07-26-2012, 12:52 PM | #76 |
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They will never be able to do the developmental editing either since they are not forced to listen to the editor that they are paying themselves.
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07-26-2012, 12:58 PM | #77 | |
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Most of what I've heard lately is about what the authors are doing *themselves*, which is stuff they can do regardless of the publishing track they choose to follow. |
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07-26-2012, 01:06 PM | #78 | |
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None of them are able to call media attention the way Macmillan or Random House can. Maybe Rowling or King... but maybe not. I have doubts that either of them could pull as much media attention as Doctorow if they didn't have their publishers' support. I don't mean that all or even most would-be authors can do all their own support work as well as publishers can--just that, among those who *can* do their own support work, there's at least one aspect of it that they can't do as well as a skilled large company with resources. Of course, for that to matter, the large company needs to *use* its resources, and apply them with skill, and we're not seeing much of that. They seem to be under the impression that if they stick to the habits that made them profitable 10-50 years ago, they can ignore newfangled media changes and still be profitable. (That, or their marketing staffs are incompetent bozos who think that having a Twitter guarantees attention and sales. I'm not sure which I think is worse.) |
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07-26-2012, 02:04 PM | #79 | |||
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As the sheer volume of self-published works rises, gatekeepers will be more and more critical. They don't have to be publishers, and will never be perfect, but the more crap that's out there, the harder it will be to wade through.
Self-publishers also don't normally get anywhere near prestigious (or half-way decent) reviewers -- another gatekeeper. Quote:
2) It's very easy for an author to fire an editor who is in fact doing good work, and doing what they're supposed to do -- namely, challenge the author to do better -- mainly because they hate the idea of someone changing their work. 3) Good editors (and formatters, and cover artists) are not cheap. You're basically pushing a few thousand dollars onto each self-publisher, or at least those who actually care about their work. Don't forget the authors will also have to absorb any and all legal costs, PR costs and advertising costs. It should not be much of a surprise that many who benefit from self-publishing are authors who were already published, already have industry experience, and thus have significantly lower costs for distributing their own work. Quote:
At least some authors can't do their work without the advance, especially if they actually need to do research to write the book. I agree it's up to the author to decide if that's something they want or need. However, you're not going to get an interest-free loan from a bank. Quote:
For example, when I navigate to the Kindle Books initial page, there's a "New & Noteworthy" section. The titles are published by Amazon Crossing, Thomas & Mercer, 47 North, Montlake Romance -- i.e. Amazon imprints. One is from "Other Press," which appears to be a small publisher. How can a self-publisher compete directly against their biggest distributors/retailers? Another element to consider is that in theory disintermediation is great, but in reality it means more work, more exposure and less protection for the authors. If the DoJ gets its way, it won't be long before Amazon is back to dominating the market, and will be able to impose higher costs on self-publishers. People will kvetch and moan, but the reality is that anyone who will want access to the big retailer will have few options but to knuckle under. Meanwhile, the music industry is several years ahead of the book business. The record labels are also far, far more mercenary than book publishers. So what do we see? Is the top 100 better quality than it was 10, 20 or 30 years ago? (No.) Has it been bum-rushed by self-publishing musicians? (No.) The record labels are threatened -- but not because fully independent musicians are disintermediating, but because revenues from recordings are dropping overall. Recording revenue is plummeting, which means the only way to really make a living as a musician is from live touring and merchandising. I.e. the Wonderful Digital Future really has not materialized for musicians. And the same is a likely outcome for authors as well, who will find it harder and harder to rise out of the sea of self-published drek, and will become more and more dependent upon Amazon as their distributor and retailer. |
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07-26-2012, 02:15 PM | #80 | ||
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07-26-2012, 02:23 PM | #81 |
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No sympathy for traditional publishers. If they don't get their act together, the market will crush them.
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07-26-2012, 03:11 PM | #82 | ||
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07-26-2012, 03:19 PM | #83 |
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Except they only do that, in general, for big bestsellers at least to any great extent. Most mid list authors I can think of do most if not all of their books advertising and marketing themselves.
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07-26-2012, 05:46 PM | #84 | |
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Publishers need to be aware of that, as more backlists are reclaimed and self-pubbed, and more midlist authors opt to self-publish rather than seek a second BPH contract. Advertising is something that publishers *can* offer, as a reason "why you should accept only 17.5% of cover price on this book when you could get 70% selling it yourself." 18% of a big marketing campaign can be a lot better than 70% of a blog-based push for readers. However, for authors to accept that in the future, the publishers will have to convince the authors there will actually be an advertising campaign. |
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07-26-2012, 06:26 PM | #85 | |
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Meanwhile, global recording revenues fell from a peak of $26.9 billion in 2000 to $16.6 billion in 2012. But let's not get too far off track. Namely: Music started trying to disintermediate as far back as 1997, with efforts like MP3.com. And yet here we are, 15 years later, and the structure isn't much different. Most of the top 100 are artists on big labels, with the occasional indie label poking in. Despite the dreams of numerous musicians hoping to be free of the evil record labels, we have not wound up in a world where the overwhelming majority of musicians earn a living by selling their recordings directly to the public. |
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07-26-2012, 06:39 PM | #86 | |
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Of course, with typically-higher Trad-pub'ed pricing, the advertising not only has to convince people the book is worth reading, but also worth paying 2-5x as much as a self-pub'ed title. Might not the two effects (ads and higher price) cancel out? In other words, what if the advertising is needed merely to offset the lost sales due to the higher price? Writers have to take a lot of things on faith regardless of the path they take to market. I'm thinking it will be a few years before there is enough data to measure the price elasticity of ebooks with any meaningful accuracy. Once that is known, we'll know if Trad-publishers (and advertising, if any) actually provide added value, instead of taking it on faith. Until then, all we have is stuff like this interesting (but at least partly self-serving) analysis: http://blog.smashwords.com/2012/07/h...ould-harm.html If we believe Coker, a 3-4X price increase results in something like an 85% drop in unit sales. I'd like to see where he gets those numbers but they sound like a start for a proper discussion of price elasticity. Edit: this thread is probably not the best place for that discussion. Maybe a new thread in General discussions? Last edited by fjtorres; 07-26-2012 at 06:44 PM. |
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07-26-2012, 06:55 PM | #87 | |
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And almost half were for indie publishers. The TV ad was William Patterson, naturally. With hundreds of thousands of title published annually it's just not possible to market every one comprehensively ... thankfully. |
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07-26-2012, 07:07 PM | #88 |
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I, on the other hand, avoid advertisements. I get very few through my email, and email from senders I don't recognize get deleted unread. I use ad blocking software, so I don't see ads on my computer screen.
I get my book suggestions via a few trusted review sites - and I have plenty to read, more than I can catch up on. I may be excessive in my avoidance of ads, but advertising dollars are wasted on people like me. So publishers have to add more value to their books than just advertising for me to be willing to spend money on the Big 6 books. Things like gate keeping and editing (more than just proofreading, but true editing) are more important to me - and poor editing and formatting are usually called out in the reviews I read, and so factor in my purchase decisions (although as I get better at using Calibre and Sigil, there's a lot of bad formatting that I'm willing to put up with - heck, it's even kind of fun.) |
07-26-2012, 07:29 PM | #89 | |
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Or E.L. Doctorow? He gets no media attention, except among literature snobs (and one Presidential award, I guess, devoted to the type of stuff that literature snobs like). Frankly, if either of them put out a book, you hear nothing in the mainstream media. If Rowling has one coming out, it's pretty much everywhere (people are a bit too used to King, so it's not considered news when he has something coming out :P - but it doesn't need to be, since he can sell on his name alone). |
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07-26-2012, 07:33 PM | #90 | ||
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