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

Lost in Transition

The ISBN, ISSN, BIC and BISC codes and jacket images have all helped the trade, but do they still matter as much in the digital and direct marketing era?

It’s as if we have all been on a constant never ending journey to improve the contextual information and identification of works. Everyone in publishing today understands the relevance and power of good structured bibliographic information. This helps us search, find, validate and select the right work, but is this still enough in today’s consumer driven market?

Today we use the likes of Google to search, Wikipedia to search deeper, Amazon and ABE to search for books and the likes of email, Facebook and Twitter to communicate. The reality is that they are what many of us use and so are pivotal to any marketing strategy. Does the consumer know or even care about the ISBN and would they know the BIC and BISC category codes?

Today we have to start to think about the user, how they want to find things, how they socialise and how they can validate the relevance of what they find.

The emergence of the jacket image, which really started with the likes of Amazon in the 90s, has now become a de facto standard. Whether we like it or not, users can and will often immediately, ‘judge a book by its cover’. It’s hard to imagine selling physical let alone digital trade books over the internet today without the jacket, but is that enough?

We all dabbled with ‘search inside’, but even Amazon often got this wrong and their ‘surprise me’ page could often turn out to be a ‘reject me’ one. First chapters were not fully exploited as a free teaser and the page selection experience was and remains somewhat inconsistent and haphazard across the market. It is interesting that academic publishers often understood the key pages to sell their books, but others left it to the arbitrary, ‘pick 10% from anywhere’, which could include front matter and even blank pages!

A product description, (blurb) and readers comments and their ratings often now accompany an individual title, but again more as filler than a driver and are often restricted to one site. Some would also suggest that some consumer comments, read like they had been written by a marketing person, an author and not a consumer.

We have seen the author video which often was too long and also tended to play to the converted. We have seen the emergence of other video reviews from retailers and fans but these often languish on YouTube looking for a home. Youtube is as valid a promotion platform as any, but how many use it and what information is tagged?

Google gave us the ultimate search across the content itself but this often was only as good as the term used and the pages rendered. How many jacket images and illustrations are correctly tagged, promoted and linked through the likes of Google images?

So as we move into the ‘enhanced ebook’ world and the content itself can explode into different media, how do we package that contextual wrap such that it is contestant across the market, engages consumers and sells books, be they physical or digital? Esther Dyson once said that the key to the Internet was being able to find that digital needle in the digital haystack. We would suggest that we haven’t found it yet. We may also have to rethink what we do and consider a revolution not a gentle evolution.

Some would suggest we adopt the DOI identifier but they would be as foolish as when it was first muted in the late 90s. Some would suggest that every form of a rendition is given a unique ISBN and that would appear to miss the mark. Some would suggest it more important that we are able to group renditions and present choice than divide them and offer a disjointed picture.

Finally, we are moving from a front list bestseller mass market to one that sells all books, in all forms and has a distinctively long tail. How do we revisit those long forgotten titles and ensure that they too have visibility?

It is important that we recognise that context needs to be uniform and available to all across the market. So what would you see as the contextual information of tomorrow?

How Do We Identify Digital Content?

We now have ebook identifiers in the for of ISBNs which works fine for the work itself and we can have a separate ISBN for each rendition. We have a ISTC identifier which may help to group renditions to a work but has still bee adopted and or fully embraced within the trade. We don’t have an identifier for chapters or part works and although the ISBN may work it would appear to some to be a sledgehammer to crack a nut, especially if these were not effectively linked to the work. There are other issues or opportunities to link ISBNs to licencing, permission or access rights and ownership. After all we know that there is no Rights registry and the speed that the Google Book Settlement is going this review we be probably done and dusted before any decision is made.

Some ten years ago a group tried to force the DOI (Digital Object Identifier) onto the trade as a means of identifying ebooks. This somewhat naïve approach was thankfully shot down and effectively buried but is a reminder to all that the practical approach needs to be sought and it has to benefit all not just the few.

Finally we must remember that there is now a wealth of books coming into the digital arena that never had an ISBN are public domain or orphans. Some orphans may have an ISBN today which has long reverted in the physical world. Any solution should cover not just today’s books but also yesterdays.

Earlier this year BISG's Identification Committee began a review of the International ISBN Agency recommendations for the identification of e-books and digital content. They have now announced that they have contracted with Michael Cairns to ‘conduct an objective, research-based study that describes, defines and makes recommendations for the identification of e-books in the U.S. supply chain’.

We feel that their choice of Michael, who steeped in the trade and also ex head of Bowker, is a wise choice. The challenge now is to get the common understanding of the issues, an open debate of the options and a cross industry buy in to practical solutions that can be applied not just in the US but globally within the trade.

Google Knows Just How Many Books There Are?

It has been interesting to read a Google books blog by Leonid Taycher ‘Books of the world a stand up and be counted’. In it he asks the age old question ‘Just how many books are out there?’ Some would simply respond, ‘who cares?’ Who but the most anal of creatures, or Google, would want to have the precise figure let alone it to the nearest ten?

What is interesting is that in their quest for their Holy Grail they have stumbled across revelations most knew but ignored. They clearly want to capture all renditions and editions of a work ‘as we would like to distinguish between -- and scan -- books containing, for example, different forewords and commentaries.’ They also appear to like the definition “tome” which appears to merely mean rendition, but they like it.
They have discovered that an ISBN may be assigned to anything from CDs to bookmarks to t-shirts and have been so diligent to even have identified one assigned to a turkey prod and 1,000 to tee shirts.

So what is their final number today? When they have checked all covers, for what they refer to as ‘clusters’, the answer drops, from an initial 600 million, to a figure around 210 million. They then must then exclude those tee shirts, audio, videos, microfilm and that turkey prod! The answer then becomes some 146 million. They then touch on the world of serials which they estimate at 16 million, but cautiously note that the number is likely to rise, ‘ as our disambiguating algorithms become smarter’.

The answer today is 129,864,880! We note they went from rounded millions to the nearest ten!

Well we now know yet another piece of useless information and how Google determines its targets. However, we wonder with this level of diligence, why they still could determine the number of orphan works. No doubt they have an algorithm and some army of people assigned to that too!

Digital Commonsense

Years ago, in an earlier life around the mid 80s, I was part of the team at UK DIY retailer B&Q given loads of bad press for introducing trading terms which made it mandatory for all suppliers to trade via EDI. We actually only ceased trading with one partner over the issue and ironically a few years later they were back and fully supportive. Changing trading practices is not easy and in the case of the book trade often fraught with challenges in terms of its many to many supply chain. But trading stances have been taken in the past over the original introduction of the ISBN and the expansion of the ISBN to 13 digits.

So it was interesting to read today Personanondata’s blog ‘ISBNs on all formats’ which was kindly alerted today’s Book2book. The article states the obvious but also highlights that the view is not one universally held those in the US. In fact the attached comment to the blog clearly demonstrates the divide. Bleats of; its too hard, there will be too many, it will cost too much and do I need to, can be heard from some quarters, allegedly.

Forget the posturing and politics this is about product identification and is a basic foundation to all inter-company ecommerce and communication. It is as much about upstream as it is downstream and is fundamental to trade. An old friend Tom McGuffog, Director of Planning and Logistics Nestle and ex chairman of the UK Article Numbering Association (the UK EAN standards governing body now know as GS1 UK), once said ‘ uncertainty is the mother of bad trading, only by removing uncertainty can we trade efficiency’. So what if there are; 10, 20, 30, different ISBNs against a work? Each will be a unique rendition, may have different rights associated with them; different commercial models, even have different features and apply to different channels. Surely identification and consistency is a must.

Today many believe that we also desperately need a work identifier and the best practices to adopt it and deploy it. Some believe that it exists today in the form of the ISTC but that it has stalled, lacks a champion and roadmap and now needs to be adapted, adopted, marketed and deployed. Is it an identification silver bullet? No, firstly it is an attribute associated with and ISBN (a secondary reference), but it can go a long way to enabling the consistent grouping of ISBNs under a work, which will help everyone manage more ISBNs and will also help consumers select and choose the right rendition, which after all is what its all about.

Many also believe that we also need an answer to the identification of fragments and chunks. Some have argued previously for the DOI, but if fragments were to be popular do we only see them being sold digitally. The answer is that the DOI is a great resolution system for the online world, but it doesn’t fit neatly into the retail and physical world. The identification of fragments is not a burning issue today, but it will increasingly become one tomorrow and merely allocating more ISBNs to these may not be the answer.

We have many issues in the digital arena, but if we can’t agree and adopt what many believe is both simple and logical today and what has come fully endorsed by the standards bodies the industry has invested in, some would question what hope have we of resolving some of the more sensitive issues.

Standards

We fully support the standards bodies position on the use of individual ISBNs to identify the various different manifestations of a work. If there are three different ebooks, a hardback, two different paperback an audio and a large print, then each should be identifiable.

We also have long supported the use of the standard work number which has taken what seems an age to come to the market but can still do a much needed job in grouping all the various manifestations of a work under one umbrella. It would be good if some major players were to now insist on it use and full adoption and force the market to use it. There is nothing more frustrating than finding the various manifestations more by accident or resolving a widget only to be made aware of one of the works manifestations. The ITSC is not a traded unit but an attribute, or descriptor, that enables you to group many individual traded units together for information. It could be adopted initially just to group the digital manifestations of a work.

The other interesting areas are the selling of chunks, part works, chapters of digital editions and time rentals. These are harder to resolve but are equally important as they may have to be identified against royalty tracking, rights licensing and usage and permissions.

Finally, should be the ISBN on the copyright page of an ebook reflect; the physical book, the individual ebook, the work number? Today the ebook is usually a straight copy of the physical one and therefore using that should be acceptable but as they evolve and start to differ then this may not be the case. As the copyright relates to a work maybe this is where we should use the standard work number?

We do not envy the hard and often thankless work done by the standards bodies. They now not only have to grapple with an explosion of issues but more importantly have to communicate these succinctly to market and achieve their adoption.

So how do we Identify a Chunk?

The trick to any machine to machine communication is identification of the product and clarity as to what to do. The ISBN was a great identifier and has served the industry well and no fits even more comfortably within the EAN structure. The adoption of the ONIX/XML message again was a significant step forward and has positioned the industry well in it e communication.

We read today of the edict that the industry should provide a separate ISBN for each digital rendition of a title. This makes logic sense as is what has to happen. After all who would dream of giving the paperback, hardback, large-print copies of the same title the same ISBN? The long overdue ISTC number, which is to identify and effectively group all impressions of the same title, also makes good sense. It’s just a pity it has taken so long to come through the process to the market.

The challenge however lies with the fragments or what is commonly referred to as chunks. The DOI is a great mechanism for referential linking and provides persistent resolution but is it the right means of identifying chunks? We think it may be a sledgehammer to crack a nut and its structure is not one that would be easy for the trade to adopt for this purpose. It works well in an online world of search and discovery but the trade environment it will be significantly different from the academic or educational ones. The question is about what we need to identify chunks for and what we want to do with them once identified. Even if we want to sell chunks do we have the pricing structure or the permission rights processes to do it and track the money through to royalty. Today the easiest solution to fragments is to issue them ISBNs and to link them to the title via a combination or an ISTC.

This issue will grow as content starts to fragment and break from the jacket which once held it so neatly and is a challenge to us all.

So how do you identify a digital fragment?

Nielson informs us that the number of titles published in 2006 in the UK has grown from 110,925 to 115,000 and globally in the English language from 256,500 to 258,350. In addition the number of publishers has risen to 2801 from 2739.

In years past we would all raise our hands, scream and say ‘can the market ever consume that many books?’ However, today the world is changing and we should welcome the news. The questions now are what is a title and how are ISBNs being used within the digital world? To-date, the allocation of ISBNs has been the barometer commonly used to measure the volume of published works but it becomes increasingly murky in the digital world.

As every individual rendition of a title requires its own ISBN the digital world potentially doubles the potential number of ISBNs. There will be separate ones for MS Reader, Adobe, OeB, Mobibook, Sony etc. They will be many different ISBNs against the same title (hardback, paperback, audio CD, large print, ebooks etc).

We welcome the long overdue introduction of the ITSC (International Standard Text Code) which will be the system for the identification of textual groups of works. The ISTC will be a unique, internationally recognized and permanent identifier for each textual work to which it is assigned. It will uniquely distinguish one textual work from another across national boundaries and language barriers, regardless of the various editions and/or formats in which a textual work is published. The ISTC starts to address the aggregation of works and is long overdue but still poorly communicated to the industry.

At the other end of the spectrum, the digital world introduces fragmentation, be it chapters, pages, or paragraphs. These can now be sold individually, or combined with others to form a new work. Today many have started to issue ISBNs against these fragments and although this is not desirable, fragments need to be identifiable and track able in the digital world. Permission rights may be assigned to fragments and importantly transactions need to be aligned to them.

So we have a potential explosion of ISBNs which all will require their own metadata, rights, commercials and a need to be resolved. We also have an explosion of contextual information in an increasing number of media formats and constructs. Some may immediately point to the DOI as the solution but others that its open ended construct and resolution would not be conducive to the wider commercial sectors.

What is clear is that we may find standards coming not from within, but out with, the industry to fill the gap. That is unless the standards bodies can act swiftly, agree, communicate a solution and move the agenda forward.