Amazon Deliver A PR Bomb To Hachette?

The problem with any open confrontation is that often things that were really said in public have a habit of rising to the surface and becoming public. Public Relations people then try to put them back into the box, or rationalise the issues, but often the damage is done, or the public’s perception has changed. Propaganda is a powerful tool when communicated effectively.

Today’s standoff between Amazon and Hachette is becoming increasingly visible to the public. Some would say that the majority of book buyers are more concerned about getting the right price and service for themselves than they are about the trading terms between publishers and retailers. This makes sense and for many it is as if this battle is taking place on another planet. But then we introduce the emotive strings and issues that attempt to sway opinion. Not many care about the plight of the main protagonists, but introduce the authors and that changes things a bit. One side infers that authors are being exploited, and the other also says that they are being exploited or harmed by the action. Some would suggest that the author is are mere pawns in this battle.

We now have Amazon making a public statement ‘Update re:Amazon/Hachette Business Interruption’.

The statement is logical from Amazon’s perspective and makes arguments for lower ebook prices, which reflect the reduced usage rights, plant and distribution costs. They suggest a price point of 9.99, but also recognise some books will cost more. They put forward their revenue model split between themselves, publishers and authors and then say we’ll give you 70% and you guys can sort it out the division between yourselves. They argue that lower prices increase volume sales which in turn create greater revenues for all.

What Amazon have subtly done is drop a PR bomb into the publisher lap. They have questioned the royalty paid to authors, knowing that their suggestion is higher than what publishers gives. They have started to make the public more aware of the differences between the usage rights costs and pricing of ebooks, and in doing so promote themselves as consumer champions. This interestingly moves the debate into the public arena and starts to set the public argument and seize the public initiative.

Can the publisher respond effectively and seize back the propaganda war, or will they aim to muddy the waters and strike back with a fresh angle of attack?

What we are seeing can only benefit two people in the end, the author who will demand more and whose case is being strengthened by the day, and the public who will get cheaper books as the ebook RRP comes under pressure. Will it benefit Amazon over others, or will others benefit from the stance taken by Amazon? Will others step in and try to broker a deal or will Amazon simply and suddenly capitulate knowing that they have already scored their points and leave the fight for another day?

  

Self-Publish And Be Dammed?

We read today of rise of self-publishing and the claims that ‘Self-publishing boom lifts sales by 79% in a year’ made by industry analysts Neilson and published in the Guardian.

Steve Bohme, Research Director at Nielsen, claims that of the 80 million ebooks sold in the UK at a value of some £300 million, 18 million were self-published at an average price of £1. So whilst the volume of self-publishing was a little under 25% of the UK ebook market the value of the sales was only half that at some 12%.

There are many questions about these and other self-publishing statistics. How much of the research is qualitative and how much is quantitative? How much is actual sales of all self-published books and how much is restricted to tracking industry identified book units (ISBN)? It is easy to be subjective, but the actual detail often remains inaccessible and therefore any statements and predictions often carry a word of caution. The time old practice of measuring the market by number of new books published a year, is becoming meaningless in this new virtual world, where multiple renditions often exists and the front list, or ‘new’, is increasingly hard to define. The industry failed to adopt the ISTC (standard work identifier) and as a result relating different renditions can be a challenge. Separating out the self-publishing titles is even harder as digital self-publishing is also not restricted to authors and is being used by agents and small publishers and we must not forget that it also includes print on demand channels such as Create Space and even audio.

We are however where we are and it is hard not to appreciate the massive explosion in digital self-publishing. This has been enabled via no cost and self service programmes such as Kindle Digital Publishing (KDP). The number of titles now taking this or similar routes to market is hard to accurately measure and therefore too are the sales.

We understand some of the self-publishing drivers, but we often lack the actual sales that are actually being achieved. Whilst some authors claim huge sales, some works sit on the shelf untouched. Prices fluctuate from free to a few pounds, but owners are often continually manipulating these prices in order maximise visibility and sales. As a result prices, although low, are all over the place, which in turn put pressure on the pricing of more traditional works.

Traditional publishing has developed, honed and established processes, relationships and practices from the author to the reader over many years. Although these characteristics may vary from sector to sector, in many sectors the prevailing model still remains largely one based on spread betting that is controlled by the publishers, where the winners compensate for the losers. Some bestsellers may be manufactured and according to their marketing spend be hits before they have hit the streets.

However, publishers are increasingly becoming risk adverse and in doing so are potentially now shrinking the number of wild punts they take.

For many readers the publication date has not been the buying driver and ‘latest’ often only means the newest to be discovered, not latest to be published. However, the publishers remain front list focused with what some would see as a mission to discover the next ‘50 Shades’, ‘Harry Potter’ and Christmas celebrity blockbuster etc. In the physical world the promotion and development of the backlist does not always generate the returns offered by a new bestseller. However in the digital world a strong and visible backlist can provide stable and sustainable income with little cost. This potential quick win is not lost on authors who have often got reverted backlists that are potentially waiting to be rediscovered.

The size of the content of a title is still being driven by the economics of the physical rendition. The distribution and metadata is still conforming to the physical supply chain needs. The rewards, rights and royalties remaining locked in a time warp as if digital never happened. We still think in terms of library and bookshop shelves and not virtual ones and restrict how we describe works to filling in predefined boxes. Digital books are still often restricted to sitting on limited shelves even though their appeal may be applicable to many genre. We are managing ebooks as if they were pbooks which again is opening up opportunities for self-publishers to self-publish and appear more relevant and focused.

The market share of digital to physical continues to be an industry obsession and in part is driven by the majority of the physical book content remaining identical to the digital with the physical content merely being poured into the digital container. We have created a cannibalising engine which although like other media will not entirely replace the physical, could seriously undermine the supply chain economics on which it works today. However, this is not the case with much of the self-publishing market which now sidesteps the often uneconomic print rendition. So despite Amazon’s Create Space print on demand service digital self-publishing is growing disproportionately to traditional digital publishing.

Self-publishing is being championed by those who control virtually all current ebook sales. The likes of Amazon, Kobo, Nook not only assign their own identifiers and do not make the ISBN mandatory for ebook self-publishers they actively promote their services for free with royalty rates that make even the best publishing digital royalties look miserable. Yes, publishers can add value by promotion, marketing, and generally help raise the visibility of their works and that may be appropriate for front list titles and those released in print but doesn’t always apply to back list, mid list which now find themselves fighting for attention alongside increasingly more professional looking self-publishing titles. It is very questionable why any author should allow publishers to simply digitise their back list without term time break clauses and a revision of royalty terms. The ebook services also add value to authors in showing current sales activity, royalty earnings and even pay on a monthly basis.

If we finally accept self-publishing is a growing force and segment within the market, how do we relate to it, measure it and respect what it offers authors and readers alike. Merely brushing it under the carpet or closing one’s eyes to it is not the answer as this will only deliver aftershocks and surprises. Locking authors into perpetual contracts for their backlist as well as front list will surely only come home and bite hard. Paying authors poor digital royalties that look to some greedy and to others just stubborn will only increase the flow to self-publish digitally.

It is often one thing to identify the threat and another to focus on the opportunity. Publishers are not structured to absorb self-publishing and by their nature are selectors and curators. We now live in an environment where anybody can publish a video on YouTube, perform their music in the social network arena, review whatever, write blogs, stories etc. This is to be embraced and supported and even though many still see it as a threat self-publishing actually compliments and can enrich traditional media publishing.

Some previously related articles:

Digital Warming and Self-Publishing , Feb 2014

Self-Publishing is Just Going to Get Bigger Embrace it, March 2014

Another Day at the Races, Feb 2014

Consumers Discover Self-Publishing, June 2013

Authors Need eReward

We read that the EU is now considering harmonising VAT on ebooks across the community and that the likely solution is that they will become zero rated. This would also negate the need for tax to be levied at point of consumption in 2015 and remove one aspect of the Luxembourg magnet for digital distributors and retailers. We also are all aware that a further ratchet twist of UK ebook pricing is taking place between Sainsbury’s and Amazon, with front list ebook titles dropping to 99p. We also read about the emergence of ebook subscription models and services which would generate new revenue streams and services.

Some view the moves as being good for publishing, publishers and readers. However, does this mean that they are good for those key players, the authors?

Let’s look at the 99p best seller. Today any title distributed in the UK incurs a 20% VAT charge. If distributed from Luxemberg it incurs a 3% charge and the distributor effectively buys VAT inclusive at 20% and sells VAT inclusive at 3% and the 17% goes to…. The retailer takes say a 30% levy for the transaction and the rest goes to the publisher. The publisher then pays the agent say between 15 and 25% of their receipts. The agent takes off their say 15 to 20% fee and the author gets what is left. Not bad you may say when the starting figure was around £6 but not a lot when it plummets to 99p.

However, the price war is just temporary you may say, prices will revert upwards and not all ebooks are at 99p. Well we have seen the rapid reduction in prices over a relatively short period and it is fair to assume that when retailers start to create price points- they stick.

Recent figures demonstrated that consumers liked free, 0.99 and 2.99 but were unsure about 1.99 and their interest tailed off as prices rose. We are now seeing price point consumer perception and this will be hard to change. These are licence more than outright ownership sales and the price has to reflect this.

The move towards zero harmonisation is welcome by all, but will the money flow back to the; consumer in lower prices, the retailer through tighter margin negotiation, the publisher in retaining the RRP at zero rate, or flow back to the agent and author? We can’t assume anything other than many of the above will lay claim to it.

Finally, we have the emergence of the ebook subscription model.

Why would consumers commit to a subscription model when the pricing of ebooks is dropping and pricing is unstable? If prices were high and stable then a subscription model based on low consumption may have an appeal, but in the current climate and with relatively inconstant and low consumption rates, it makes little sense for ebooks unless the offer is coupled to other media or service subscriptions. It would make sense for someone like Sainsbury’s to tie subscriptions to other services and cross subsidise and offer a value added consumer proposition. But ebook subscriptions to remain by themselves.

Again the author will only get a slice of revenues generated for the material read. As we have pointed out earlier this week reading habits will could also hinder reads being recorded and paid out on.  

We can only speculate on the outcome of these three options, but we must remember that there are two critical people in the value chain, the reader and the author and that any pricing and model for must work at not just one, but both ends of the spectrum. 

A New Era of Author Care?

We live in a connected world where information can be instantly available at a click. However, information on book movement and sales has todate often been a dark secret and a source of frustration to a major stakeholder – the author.

Today three major publishers have announced in the US that they would allow their authors to access book sales data directly online. Simon & Schuster have created an author portal, where authors and illustrators can check sales of their books, by format and merchant and including digital. Random House and the Hachette Book Group have also declared plans for their own portals for authors sales information. This in itself a significant break through and starts to make sales data transparent, embraces authors and is to be applauded.

Some have suggested that the motive behind the initiative is to combat Amazon, which gives authors access to data on their titles from Nielsen BookScan and also allows them to check their sales ranking compared to other books on Amazon. If this is the case it should be accepted as a price to be paid for not acting earlier and making business with author transparent in the first place.

The big question is whether this new wave of Author Care is to be consistently applied across all publishers, or remain as a tool by the big publishers to differentiate them from the smaller ones who will find it difficult to compete. As the creators are the ones who input the most it would be great if industry bodies such as the APA or AG could help facilitate a similar service for smaller publishers and their authors.

There will always be issues re timing and accuracy of the feeds but as the likes of Bookscan have proved, there should be no reason in today’s world why information lines are so broken and inconsistent.

Authors should only need to see actual sales to consumers, not the units shushing around in the market. Trying to explain sale or return movements to authors may prove a very interesting exercise and its not one that they need to understand today. However they will need to see special sales as units sold firm to intermediaries.

Digital sales are different and should be instantly available, as in theory, they only leave the digital warehouse when sold. However the more these are with aggregators the more difficult this often becomes. This brings us to the next logical issue of royalties and whether this new era of transparency will lead to a long overdue open reporting on royalties and speeding up of payments? As more contracts adopt reward based on net sales the actual cost of sales and not price paid by the consumer becomes important. With respect to digital sales and the agency model there is little reason why monies earned should not straight forward and even transfered in the swipe of a card. We realise that may be too much to ask but it should not be too much to strive for.

As many author advances and rewards shrink we must strive to look at ways to keep them better informed and pay them quicker.

Where's the Value Chain in Agency Pricing?

To some the agency model appears to be the way forward and the answer to discounting of ebooks. To others it seems to not only like a step backwards towards fixed price maintenance, but similar to the boy sticking his finger into the dam and hoping it will stop the flood.

This week came an interesting piece from the Doris Booth, Editor in Chief of Authorlink titled ‘Publishers’ Agency Model Punishes Mid-List Authors’ and we recommend it be read, irrespective of your persuasion. Booth has a witty take on the conversations that may have happened between the publisher and reseller and also points out the flaw in Macmillan CEO, John Sargent’s public defence of his actions from a mid list author’s prespective.

Many analyse the maths and conclude their perspective is correct. It is hard to argue with maths, but we first must agree on the common figures which are to be manipulated and there we often unfortunately loose the will to live. We however take a very simplistic ‘value chain’ approach that views, the author putting value in at one end and the consumer putting cash in at the other. Everyone in between has to add value and justify the cash they take out, or their place in the chain. There is no divine right to exist and no matter who you are, you have to earn your place between the author and reader.

In free markets competition is healthy and although it often drives down prices and rewards this keeps everyone on their toes and ensures the consumer gets a competitive price. A fixed price market often creates pockets of fat and can result in a poor deal for those that count, the creator and the consumer, whilst making a guaranteed deal for those that should be striving to add value.

It is interesting that the agency model was introduced with Apple iBookstore and introduced contractual price fixing on ebooks and a simple way for them to calculate revenues. Why are physical books different why isn’t price fixing introduced to these and why is the consumer subjected to false regulation in one format and not in another?

Some believe the agency model creates a level playing field for all resellers. The reality is that the only level playing field is between the giant technology companies and resellers. The rest could be said the be wearing very unattractive one piece swimming costumes in a beauty contest competing with a bikini clad Amazonian. Guess who wins that contest?

The agency model like the Google Book Settlement before it appears to being force on the industry by some who some would say know best. However just like these other leaps into the dark it appears to be ill conceived and now faces review by two state Attorney Generals. Also there are tax collection issues and the need for retail pricing strategies that are often foreign to publishers. It has already been adopted by a number of large publishers and resellers, but the issues surrounding the new agency pricing may be far from over.

"Please, sir, I want some more."

Are authors revolting? Some would leap to the barricades before we have had to time to explain that the question is not aimed at a general view of authors, but at their reported press coverage of late.

Booker prize winner, Ian McEwan has signed a deal with Rosetta Books. The objective is aimed at exploiting his back list within the ebook market through an ‘exclusive’ with Amazon. It follows on the heels of a similar deal by Stephen Covey and could be followed by others who now seek a bigger royalty slice of the publishing cake.

The Society of Authors in the UK has raised the issue of digital royalties and is clearly placing their stake in the ground quiet a distance from where many publishers have pitched theirs.

We then have the case of Ursula Le Guin who is gathering support in her quest to awaken her peers to the dangers of the Google Settlement and what is perceived as a case of bad representation by the Authors Guild.

We are reminded of a conference in the 90s where a speaker was looking at Internet marketing and promotion from the authors perspective. He used a leading writer as an example of good self representation and contrasted this with the limited representation by the publisher. The twist was in asking the audience where the buy now button went on the author’s site – Amazon. The added twist was that the publisher’s site also went there too and this was before Amazon was the force it is today!

Around the same time we tried to promote AuthorCare solutions aimed at opening up the publisher’s back office to their authors and making sales and royalties more transparent. The market response was very much that it was not needed and it was already open and transparent.

The two people that the greatest value are the author and the consumer. Digitization has already impacted the relationships in the music industry between artists and producers and is also impacting other creative media sectors. If authors are asking for more, or a better representation then surely we should think twice before adopting Mr. Bumble’s response.

The ePrice is not Right

The news this week that Sony want UK ebook pricing to come down demonstrates that the issue of ebook pricing has many vested interests. We can’t assume that these perspectives are shared and in many cases are in fact pulling in different directions.

What is clear is that there is no standard epricing approach. Most publishers choose to align the digital price to the recommended retail price (RRP) of the physical rendition, but even here there is inconsistency. Do they choose the hardback, the paperback or start with the hardback and then flip it to the paperback when it is released? Go they hold back its release and release it alongside the paperback? If the price remains aligned to the physical rendition does this mean that when a reprint is produced with a higher RRP the ebook price rises too? Audiobook pricing has long stood by itself and has not been aligned to the physical rendition, so why do it to ebooks? The big question remains - How does the consumer feel about different pricing for what is exactly the same product?

Some believe that a staggered release similar to that used in the film industry is the best way of avoiding the cannibalising of hardback sales. This may work for a few but the content isn’t any different and the experience is much the same and deliberately denying consumers access is an open invitation to the digital pirates who plague the film industry and feed off this staggered release policy.

Some argue that the publishers have given away control of price but others would suggest they never really had it and their only action was to raise prices to offset discounts but maintain margin.

We must also remember that audio books and ebooks incur tax. In the UK physical books are tax free or zero rate whilst digital is at full rate 15%. In other countries the rates differ between the physical digital renditions and across Europe there is little standardisation on VAT. An ebook to a Dublin reseller will not cost the same as it does to a London reseller, but they may well sell for the same price. As all books are sold VAT inclusive, the consumer is often unaware of the tax incurred and only sees the price paid. However, unlike other products, here we have an identical product where VAT is charged differently based on whether its digital or physical. We all see the stupidity, but we must not assume that cash strapped governments will level them at the lower rate.

Then we have the retailers who want to create a price incentive and some big players are prepared to discount at a loss. We have ebook device manufacturers who like Sony only understand volume sales and want cheap books so they can sell more devices.
Finally, we must also not forget the author who is struggling to establish a living based on royalties that can appear to be a moving target. If the ebook becomes a cheap rendition how will the author be rewarded? Where do they want the price to be set?

We already have royalty contractual issues on ebooks. Should these remain as a fixed percentage of RRP, should it be a % of net receipts, should digital be fee based, should they be treated as special sales?

Its understandable to reduce the price of ebooks, to sell them at a fixed price point, even give them away as promotional leaders but the author must be included in the mix. Today we read that Smashwords, a self publishing operator is to supply B&N with their titles. They publish some 2,600 titles per year and give the author 82% of the sale. Is it now time for more authors to wake up and smell the self-publishing coffee?

What we believe is important is that each perspective is understood, but that the industry is not seduced by new entrants with different drivers and works to bring some sanity to this new market opportunity that will enable it to grow whilst rewarding everyone who adds value.

Carpe Diem

It’s the aspiration of the vast majority of the population to write a book. So has digitisation made it easier or even harder to get published today and what are the dependencies, relationships and rewards in this dynamically changing environment?

The publishing trade is shifting from one where publishers looked to cultivate long-term relationships with authors and develop their stable, to one where the greater emphasis is now to sell books. Some would suggest that it’s not a bad thing to focus on moving books rather than merely printing them. However, does that change the relationship and with it the contract between creator and producer?

Some see digitisation as just a change in output format whilst others recognise it challenges the traditional relationships. In a world where print on demand can effectively remove the term ‘out of print’ , we now have to understand rights reversals, term contracts, the line between promotional material and content itself and much more.

The changing marketplace is being driven by global economics, network connectivity and technology. Territorial boundaries that existed in the physical world are now questioned in the virtual world. Roles that controlled the physical world are being challenged by networks and what once was a unique, or highly skilled operation is becoming commodity available to all. Define an; agent, publisher, distributor, wholesaler, reseller, library and digital aggregator, then ask what the following are; Amazon, Google, Ingram, Barnes and Noble, Apple, Sony, FPD, Lulu, Scribd? Are we seeing the divergence of the market into more highly focused vertical segments or richer flatter horizontal ones? Which is better, volume through a supermarket, book club and internet sales or the traditional trade channel? Is publishing becoming more a ‘department store’, or niche and boutique? Are ‘special sales’ becoming a little less ‘special’ and what is the impact of all the above on the author?

So where does the aspiring author pitch their manuscript? Do they go the traditional route and hunt the agent? Do they put their manuscript up on the many social slush piles and hope to get spotted? Do they self publish and pay to achieve their ambitions? Digitisation certainly helps in both the availability of options and the lowering of the economics, but is it enough? The fact is that the number of titles ‘published’ by whatever means and in whatever format is going to continue to grow. The number of ‘best sellers’ are going to reduce and the traditional bookshelves will get smaller. The digital world enables consumers to be more discerning, eclectic and virtual and it also increases the potential for more consumers to read what they would never find today.

The biggest challenge is not digitisation, but its impact. We may focus on the consumer, the latest devices, even the price of books, but unless we pay equal attention to the authors of yesterday, today and tomorrow, we may find as with other media sectors, it is they that hold the keys to many digital doors. What is the appropriate royalty expectation on digital sales? In a world where pricing is ill-defined, should royalties be based on list price or net sales? When digital removes ‘out of print’ should contracts be term based? Musicians, sportsmen, entertainers have all started to take control; is this now possible in the world of the book?

The one thing that is certain about tomorrow is that the aspiration to write will not go away and irrespective of how it is achieved, neither will the reward sought for doing it.

Dear Author

The news today from Richard Curtis’s eReads blog, ‘S&S Follows Random in Reduction of E-Book Royalties’, may have raised some eyebrows. We wondered how the news may be broken to agents and authors. The letter below is purely fictious and is not representative of any letter that may have, or may be sent.

Dear Author…

We are all excited about the potential opportunities that digitisation offers the book trade and although sales today are relatively small, we are convinced that through our astute business negotiation we are building digital business models and distribution channels, that will ensure that we get our due return on our huge investments.

As you know we are investing huge sums of money in our digital programs and when we finally get round to digitising the total publishing process this will make us more productive and lower our cost base. We will also be able to digitally promote your works so benefiting all.

We realise that you enjoy bookshop library visits and signings, so we are pleased that these will continue for the physical books. Obviously, many small independents will not be able to sell digital copies and ebooks can hardly be signed, so we are therefore focusing on all the big aggregators, Amazon and of course the new breed of booksellers, Google, Sony etc. These will obvious sell lots of stock, albeit at maximum discount.

You may be aware that some major publishers have just announced, (Simon & Schuster and Random House), that they are unilaterally switching to a 25% royalty on net receipts on digital and audio download sales. This obviously is a greater % for you and everyone benefits. Some would suggest, today's list price has to be inflated to accommodate the increase in discounts being demand by many resellers, but in our case it clearly is not so. We also believe that the digital recommended price should reflect the current edition. This would align the recommended price to that of the hardcover when that is out and the paperback when that comes out. We realise that the consumer may be a bit confused as to why the price of for the same title, in the same digital format, with the exactly the same content, is the same, but they will get to understand its down to marketing and selling it at premium and then discounting it later. We are convinced the big resellers will understand. You may wonder what happens in Europe with VAT and how the recently announced potential drop in tax due on digital copies will affect the price. Many of us today merely deduct the tax of the list and stand this, so any reduction will benefit both of us as we will keep the price the same.

We were sorry that we upset you when we tried to take away the right reversal clause in your contract, but we have help shape and support the historic Google settlement that among other things sorts the problem out and also mops up all those poor lost orphan works. We realise that you may be also wondering about the Google settlement and how it will effect you and why Google is paying a different rate on sales and how they derive the price of your old books that are no longer in print. Don’t worry we will as ever, support your best interests and reflect this in your royalty statement.

Yours…..

National Digital Library Tickets?

The Bookseller today covers the UK shadow culture secretary Ed Vaizey thoughts on their , "Renaissance for Libraries". Much of what he says makes a great deal of sense but one line drew our breath. He is reported as saying that they would also bring in a national library card, allowing library users to borrow books from any library in the UK.

This would obviously throw up some interesting issues on physical books being borrowed and not returned and the whole issue of the cost and implications re recovery but that apart it also throws the libraries into potentially direct conflict with retail in the digital world. Here the stock is virtual, the registration central and the reality is that a user would be able to access anything without leaving their armchair or paying a penny for it.

We have asked before about this clear clash of business models that has always been there but is now becoming greater under the digital umbrella. Can libraries sell books on rental under their royal charter and if so what is the difference between a bookstore and what could become the UK’s largest chain? If they can’t sell and lend them as current, what is the incentive for any consumer to buy a download when they get it for free?

Importantly how are authors to be rewarded if the library digital lendings increase? Do they share a pot of money such as PLR which is capped, or do they get paid a real royalty per transaction?

There is nothing wrong with sorting out the library system which is not broken but in need of some attention and TLC but we must recognise the conflicts and other changes that need to be considered and in doing so ensure we develop the service and reward the creators. This is a glass half full with masses of new opportunities for all, but we don’t know what we don’t know and every move has an implication.