So what.

Here’s the thing: NetGalley charges what is, to me, a micropress, an astronomical amount of money to give away books. That’s right: I would be paying to give my product to people in exchange for…very little in the way of a quantifiable return.

NetGalley is not in business to lose money. It’s in business to make money by providing a publishers’ colony. However publishers decide to define their ROI (return on investment) is how NetGalley’s going to be bringing in the money.

Follow the money.

When all other explanations fail, just follow the money.

Butting in @elyssapapa @jackiebarbosa For me, money's part of the fantasy. I got enough $$$ probs in my own life. Don't wanna escape TO them

December 10, 2010 11:57 am via Seesmic twhirlReplyRetweetFavorite

@MoriahJovan

Moriah Jovan

Which led back around to the title of the book which started the conversation I butted in on:

@MoriahJovan The Proposition. That's the book that started the discussion between me and @ElyssaPapa.

December 10, 2010 12:12 pm via webReplyRetweetFavorite

@jackiebarbosa

Jackie Barbosa

and

@MoriahJovan you should totally read The Proposition.

December 10, 2010 12:37 pm via iTweet.netReplyRetweetFavorite

@victoriajanssen

victoriajanssen

Which led to:

Firing up ye olde Kindle to get THE PROPOSITION by Judith Ivory. Because @jackiebarbosa and @elyssapapa made me. Blame them.

December 10, 2010 12:15 pm via Seesmic twhirlReplyRetweetFavorite

@MoriahJovan

Moriah Jovan

and:

I just went to Amazon.co.uk for THE PROPOSITION 'cos I am eavesdropping on yr convo & it's 'pricing info unavailable'! Grrr!!! @MoriahJovan

December 10, 2010 12:20 pm via webReplyRetweetFavorite

@PortiaDaCosta

PortiaDaCosta

This entire conversation happened in the course of an hour in casual conversation on Twitter, and money was spent. (More money would’ve been spent if the publisher had the sense to allow people out of the US to buy it, but that’s a conversation for another day.) (Also, it was $5.99 on the Kindle, which is my cutoff point for ebook prices, so there was another advantage.) As far as I know, I’m the only one who bothered to tweet that she bought it, but that’s not to say nobody else bought it.

The “need” was created.

The “need” was satisfied.

Immediately. Easy and with no friction.

There are a lot of lessons to be learned from this. Insert your favorite lesson here.

In case anybody cares, these are my current random thoughts, none of which rate the time to explore in a full-on blog post (plus, I’ve said it all before):

1) Writers: You’re screwed unless you put out your own stuff and you can market it. The old days are gone. “Getting” published is fine if that’s what you need to validate your soul. If you want better odds on getting to readers and making a little money, do it yourself. But dammit, do it right!

2) Writers: Remember that the people who made money in the gold rush didn’t make it panning for gold, chasing a vein that didn’t exist. The people selling the shovels made all the money. Learn a new skill and sell some shovels. You aren’t going to make a livable income writing for da man. Just don’t make any plans to leave your day job.

3) Book designers: Stop trying to format ebooks on a print paradigm. Ebooks are not print books. They don’t serve the same function. It’s like trying to apply a print paradigm to audiobooks. Stop it. Learn how to format serviceable, good-looking ebooks and forget about Teh Fancy.

4) Editors: Go freelance. Market your name. Make the authors who hire you put your name in the book so you can establish your brand. The curation of books in the future will depend on the editor, not the author, not the publishing house.

5) Indexers: You have a bright and shiny new field to explore. Learn how to index digitally. It’s called anchor tags.

6) Publishers: Get your metadata in gear. Seriously.

7) Publishers: The first publisher to chapter-and-verse its digital textbooks/reference/nonfiction will win the prize. What do I mean? I’ll tell you. Pick up a Bible. Any Bible, any translation, any size, any publisher. Go to John 3:16. That’s what I mean. Develop a system. Patent/trademark it then license it. Make it the standard of any good digital nonfiction book, the way good indexing is. Indexers, see #5.

That is all. I have a mountain of work to get done before I leave for NY next week.

Amazon to Macmillan: Fuck you.

Macmillan has in its power to say, “No, fuck YOU!” to Amazon and make it stick, and newsflash: It ain’t with the indie bookstores. This is what you do, Macmillan:

Get yourself a team of programmers. Give them 36 hours. Have them put your entire catalog into an online store, both print and electronic. Exploit the Tor online store to its limits.

Print: Sell for just above wholesale and offer free shipping.

Electronic: Strip your DRM from your existing ebooks and feverishly convert your back catalog. Sell them at the wholesale mass market paperback price.

Marketing: Take out ads in the New York Times and the Wall Street Journal announcing your bookstore and flip Amazon off publicly, and at the same time exploit the fact that Amazon has just seared your name into the minds of the reading public.

Your weapon: Your entire catalog.

Goal: Cut the Gordian knot that is the distribution system that has just bitchslapped you and turn a healthier profit.

You could conceivably break Amazon’s back if you succeed (and you WOULD), and other publishers decide to come with you.

I would give just about anything to see something so daring happen in publishing.

Here’s the catch: You’d have to start thinking of readers as your customers.

You know, the people who actually spend the money.

UPDATE: Oh. My. Goodness. Amazon caves. WTF? Yeah, that boy ain’t right.

Currently I’m involved in a discussion on the Association for Mormon Letters blog that led to these comments:

Author Annette Lyon said:

Angela also hit it right on the head when she said that it’s a bit tricky naming names and titles when you’re one of the LDS writers yourself. It was a different story before I was part of that group. It’s easy to praise, but this is a tiny sandbox. An offhanded remark can make an enemy, so imagine if I were to give an honest review of that other book. Yeah. Let’s just say I don’t dare.

Author Lisa Torcasso Downing said:

Like Angela, I’m hesitant to criticize other writers–and their publishers–because a) who am I to talk? and b) I need those publishers.

There was a level of pathos there that I don’t feel that deeply with unpublished writers of work aimed for the national market, and not a niche one, and such a niche one. Actually, it was the “I need those publishers” that made me hurt.

I can understand Annette’s position, as she’s established and seems to do very well within the niche. But this is what I want to say to Lisa et al: You do not need those publishers.

Look around. eBooks, podcasts, print-on-demand, serial fiction blogs. The landscape is changing drastically and at breathtaking speed.

My question is: Could you do worse on your own? Really?

Just think about it. Please.

Also known as the 80/20 rule, wherein 80% of sales are generated by 20% of the customers. When applied to the way publishing gambles on blockbusters to subsidize its titles that lose money, it might be more or less 20% of the authors make 80% of the sales.

Publishers look for and sign new authors in a neverending search for the next blockbuster book that will sustain the 20%. Very often a new author will be taken on in favor of renewing a current author’s second or third book if the sales don’t meet expectations (which could mean that it did, in fact, make money, but not enough to satisfy the bean counters).

Last month, I was involved in a rigorous discussion on Dear Author, wherein author Courtney Milan likened publishing’s ability to support this model to pooling risk or, more precisely, flood insurance. I found the flood insurance specificity to be flawed and said why, but really I found the whole “risk pooling” argument flawed, but couldn’t articulate it, so I remained agnostic on the subject for the moment.

Now, after having stewed on it for a while, the better (read: more polite) analogy would be research and development—except without so much the development part.

Recently, president of Farrar, Straus & Giroux, Jonathan Galassi, wrote an extraordinarily unorganized, incohesive rant op ed piece in the New York Times concerning whose rights are whose once the publishing house has put its resources into a manuscript to make it a salable product. Quite frankly, other than the amusing fact that he (an editor) wrote an essay not worthy of a high school freshman learning the basics of English composition, I don’t give a shit about what he thinks the publishers’ value-added rights are.

It was his exemplar of an author long dead, into whom marketing resources were invested to make him that success, that struck me as disingenuous. And a non sequitur. Or ignernt. Dude. You do realize that very few new authors are given these kinds of resources, right? Publishers throw new authors at the wall to see who sticks. There is no “development” counterpart to “research.”

Given that, I’ve moved on from a publisher’s resource allocation to be “risk pooling,” to “research and development,” to “shotgun approach.”

Hang with me—I know I’m only about the 1,537th person to say this, but I do have a point.

So yesterday on Teleread, Rich Adin from An American Editor opined that the way to save publishing is to kill the paperback. When the usual suspects (me) broke out with the usual reaction (Are you out of your fucking mind?), he shot back with, “Well, do you have any better ideas?”

Never mind I have no interest one way or another whether publishing remains profitable, and it’s not my job to put little slips in the suggestion box that will be ignored, and people (readers) have been screaming their fool heads off about what they want which would keep publishing profitable and publishing’s just not paying attention, I will tell you how to keep publishing profitable:

Do less research.

Put a little more development into your research.

Quit getting caught up in auction fever.

Embrace the e-book and treat it as deferentially as you do your other formats and respect those people willing to pay for it. Court them. Cultivate them. They have money to spend on books. Really.

The point is to make every title profitable, or as close to it as you can get.

But I don’t really think you care.

But we all agree on this one point, right? I mean, publishing can be DOOMED, or it can be METAMORPHOSING, or it can be LA LA LA I CAN’T HEAR YOU!!! but something’s going on.

And we all know MWA, RWA, and all those types delisted Harlequin, which won’t make a damn bit of difference to Harlequin (or Torstar, hee!).

Mrs. Giggles and Karen Scott both get it about the DellArte thing: Say somebody wants to pay to play.

So what?

But then on Karen’s blog the thread turned to what RWA should do about it and she said (I’m sure mostly tongue-in-cheek):

Since the RWA took the step of delisting HQN, they may as well go the whole hog and have a fulsome ‘Vanity Press Is Evil’ programme that informs authors about the pitfalls of going the vanity/self-pubbing route, rather than leaving it to the likes of Writer Beware. Merely delisting HQN is far too much of a passive-aggressive way of tackling this potentially world-altering, humanity-defying problem.

You know what I think RWA should do instead of having a Vanity Press Is Evil program? I think the RWA should have a program to inform, instruct, and help those members who are interested in self-publishing, provide a publishing punchlist, which publishing services cost what (and what’s reasonable), how to do it right, with the understanding that no matter which self-publishing route you go, you are going to pay to play. The opportunities for information mining (read: conference workshops read: ka-ching) are endless.

DellArte would be cast as the devil by default, just on their prices.

But then, that would be a proactive thing to do.

The RWA is reactive. This is an organization that grits its teeth when forced to acknowledge the fact of successful e-publishers like Ellora’s Cave/Cerridwen Press, Samhain Publishing, Loose Id, et al.

Oh well. It was an idea.

UPDATE: Well, this is what I get for not waiting a day on new Publishing Doom news to post this. Some more clues might be:

Simon & Schuster, Hachette, and Harper Collins have decided to withhold ebook release for some months to give the hardcovers a chance to earn some money. That might not sound like such a bad thing until you realize that a lot of money (read: people) would not have bought the hardcover and so by the time the ebook comes out, the money (read: people) will have forgotten about the book.

Some money (read: person read: me) had this problem last night when Smart Bitches feature “Bookmatch,” which is a type of internet handselling from a pro at Powell’s recommended a book. I wanted it. RIGHT THEN!!! And, uh, well, it’s not in E. I’ll forget about the book in another couple of days.

And then Kirkus Reviews (the chichi book review rag) closes.

Oh yeah. I think we can all agree publishing is changing, can’t we?

Self-publishers do not “earn royalties.”

Stop thinking in terms of royalties.

It’s called “profit.” There is overhead. There are COGS. There is revenue.

Sales – COGS = gross profit.

Gross profit – overhead = net profit (aka ka-ching)

There are no royalties.

Royalties do not exist.

Say it with me now: Self-publishers do not earn royalties; they have profit. Now put all that “royalties” BS out of your head.

And Amazon? I know you know this, but you use the term deliberately to blur the lines between your retail business and your POD service. You know very good and well you don’t pay royalties. You give us a rebate on our rental fee for your stalls, you know, like at a flea market.

*A lot of authors don’t like having their babies compared to widgets. A lot of authors don’t like having books compared to babies. My books are my babies. They are also my widgets.

Keep on submitting and you will get published.

By “writer,” I mean good, unpublished novelists who don’t, for whatever reason, catch an agent and/or editor’s eye. I’m not talking about the people who don’t hang out on agent and editor blogs, learning every query trick in the book (some of which are flat wrong to some agents and golden to others). These are the writers who assume that the problem is with them, not with the odds.

Write a better book next time.

Oh, fuck that. It’s odds, folks, whether you want to believe it or not—and the odds get worse every week. And that write a better book bullshit? How do you know the one you just wrote is bad?

You don’t.

And then some of you will crack under the discouragement and say, “I write crap.” And you’ll stop submitting. You may even stop writing.

I did that.

I didn’t write crap, per se. I wrote slightly off-tick that didn’t hit the romance formula bullseye exactly right. Yeah, I said it. There’s a formula. I couldn’t hit it, and the misses were near enough that it was sickening.

This is not an anti-traditional-publishing rant. This is about writers, about you and your work and how much faith you have in it.

Why are you basing your goals on decisions someone else has to make? And, by extension, why are you waiting for validation based on odds that aren’t in your favor? And why are you acting like a job applicant?

You’re not powerless.

But somehow the idea of taking control of your work and presenting it to the public/the readers/the (gasp) curators is “giving up.”

Because “money always flows to the author.” Fuck that, too.

Yeah, you’ll have to assume some risk. Deal with it.

It pains me to see good writers on agent blogs talking about “when I’m published someday,” because “it will happen if I submit enough and don’t give up” and “I just have to write a better book next time.”

Stop thinking that way and start believing in your product.

Stop thinking you have no power.

Stop thinking like an employee and start thinking like an entrepreneur.

Go make your own damned job.

Update: To clarify, I’m using the term “curators” to describe the self-appointed task of the people who consume the work, like it, and recommend it to others, i.e., the readers/fans, the people who make being The Lone Artist all worth it. I’m not using the term as it has been tossed around the internet for the last year.