“We, the library”

I came across this tweet around the time Kirn (substack here) posted it, and it continues to haunt me.

I don’t know how many physical books I have collected. Five or six hundred, perhaps. It seems, to me, to be “not a lot,” so it shocked me just now when I quickly estimated the count.

If they were shelved compactly in one place, they might cover one wall or so of a smallish room. And yet. They take up space and gather dust. And every time I move (I have moved, on average, every 3.5 years since I graduated college — does it ever end, this moving?) they are such a troublesome thing to pack and unpack and sort and re-shelve.

So when my sweet father, who read books constantly, gave me a Kindle (I’d begged him not to, but he loved his so much, and so much liked to share that kind of thing with his family) I thought, okay, now I’ll be able to read on without piling up more and more physical books. This is good, I thought. “I’m comfortable that certain experiences are supposed to be ephemeral,” I blogged. “I’m okay with some books as experiences rather than things.”

But then came the stories about Amazon erasing peoples’ books from their Kindles (some sort of issue with copyright or publisher disputes, the story would go) and I became a bit uneasy.

When you buy a “book” for an e-reader, you don’t really own the book, as it turns out. You have paid for permission to read something that belongs to someone else. And “they” can take back that permission any time they please. (And my father’s Kindle? The books on my father’s Kindle? I took photos of the screen — screens, pages of them — so that I would know what books he “owned.” They are gone, now that he’s passed and no longer “pays” for his “account.” There’s your “ephemeral.”)

I have also had a longtime habit of picking up used books that struck me as unusual, or that I learned would be going out of print. I bought an old edition of The Joy of Cooking when I learned that new editions have dropped the recipes for cooking game. I read at some point years ago that Bartlett’s Familiar Quotations was being revised — modernized — so I hunted down a second-hand copy (the centennial edition published in 1955). (I adore that book. It may be my take-on-a-desert-island-game book.)

Bartlett's Familiar Quotations, 1955 Centennial Edition

I’m old enough to have lived through the transition as second-hand booksellers began selling online. It drove up the price of old books — that copy of Lyrics of a Lowly Life by Paul Laurence Dunbar that I picked up for 50 cents in a junk store in my home town in the early ’80s would be displayed in a locked case, today, and likely priced at $100 or more. (Of course you can buy reprints of it for pennies — have you ever bought a book, thinking it was second-hand, only to find out it was a cheaply made reproduction? The quality so poor it was basically unreadable? I have. I will not, ever again, if I can help it.)

And I remember as well reading — also years ago — that decorators were buying up antique hardcover books — the ones with ornately decorated covers and gilt-edges pages — and using them as, well, decorations. In some cases they were gutting the books and using just the covers. Because what mattered wasn’t the words inside but the effect walls of books would convey, the image they’d convey of erudition.

Lyrics of a Lowly Life by Paul Laurence Dunbar.

It was around this time that I became weary of being outraged. Is that cynicism?

Not to say that I’m no longer outraged, ever. I am, believe me.

But — and this is more pronounced now than ever, since I lost both of my parents (within a span of less than a year), my birth family now basically as gutted as a home decorator’s empty books, not to mention these godawful exhausting never-ending lockdowns — I am, more and more, handling my outrage by becoming quiet, by turning inward. I am thinking — all the time, basically — about soul, and about words, and about preservation. Not preservation of myself but of what really matters — what will always matter.

Thinking about whether the outward things I preserve, the words I preserve, could ever help someone else, one day, grope a bit closer to some faint Light.

That I shouldn’t gamble with such a thing.

It’s been several years, now, since I began to regard my Kindle as a device, solely, for what I consider to be throwaway books — I know that sounds pejorative but what I mean is books I would under any circumstances read only once and then pass along (and the Kindle is also very good for reading samples for free).

I’ve started to buy up physical copies of the books on my Kindle that I do not consider one-time reads.

Which leads, of course, into the next phase of my weird relationship with Amazon. (Seems it’s always about Amazon, isn’t it?) Now with their new policies, their decision to start taking books off their platform — once again reminding me as it does all writers of our uneasy truce with That Company: I am utterly dependent on Amazon if I’m ever to sell my novels in any numbers whatever; “my” readers are not really “mine,” they are Amazon’s “customers,” no matter how ridiculous and unfair that may be (and before you defend them — because yes, I know they do me a service by building their platform and attracting traffic and letting me sell my books there — when I have, in the past, bought other things from them, cosmetics or whatever, I have gotten emails from the seller, I have gotten direct mail, snail male from the seller. How can other vendors “own” customers that came to them via Amazon but writers cannot? There is no happy answer to this, I suppose. I suppose these other sellers have done their own fulfillment. I suppose there are so many writers that we are, to Amazon, something of an unwashed hoard, with a handful of exceptions more trouble than we’re worth.)

In any event, I’ve been going to Alibris instead of Amazon more and more. Telling myself maybe that helps, in some small way, other booksellers (“hello?” “echo echo echo…”). And I am picking up more and more second-hand copies of old books. Despite the fact that my shelves are full and we’ll likely be moving again sometime in the not-too-distant future and once again I’ll be packing books in boxes…

And I am increasingly aware of how I feel, when I sit near my shelves of books, thinking or journaling or writing, and I need to look something up and I scan my titles and find a book and page through it. Like right now, for example. Marshall McLuhan, The Global Village (I own the Oxford University Press 1989 edition):

All media are a reconstruction, a model of some biologic capability speeded up beyond the human ability to perform: the wheel is an extension of the foot, the book is an extension of the eye, clothing an extension of the skin, and electronic circuitry is an extension of the central nervous system…

The Global Village by Marshall McLuhan

My books — I feel this as I sit near them, scan their titles — are also an extension of my mind, of my memory. I very often go back to books I read decades ago (I haven’t opened the McLuhan in probably 20 years) with that same felt sense that arises when we go back into our mind’s memory banks to pull something out that we once experienced and would like to look at it again and draw upon, again, because it will add some sort of richness or meaning to what is happening now, today.

So if I look for a title and can’t find it right away (I don’t have enough space on my shelves; about half of my books are stacked behind the other half; my books hide on me, sometimes) I become anxious, even, at times, agitated. It’s like I’ve lost a bit of what should be there, should be recallable. (I was looking the other day, for my copy of The Great Gatsby and can’t find it and it still bothers me…did I lend it to someone? Should I buy another copy? Would I be able to find the same edition I owned?)

Ephemeral, indeed.

Sigh.

Buy physical books now. Great ones, good ones, bad ones, ones you happen to like. Store them safely as you would treasures. They are. Some will become unavailable soon, I suspect, for reasons that may not be stated candidly. If I’m wrong, what have you lost?

We, the library.

Walter Kirn

Books as an extension of mind — an extension of our thoughts and memories. Individually and collectively.

“We, the library.”

What happens to our books, if we, their contemporary guardians, decide to begin culling them?

And if we cull them, what injury are we committing that we cannot feel (the brain can’t feel pain, right?) but that will one day exact an awful price — one day we’ll wake up and sense a gaping hole where, we know, some memory ought to be?

I am buying more books, now, than I’ve bought since I was in college. Unapologetically. Knowing that it means I have more “stuff” that I will need to cart around, that someone will one day have to dispose us when I am dead.

Unapologetically.

KDP Select. My experience so far.

I’ll be honest. I initially bristled at the whole idea of KDP select:

  • Don’t like the exclusivity clause. Don’t really see how that benefits Amazon, either. Just seems to me it’s their way of throwing their weight around.
  • The $500,000 pot is a joke. What are the odds that some Amazon Prime member will pick my book as the one book he/she borrows that month? Vanishingly small. I’m an unknown, remember? I’ve read that an estimated 27,000 titles were enrolled in KDP Select within the first 24 hours. Explain to me how my book stands out among tens of thousands of other titles? Answer. It won’t.  The writers who are going to collect a more than a few pennies from that pot are the same writers who are making money self-publishing already.

So why enroll?

Because my sole hope, as an indie author, is that my novels are good enough that over time I’ll start generating word of mouth.

And that comes down to a numbers game. Everyone who has read my novels has told me they think they are really good. (Yes, I realize that’s a sample that self-selects — i.e. people who don’t care for it aren’t too likely to let me know.)

But “everyone” so far consists of a really small group of people. Embarrassingly small.

As a side note, there are two categories of indie author who have an easier battle.

First: genre writers, because you have a ready-made audience and all the benefits of the publishing industry’s genre-centric communications apparatus. Your books fit neatly into the categories and tags for example.

Second: the mid-listers — people who have a backlog of titles they can take over and self-pub.

Notice that in almost every indie “success story” you read, the writer fits into at least one of those two categories (and very often both).

Me? I don’t write genre, and worse yet my books incorporate elements of genre but also elements of lit fic. And I’m starting from absolute scratch — I had a couple of non-fic books published traditionally but other than that, nobody knows who I am.

I love the idea of Smashwords, but if there’s a way to leverage it to generate exposure, I haven’t figured it out. For example, I’ve participated in several of the Smashwords Facebook promos (such as Freebie Friday, where you post a coupon code for a free copy of your book). At most it’s gotten me a handful of downloads.

And here’s the thing: with KDP Select, Amazon lets you give away free books.

So I talked it over with one of my best indie author buddies, Peazy Monellon (here’s her debut horror novel, Meany) and enrolled Can Job.

Yesterday I offered a 24-hour promotion.

285 people downloaded my novel.

I don’t know how else to put a free copy of my ebook in the hands of 285 Amazon customers.

Now, how many of those people will actually read my book? Who knows.

But if even a fraction do, and if out of that fraction one or two write reviews, or decide that they want to buy When Libby or something else I publish — well, then I’ll count this experiment a success.

Stay tuned. I’ll let you know how it works out long term . . .

An Author’s Amazon Wish List

Via the top-shelf blogger Passive Guy, here’s a top-shelf post by Mike Stackpole about Amazon and the book biz.

One of the points Stackpole makes is that as an online/digitally savvy company, Amazon has real time access to data about what its customers are buying — i.e., “statistics and analysis that tells them which authors are trending or about to trend.”

Amazon can act on those stats to “cherry pick talent and promote their ‘discoveries.'”

Amazon also has the ability to promote digital sales of books and later on produce a print compilation of digital novels, offering a unique print product. This is actually stated as a plan in their press release.

Good on Amazon. And I agree. This gives them a huge advantage over brick & mortar publishers/distributors.

But I do wish one thing: that Amazon would share more of its statistics with its writers.

As Passive Guy writes in his post, indie authors are in many respects Amazon’s partners in the e-publishing trend. He also writes:

Indie publishing has changed authors from helpless little children who cry and wait for their agent or publisher to come and wipe their noses into savvy and intelligent entrepreneurs, people who know how to do things for themselves.

To which I add: entrepreneurs need data.

I’d like to know how many clicks I get on my stuff on Amazon — my book pages, my author page.

I’d like to know how many book samples are being downloaded.

I’d like to know what percent of sample downloads convert to sales.

I’d like to know when/where people abandon my page or for that matter quit reading the sample.

And I’d like to know how all those stats compare to data about other authors’ Amazon activity.

I mean, think about it. For indie authors, Amazon pages and samples are marketing tools.

With the right kind of data, we’d better understand how well those tools are working — or how they can be tweaked.

Of course Amazon has reason to keep its data inside its kimono: competitors. But there’s a workaround, too: just release it in the form of trends and percentages rather than raw numbers.

So how about it Amazon? Please? Pretty please?

Macmillan raising royalties on ebooks . . .

. . . to 25 percent of net. (UPDATE: Link — a letter on the Macmillan website from CEO John Sargent — no longer any good.)

By which we can surmise that there’s some nervousness out there. Maybe writers are getting restless about the size of their cut?

Of course, this is still far less than the royalty you get for a Kindle ebook, which is 70 percent of gross.

Which makes me wonder a bit about this statement from the Sargent letter:

[T]he publishing industry standard for electronic book royalty rates has clearly settled 25% of net receipts

“Clearly”?

He also takes a swipe at Amazon that doubles as a way to ‘splain why Macmillan won’t match the Kindle numbers:

Amazon had been providing the e-book versions of new release hardcovers at $9.99, considerably under Amazon’s cost, making it very difficult for anyone else to prosper or even enter the market.

Okay, then.

We live in interesting times . . .

Seth Godin outside the publishing box

Lots of different ways to look at this story. Jeffrey Trachtenberg gets it right in the WSJ, IMO, by characterizing what Seth Godin has done as trying “a new business model.”

It’s not exactly the same as no longer using a publisher — Amazon is his publisher. Consider this, for instance:

[N]either the author nor the online bookseller would say whether Amazon has an equity stake in the imprint.

Hmmmm.

One thing is obvious. As the traditional publishing model breaks down, Amazon is stepping into the power vacuum as an “alternative publisher.”

How will that affect writers who want to leverage Amazon as a channel? Does this put Amazon in competition with writers who would care to dispense with the middleman altogether?

Wagging the backlist

Jeff Jarvis, a couple of days ago, offered some ideas to publishers about how to make money from their long tail — i.e., their backlists. The basic idea is to offset the cost of storing all those books by charging a premium for them–while simultaneously offering a discount on electronic/PDF versions.

Must be in the air, because Booksquare has forayed into the same territory, while raising an option (in the comments) that Jarvis omitted: POD — specifically, the capability to produce one-off print copies of backlist titles.

Booksquare thinks that’s what’s coming — it’s just not quite there today.

POD technology isn’y geared toward mass production yet. It’s getting there. Until then, it’s not cost effective to print very small runs of books to meet demand . . . there might a reluctance to use this technology due to pricing as well — a POD book will likely be at a higher price point than the original version. As I think about it, pricing POD books in general might be something that publishers are just now starting to think about seriously.

Amazon’s acquisition of BookSurge will certainly change the dynamics of POD (and I think that Amazon is the dark horse in the book digitization race for this very reason), and as they develop their market there, you’ll likely be seeing more publishers embracing POD as a way to regain control of their backlist. Of course, as I noted in my article, you’re also going to see authors who realize they can simply go it alone. BookSurge’s product is produced much faster than other POD suppliers and is excellent quality (I have a sample on my desk).

Okay, if I were running a publishing company from my armchair, I’d be obsessed with POD. I’d be chewing on it 24/7.

I’d be looking for partners who might be able to do it more cheaply than I could.

I’d be thinking about offering my backlist at a loss if it meant I could establish relationships with prospective customers. Why not offer an author’s backlist titles as incentives to get people to purchase his/her latest book, for example? It wouldn’t even have to be by author — you could use your backlist to get people reading other authors, too, or to get them to explore other, related lines of books.

There’s no reason publishers couldn’t add public domain books to their POD offerings as well. Anything to get people collecting books and to expose them to other portions of a list.

I’d also be asking how price-sensitive people are when it comes to backlist books. Anyone who has shopped for an out-of-print book online knows their prices can soar pretty high. So, identify out-of-print books as just that. “Xxx by yyy is out of print. However, we can create a printed, bound copy from our electronic files if you’d like. Here’s the price . . .”

I’m just sayin . . .

RELATED: I’ve also posted about the long tail here and here, and also about “Resurrection Publishing.”

Amazon.com: Publisher?

Reporting from the London Book Fair in their Lunch Deluxe e-newsletter, Publisher’s Marketplace notes some comments by Vicky Barnsley of Harper UK, speaking at a panel titled “21st century issues:”

Barnsley said, “Personally, I see Amazon as a bigger threat to publishers [than Google is],” having displayed “interest that they want to move into the publishing space…. They recently hired someone from Penguin US; they are approaching agents and trying to acquire content, which is very different from what Google is doing.”

Yeah. I’d feel threatened, too.

This is huge.

To plog or not to plog

Found out about this site today, via Miss Snark. It’s called BiblioBuffet and as soon as I’ve finished this post, it’s going on my blogroll under daily reads.

The article that caught my attention is about plogs–a word Amazon has trademarked and seems to suggest is a contraction of “personal blog.” (Since “blog” itself is short for weblog, I personally wish they’d chosen “pwog.” It’s much more fun to say, and suggests pucker-lipped little baby amphibians, which is always a plus.) The BiblioBuffet article, otoh, refers to “plog” as a hybrid of plug and blog. It will be interesting to see if the grassroots meme overpowers Amazon’s corporate narrative.

Check the article to see what people–mainly readers–have to say about plogs. It’s not all of it good.

UPDATE: Victoria Strauss of Writer Beware is blogging about plogging.