Publishing in an age of change:
a collaborative project by Meanjin, Overland and if:book.

New publishing models: a shifting of power

Posted at Wednesday 09 Jun by Guest post –
Sam Cooney
.

This article appeared in the May issue of WQ, the Queensland Writers Centre’s monthly publication. Past issues are online, as is a wealth of other info for Queensland and Australian writers.

img_0449 Publishing isn’t dying. Don’t believe anyone who says it is, because they are reckless and hunting for headlines. Yes, publishing is changing, and fast. Author Philip Pullman, having just launched an enhanced iPhone app along with his latest book, says that all the changes make him feel ‘as if I’m tied to the front of a runaway train with a driver who has just had a heart attack’. An industry that not long ago was stalwart and reasonably predictable is now hurriedly embracing (or being forced to embrace) ebooks, free content, and similar new-fangled developments. But dying? Not a chance.

See, we live in a consumer-driven world, and people want to read. Sure, they are no longer browsing in the traditional places, and they definitely aren’t as willing to simply hand over money for a set amount of printed text. That straightforward customer–supplier link is now somewhat outdated. However, as long as some of us write stuff and others read it, there will be a publishing industry.

Novelist and blogger Levi Montgomery bemoans the naysayers in a recent article, using the oft-cited buggy-whip analogy. The buggy-whip industry was effectively overtaken by the car industry. People no longer rode in animal-pulled buggies, cars didn’t need to be whipped, and thus many companies and workers were suddenly out of business. Or so the theory goes.

But of course this isn’t how business works. Manufacturers and suppliers and sellers don’t simply pack up shop when circumstances change. They change with them. As Montgomery says, ‘The buggy-whip makers who survived the automobile revolution were the ones who took their leather-working skills and put them to work making car seats, and the publishers who will survive this revolution are the ones who will take their production and marketing skills and use them to create services that bring together readers who demand merit in what they read and authors who demand it in what they create’.

This is why focus shouldn’t be on the fallacious expiration date of the industry, but rather on how it is transforming. One way is through the birth of new publishing models that are popping up all around the world. These models, some examples of which I’ll discuss here, open up avenues for aspiring (and also established) writers to put forward their work into the public domain, and reclaim both the control and the rewards of book publishing.

The traditional commercial publishing model is stacked against the majority of writers. If you were fortunate enough to have a manuscript accepted by a publishing house and sign a contract, the whole process is then lengthy and complex. Editors, printers, shippers, wholesalers, distributors, marketers, booksellers – all take time and money to publish and flog your work, and then there is no way to find out who is reading your words. And the actual chances of an author making a living from the book are remote.

Some new movements, mostly finding their feet online, give power back to the author. One such model revolves around making ebook distribution as easy and financially beneficial (for authors and readers) as possible. An example is web company Smashwords, an ebook publishing and distribution platform that brings together writers, publishers, and readers. Authors upload their work as an ebook, and then anyone can buy and download a copy that will work on any e-reading device. And the author retains all ownership rights, meaning that other publishing options remain open. Apart from the obvious differences that come from selling online direct to consumers, Smashwords totally revamps the pricing and distribution models as well.

Smashwords takes a 15 per cent cut of all net sales on the site, meaning that individual authors receive 85 per cent of the net proceeds from the sale of their works. After subtracting the sale price and possible credit card or PayPal fees, authors are likely to receive about 70 per cent total royalties. This is easily 10 to 20 times more than through a traditional commercial publisher.

If authors are less inclined to think of online publishing as a money-making exercise but would like their work to reach as many readers as possible then Smashwords works with free content too. Readers browsing on Smashwords for books can sample most of the works for free, and can read up to 50 per cent of a book before they commit to a purchase decision. And in many cases authors choose to make their whole book free. This move recognises that writers and publishers are already competing against ‘free’ already, and the most valuable thing is the reader’s time and attention. This partial or wholly free option helps to reach the widest potential audience, and also works for authors who are confident that they can leverage the notoriety from the book and monetise their fame in other ways.

As founder Mark Coker says, ‘Most Smashwords authors believe it’s better to get their work out there now for readers to start discovering than to languish in obscurity as they wait for a publisher to publish it.’

Australian author Max Barry not only put his work out there, but did so as he composed it. Barry wrote his fourth novel Machine Man as a real-time interactive serial, posting one page a day on his website and then allowing people to comment on it. Each day he read the comments and used the feedback as a guide as to what to write next. He says he did this as he was ‘interested in using the internet to successfully deliver fiction … I think there are a lot of gimmicky attempts to mash fiction and the web together, regardless of how well they fit. They are promotions for a print novel, essentially, rather than genuine attempts to engage the medium and work to its strengths and weaknesses. I wanted to write something that fit.’ The 185 consecutive pages of Barry’s serialised novel cost US$6.95. It garnered plenty of web traffic, and Machine Man was promptly picked up by a publisher and is due out in 2011. Interestingly, readers could read without cost up to page 43 before deciding whether or not to purchase.

Giving work away for free is gaining momentum, especially with the relative low cost of ebooks. Contemporary American author Scott Sigler has been doing it for years, providing free content to build up a following. He says, ‘The more people who read my stories, the more people likely to become diehard fans [who] are happy to spend money on future products because they know they are going to get quality for their money. Until now, the publishing industry has expected you to give them money before you get the product.’

Sigler gives away all of his stories, which secures him greater market exposure, which in turn gets more people familiar with his name. He believes providing free content now will pay off a few years when he is putting out the third and fourth book in a series, and loyal readers up until then will be happy to pay.

As he rightly says, ‘People who aren’t going to pay for your stories aren’t going to pay for them, period. But they may download a copy, love the story, then talk to people in their social circle – now I have people who wouldn’t have heard about me getting a positive, word-of-mouth endorsement.’ And Sigler is tired of the publishing industry’s concern about piracy. ‘What you call “illegal downloading” I call “free advertising”.’

Science fiction author and electronic publishing wizard Cory Doctorow summed it up best when he said, ‘Piracy isn’t my enemy, obscurity is’. Doctorow is currently in the middle of a publishing experiment based around his new short story collection With a Little Help. He is choosing to release it as a free ebook, a free audiobook, a US$16 print-on-demand paperback, and a US$250 limited edition premium hardcover. He is also auctioning off a story for US$10,000, where the winner will commission a new story from Doctorow to be added to the collection at a later date. This across-the-board sales approach to publishing is becoming more and more popular. It reduces costs and reaches the greatest possible readership. Doctorow is blogging about the experience at Publisher’s Weekly, giving full disclosure of every step of the process, together with all figures including costs and profits.

The author can now also be the publisher, and the marketing team. With all of the above examples, and the many more new publishing options becoming readily available, writers can wrestle back control of their work. Readers are now demanding a connection with their authors, beyond blurbs and writers’ festivals. As Scott Sigler advises, ‘Embrace social media, reply to emails, to blog comments, interact with them whenever possible. Don’t be an arrogant douchebag. You are not important. Your work is not important. What’s important is giving people value for the time they spend with their works – write great stories, and be accessible. The days of the author’s ivory tower are long gone.’

New models like enhanced offerings, print-on-demand publishing, and ebooks have created a whole range of new models for the industry. Are they an evolutionary step between traditional publishing models and free internet distribution? Whatever the case, for writers seeking readers, the times are a-changing.


Further information
Smashwords
Max Barry
Scott Sigler
Cory Doctorow

Thank you to Sam Cooney and the Queensland Writers Centre for allowing us to cross-post this article.


22 comments so far:

I am a huge fan of Smashwords, but I must say I think a lot of the argument over publishing has been totally misframed. Publishing is not evolving - the tools available to publishers and writers are changing, but the central thing itself is not. Nor was the automotive industry a transformation of the buggy-whip industry. Both were built upon the desire to get from A to B. The change that the automotive industry facilitated was in autonomous tourism and aspiration - it sparked the possibility of individual travel to exotic locations, which changed the way people evaluated their lives - car vs carriage was just the tool.

The literary industry is about people wanting to connect with sories and idea - how you deliver that is just about tools - and anyone who starts with the tool and looks at what to do with it may do interesting things but will revolutionise nothing. The key for the publishing industry is to look at the basic need and figure how best to meet it. The revolution, if it happens, will come on the back of that, and will be to do with the emergence of a whole new need/aspiration/desire - and it is in answer to that new need that there will be a genuine revolution in business terms.

On writers seeking readers - it has always been possible to stand on the street corner or in your local cafe and read for free - what ebooks are doing is simply widening the audience that can be reached in one go - it's mainstreaming the punk ethos as it were, but the punk way has been around since cave paintings.

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Je fritte illégitimement mon hippy cafre parque que cette compilatrice vomit cette titulature totémique. Votre moutonnement masqua ma remmailleuse nécessitante plus la herbagère cadenassa amiablement votre ravage. Je dépaille abstraitement mon vivrier dysharmonique plus notre narcissique rationalisa notre grimpeuse correctionnelle. Je squatte abrégément mon reître banché plus votre venette corporifia cette transmissibilité tiqueuse. Elle redois votre zoo , je décuvelle inopinément le clignement combatif. Elle festine mon truquage parque que je décervelle habilement ce phasme femmelin.
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Elle kaolinise le ferret , aussi je piaille antécédemment ce chômage spondaïque. Votre calender fêla sa gravure recouvrable , aussi votre verrucaire cassa numériquement ton maître. Ce fronteau hanta ma sulamite révérendissime , aussi la force livra conjecturalement un tan. Notre bourgeonnement morphinisa ta tempe mordue. Elle compte mon yttrium alors je collète exhaustivement son frontail prometteur.

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