self-publishing.

The current explosion of interest in self-publishing is being driven by a number of factors, not all of them constant. I believe that as long as the internet exists, people will use it to reach out to each other without engaging the services of middlemen and gatekeepers. That goes for everything from private conversations to business — meaning, ultimately, that every attempt to mediate those direct connections will ultimately fail, if only to inevitably be reborn in some slick new guise. Whether we’re talking about sites like Facebook or device manufacturers like Apple, they’re all simply along for the ride, even as they purport to be driving the revolution.

What’s important to remember with regard to self-publishing is that what we are witnessing today is the explosive origin of what will be a future norm. As such there’s a built-in, pent-up demand for this new opportunity that simply won’t exist in the future. It’s not just kids or hipsters who are learning how to use the internet to do things like self-publish books, it’s everybody, all at once. In a generation or two, however, it really will be only the kids who need to be taught. Like young drivers they’ll learn at a developmentally appropriate age how to use the same self-publishing tools their older siblings, parents and grandparents have been using most of their lives.

Today there are clearly a lot of people who have always wanted to self-publish a book or two. Whether those books are collections of family recipes or deranged manifestos, until now these personal works have been financially and technologically beyond the reach of most would-be authors. This pent-up demand, again, crosses all generations, but over time — and perhaps a relatively short amount of time — that demand is going to be flushed out. Yes, there will be people who decide to pursue self-publication either as a hobby or avocation, but most would-be self-publishers will produce the titles they’ve always wanted and then stop. Or they’ll hang out a shingle and try to make a few bucks helping other independent authors realize their own pent-up dreams.

It’s also important to note that there’s a perfect convergence right now between the availability of self-publishing and the amount of time people have on their hands. If you crater the economy and drive millions of people into unemployment, they’re going to look around for something to do. If they’ve always wanted to self-publish a book they now have the time, and can probably afford to get it done. They may even have extra motivation to explore self-publishing as a means of making a buck or two when a couple of extra bucks would really be handy.

For these reasons, then, I think the current avalanche of demand for and interest in self-publishing will necessarily decrease — perhaps quite precipitously — as people find more time-consuming and remunerative pursuits, and as pent-up demand becomes satisfied over time. Which means those writers who are determined to take the long view, both in terms of future works and the value or present works, will almost certainly find themselves in a less-crowded market in the future. Which strikes me as a very good place to be.

— Mark Barrett

Revisiting the Book Review Problem

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A few weeks back the New York Times ran a piece on the inherently dubious business of paid book reviews. If you’re an independent author or are writing a book for any reason other than personal interest the article is a must-read, but not for the reasons you might think.

As anyone knows who’s ever tried to search the internet for the best spatula or best toaster, finding credible reviews on the internet is impossible. No amount of persistence and no set of keywords will ever produce what you’re looking for because keywords are the life blood of both search engines and the soulless, SEO-driven marketing weasels who exploit them. The only chance you have of getting an unbiased opinion about anything is to already know sources you trust, and to hope they’ve reviewed the product you’re interested in. For many products ConsumerReports provides that kind of objective, metric-driven coverage, but when it comes to books there’s little chance a title you’re considering will have been reviewed by someone who doesn’t have a personal axe to grind or who isn’t part of the publisher’s own extended marketing effort. Worse, if you’re an independent author there’s almost no chance that you’ll be able to have your book reviewed by a reviewer who has established their own credibility.

The internet workaround for this problem has been to allow customers to post reviews of products they’ve used. The practical result of this workaround in the book world is that authors and their friends and family salt and sock-puppet their own positive reviews when a book comes out, while competitors and griefers and put-upon students post scathing negative reviews about books they have often never read. The resulting noise can be sifted through endlessly or judged in the aggregate, but even then it tends only to reinforce whatever sense of the work the prospective customer already had.

As the article notes, almost all of the current paid-review options are not in fact reviews at all, but sponsorship and marketing. And consumers of reviews are not confused about this transactional relationship. In fact, whether you pay for a review or not, the default assumption by the public is and must be that your review is corrupt. And since it doesn’t matter how sincere a paid reviewer is, that consumer bias only corrupts the process that much faster, with the lion’s share of the paid-review business going to the most corrupt reviewers. (What authors are paying for when they buy a reviews is a positive review, and paid reviewers know this.) I have no doubt that the best of paid reviews are better than the worst, cleverly avoiding, for example, over-the-top claims of grandeur, but the goal is always the same: to help sell, rather than to independently judge.

Made almost comically explicit in the article is the idea that traditional arms-length reviewers do not have this credibility problem because they do not participate in the review process as adjuncts to marketing and sales. But that assertion is patently false. It’s true that the New York Times Review of Books doesn’t take checks or cash up front, but they certainly take phone calls from publishers, and it’s a fair bet that the people at the highest levels of the traditional publishing industry all know each other and how business is done. If the good friend of an editor writes a book it somehow ends up on the top of that editor’s stack. If a book is written by a despised peer the title somehow gets lost, or savaged by a hostile reviewer chosen for exactly that purpose. If there are humans involved, and money and power hanging in the balance, you can be certain that the process is inherently corrupt no matter how squeaky clean the press releases are.

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