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Opting Out of Sales on Amazon.com

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When I originally decided to use CreateSpace as the print-on-demand (POD) publisher for my short story collection, The Year of the Elm, one of the main attractions was its tight distribution integration with Amazon.com. (CreateSpace is a subsidiary of Amazon, and an amalgam of two companies that were acquired by Amazon in 2005.) I have always been opposed to proprietary e-book formats, so making my work available for Amazon’s e-readers was less of a draw. However, because I already offered the collection in multiple e-book formats on Smashwords, adding a Kindle version was essentially adding a market, not a product. Offering a print-on-demand paperback and selling it through Amazon, however, was a whole new proposition.

The conventional wisdom about distributing a book through Amazon is that every independent author should make their work available on that site. In fact I’d wager that every person reading this post believes that to be one hundred percent true. And as someone who felt a definite thrill when I first saw my work for sale on Amazon I understand the appeal. Instead of waiting for a publishing-industry gatekeeper to green-light participation in the market on an equal footing, Amazon makes it possible for you to green-light yourself. Who’s gong to turn that down? (I mean, other than Groucho Marx, and, apparently, me.)

Over the past two years or so, much to my surprise, I have slowly come to the realization that my work doesn’t and probably never will belong on Amazon.com. Incongruously, this evolution was accelerated and crystallized over the past couple of months while trying and ultimately failing to compel the Bing search engine to find my work on CreateSpace’s out-of-the-way e-store pages. Yes, the fact that royalties are higher on CreateSpace than on Amazon is a plus, but that’s about the only obvious business-related advantage in choosing CreateSpace over Amazon. Yet I’m still convinced I’ve made the right decision.

Before exploring my rationale in detail, however, a couple of stipulations. First, there is no question that Amazon.com long ago became the default bookstore for the country if not the world. Tell most consumers to order a book and they will, without thinking, click over to Amazon because the association is that complete. Second, it is also clear that Amazon does an excellent job of facilitating purchases and fulfilling orders. Since many people already have an Amazon.com account, and because Amazon does everything possible to make purchases effortless, there is literally no easier way for most people to buy a book.

Given those two truths, it should be obvious that any self-published author who chooses not to make their work available on Amazon.com is an idiot. And for a long time that’s how I felt as well. Until, that is, I started thinking about what I’m trying to do by self-publishing my own work, and about the relationship I want to have with my readers. That’s when it dawned on me that what Amazon.com wants and what I want are not the same thing, which in turn led to the realization that how Amazon gets what it wants is not something I want to be part of.  [ Read more ]

Extending Smashwords’ Functionality

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Note: It has been brought to my attention that I failed to note that I ultimately chose not to implement the process outlined below. This omission happened while revising the original post and was unintentional. See comments for more.

This winter past I spent a fair bit of time thinking about how best to finish the editing process of my short story collection, The Year of the Elm. In particular I considered a number of possible proofreading solutions in order to track down as many typos and errors as possible. Along with hiring an editor or doing the work myself, I came up with what I thought might be a way to merge the inherent functionality of Smashwords with the goal of open-source proofreading.

In an exchange of emails, Smashwords CEO Mark Coker graciously helped me refine the idea in a manner consistent with the Smashwords TOS, which states that only finished works can be published through the site:

9d. You further warrant the book represents a complete work:
• this is not a work-in-progress
• the uploaded file is not a partial sample or sample chapter, or is not a collection of sample chapters
• the uploaded book represents a complete story with a beginning, middle and end

Because any work (fiction or nonfiction) that is ready for proofreading should be finished in every other respect, the proofreading process falls into a gray area relative to this requirement. For that reason, I need to stress that the proofing I am talking about is just that: a final attempt to track down typos and other miscellaneous errors after the entire work has been written, revised, edited and checked by as many eyes as possible. A work that has errors on every page, or obvious mistakes in abundance, is in need of copy editing, and is not what I would deem a finished work.  [ Read more ]

TYOTE

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The title of this post is the working-title acronym for my collection of short stories. I’m 99% sure the title is the one I’ll be going with, but until I’m 100% sure this is what I’m calling it.

It’s been interesting getting the stories in shape. I’ve pushed myself to make the stories good, and been pushed to do more by the finality of the act of publication — even if I’m only self-publishing them in digital form. Nobody wants to make an idiot out of themselves.

I’m pretty close to being able to put the stories up on Smashwords. I’ve worked through the formatting style guide, and I have a working comp for the cover art. I just need to do a final version of everything and a final read-through of the text and I think that’s it. (I’ll have more to say about the various steps in the process when I’m reasonably confident I didn’t mess things up.)

What I can say so far is that the impending act of publication has helped improve my work. Because I’m taking it seriously, that seriousness is producing benefits I hadn’t imagined. I’m not new to turning in final drafts of fictional copy, or scripts that will be produced by others, but this is a more solitary process, and I’m glad to find that it is not without rewards.

Even as I am starting to see the larger self-publishing movement as a fad or balloon that will inevitably go bust, I’m also utterly convinced that the internet as a distribution and publication platform is for real. I can put these stories where others can find them, and I don’t have to ask permission to do that.

As small as the collection is, and as limited as the economic upside might be, it feels like a big deal. Regardless of the outcome, I’m glad I’m doing this.

— Mark Barrett

$4.99 and the Pipeline Pricing Problem

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I am publishing a collection of short stories as an e-book. Concluding a series of posts on that subject, I’m setting a price for that content today, subject to further modifications, complications, frustrations and disturbances in the time-space pricing continuum, as prophesied below.

$4.99. That will be the price of my short story collection on Smashwords*, where I’ll be making the work available as an e-book. To the extent that I have now answered this vexing question, I am relieved. To the extent that I have unwittingly uncovered a new and nightmarish parallel problem, I wish I had been born with no curiosity and wealthy parents.

Why $4.99? Well, I can’t point to any single determining factor. Rather, I took everything I learned over the past few weeks (and months) and tried to find a price that met the evolving criteria without contravening my basic assumptions, which included:

Particularly helpful was data from Smashwords CEO Mark Coker, which pegged pricing sweet spots at the $5 and $9 price points. Following the maxim that a lower price is better when profit is the same, I chose the $5 price point over the $9 price point because I thought it would spur demand, and because I thought $9 for an e-book was simply too close to the low end of current print-book and print-on-demand (POD) pricing.  [ Read more ]

Because I Can

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Maria Schneider at Editor Unleashed and Mark Coker at Smashwords are offering $500 for the best essay on Why I Write. The following is my entry. (Note: due to technical problems with the EU Forum, the contest deadline has been extended.)

I write because I can.

I can because I got lucky. I was born in a family that values the written word, in a town that values writing, in a state that values literacy, in a country that was founded on a document. Every cultural break a writer can get, I got, save being born rich. I didn’t choose where I was born and I didn’t value these things when I was young, but they stood as open doors and affected me greatly. I got lucky and I never forget it.

I write because I can.

I can because I live in a free country. I have the right to say what I think, even if you disagree. Even if everyone disagrees. I know all people do not have this right. I know there are countries where writers cannot be true to their reality and imagination. I do not take my freedom for granted.

I write because I can.

I can because I protected the writer in me from every teacher who tried to kill it. I loved writing when I was young, as long as I was allowed to write the way I wanted to write. I hated writing when someone told me how to write. I flunked a class in junior high rather than turn in a five-page science paper. You laugh, but it’s the truth. I never got over the idea that a thesis statement was redundant. I never got past the certainty that the lede in a newspaper article belonged at the end. I knew these things were wrong, instinctively. You don’t start a murder mystery by announcing that the butler did it.

I write because I can.

I can because I tried everything else first. I looked at every job, every career — anything to avoid writing, because I knew I loved it and I knew how hard it would be to care. I tried the blue-collar life. I tried nine to five. I went to college and pretended I was a psychology major. I took a long look at philosophy, even though I knew there was more to life than logic and reason. I took a lot of classes, but I never clicked with any subject the way I clicked with the ideas and words patiently waiting to get out of my head. I was those words.

I write because I can.

I can because every time I look at a blank page I’m seduced by the possibilities. I have never feared a blank page in my life. I can’t wait to gather small strands of nothing until they begin to talk to each other and fuse and give off heat. I see such connections the way other people see contrails in the sky and skid marks on the street.. They are as plain to me. I write them down because I think others would like to see them, too.

I write because I can.

I can because I trust myself. I don’t do things that undermine my own confidence. I try to eat well. I exercise. I am conscious of how fragile writing is, and I try to protect my writing by taking care of the writer I am. Life intrudes, yes. But I’m not sabotaging myself. I know I will meet my deadlines. I may pound my head on my desk from time to time, but that’s the way some stories are. Some births are easy, some are hell.

I write because I can.

I can because there is nothing else. I don’t have questions about what I should have done with my life. I don’t have regrets. I don’t ever wonder if I made the right choice. I know I made the right choice. Long before my peers settled on a career I knew there was nothing for me but writing. I knew there would be no road-not-taken. Frustrations, sure, I’ve got plenty. But I wouldn’t trade the gifts I was born with for the crosses I bear.

I write because I can.

I can because I am still alive. Whatever your beliefs about an afterlife, you only get so many years to write. If you want to write and you don’t write then you blew it. I’m trying not to blow it. I don’t want to die thinking I missed my chance. Existentialism is a big word for taking advantage of the life you have. Take advantage of the life you have.

Write. Because you can.

— Mark Barrett

Finding Common Ground

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This post is in response to a recent series of Huffington Post editorials about the future of publishing. Each voice in these editorials, like each voice in the larger ongoing conversation, has a valid point of view. Ignoring how we got where we are, however, or the realities of this moment, fails to address the future that is hurtling toward us.

On Thursday, October 7, Mark Coker, CEO of Smashwords, posted an editorial titled, Why We Need $4.00 Books. As the head of a company devoted to servicing the e-book market, it’s not surprising that Coker touted the functional and distribution advantages of e-books over published texts, or that he focused on the crushing costs associated with maintaining the traditional publishing model while ignoring e-book costs and the threat of digital piracy. Coker also took notice of the publishing industry’s recent decision to withhold e-book versions of frontlist titles as a defense against cannibalizing book sales:

Many publishers view ebooks with a skeptical eye. After all, won’t cheap ebooks cannibalize expensive print books?

This is the wrong way to examine the situation. Lower cost ebooks help publishers retain customers who might otherwise abandon books altogether in favor of lower cost alternative media options.

Ebooks also hold the promise to expand the worldwide market for books. Hundreds of millions of new middle class and literate consumers have come online outside the US, especially in developing countries.

In Coker’s view e-books equal a larger market share for an industry facing intense competition for eyeballs. This larger market share would in turn compensate authors and publishers for a lower per-copy price.  [ Read more ]

Parallel Publishing

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There is word today that e-book publisher Smashwords is partnering with Sony to make Smashwords-published titles available on Sony’s e-book portal (and, by obvious extension, to Sony’s line of e-book readers). With Smashwords’ earlier announcement of a distribution deal making e-book titles available through Barnes & Nobles’ retail stores, it’s clear that the barriers to entry for independent authors in every market are falling by the wayside.

As a writer who wants to reach as many readers as I possibly can, and do so on their terms by supporting the format and technology that each individual is most comfortable with, it seems to me that I am very close to being able to do just that. I understand that there are a lot of issues to be worked out including compatibility problems, standards issues, proprietary attempts to own markets, etc., etc., etc., but from my point of view as a writer I don’t think I need to worry about these issues except to the extent that I need to understand the current offerings in order to exploit them.  [ Read more ]

Site Seeing: Smashwords

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Visiting well-established e-book sites like Smashwords.com makes it clear that the possibilities inherent in the digital revolution are already being fully investigated. Here and on other sites I’m seeing every logical web-enabled expression of the middleman/publisher role in delivering content from creator to consumer. And in Smashwords I have to say that the clarity of this expression seems particularly good.

As someone who is interested in creating content that can be directly consumed by an audience, it’s still an open question whether I want to involve anyone else. If I was thinking about going that route, however, I would take a serious look at Smashwords because I think it gets a lot of things right. But you don’t have to take my word for it.  [ Read more ]