Are eBook prices far too low?

I had an interesting exchange recently with an indie publisher who’s been in the trade for many years and seen it all. This is what he said on the issue of eBook prices. “Things are tough for every indie publisher – readers seem to havebusiness-money-pink-coins.jpg decided that the price point for eBooks is 0.99 or free and as you know there are very small margins involved at that level”. Oh yes, the margins are very small indeed.

Self-publishing writers like me are attracted to eBooks for all sorts of reasons. The upfront costs are minimal compared with publishing ‘real’ books; you don’t have to decide how many to produce, balancing unit costs and the risk of coping with unsold stock; and there are no issues around storage. Cheap and easy, or so it appears.

But, if you want to produce an ebook to an acceptable standard, you may want help with editing, and proofreading, and the cover. All those need to be paid for, and the costs will far outweigh the cost of conversion to eBook format. And if you want people to buy your book, in whatever format, you will need to publicise and promote it. Any potential reader first needs to know that your book exists, and believe that they want to spend some money on it. Promotion takes effort and energy and can be frustrating, as you realise that ‘professional’ reviews are unachievable, the market is saturated, local media don’t care that much, and advertising is expensive.

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The promotional strategy that takes least effort is simply to lower the price, and here’s where the problem starts that all of us are currently facing. If a sufficient proportion authors are prepared to sell their work for £1 or $1, or even give it away to manipulate the ‘best-seller’ lists, how can we then persuade readers to pay a proper price, for a product that represents many many hours or work? It makes no sense to under-price, and thereby under-value, a book. It cheapens the writing process, and makes me – for one – feel like a mug.

 

If selling for these ludicrous prices were a rarity, and a temporary way to attract buyers, fair enough. But the ‘bargain’ price has now become the ‘standard’ price and the value of our work as writers appears to be permanently pexels-photo-266174.jpegdebased.

I would love to increase my ebook sales, but right now I’m simply not prepared to reduce the price to less than a cup of tea. Am I being foolish? Maybe, but I value my self-respect.

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The anti-climax of completion

Yesterday morning a strange feeling came over me, a sense of loss and uncertainty, a long way from the delight and celebration I’d anticipated at ‘The End’, the final words of the new novel. In the final week, for six days straight from first thing in the morning utired eyesntil it was dark I’d tapped away furiously, stopping only to gaze at the wall while I found a way through a barrier. The concentration was intense: it spilled over into those times when I wasn’t sitting at the laptop, and unfortunately haunted the night too. I would sleep for a couple of hours and then wake with dialogue or a plot twist in my head.The only way to break its hold on my mind was to play Solitaire on the ipad, which meant more screens, more eye strain and was probably not conducive to getting back to sleep. When I’m writing, the usual habit of reading before sleep doesn’t seem to work.

When ”The End’ finally came it took me by surprise, and more surprising was that I felt so flat. Maybe it had happened before, but if it did I’d forgotten. Living alone, there was no one to turn to in triumph. Friends are very patient, but listening to someone banging on about the details of a fictional conversation or the way out of a plot puzzle is enough to make your eyes roll back.

I was ahead of schedule, but worried that I’d been too driven by the deadline and should have taken more time. I’d resolved a big plotting problem, but it still felt too cerebral, too subtle, not enough action. I’m working with a new editor and chose her for her experience and ‘hard-nosed’ straight-forwardness, but I don’t know how she’ll react to the first draft of mine she’s ever seen. Worry, worry, worry.

And of course, the ever-present question: why do I put myself through this? I’ve retired from ‘work’ and should be pleasing myself, sauntering through the days, going on little jaunts, planning big jaunts, seeing people, having fun. And instead of that I’m spending most of time on research, planning, writing, re-writing, and worrying.

NewBookRelease1I tell myself that the rewards are worth the painful gestation and birth. It’s undoubtedly true that you have to keep writing if you want to maintain people’s interest in your work and the sales that go with it. Every new books boosts sales of the previous ones. If you want press interest or access to speaking at book events and festivals you have to have a new book to showcase.

If all goes well, the new book should be out in June, and then what? I have a choice: pack it in and have an easy life, or keep going and endure the lows as well as the highs, all over again.

When is the author not really the author?

Two things are on my mind about this question: both of them were prompted by recent encounters with writers.

The first example comes from an author explaining his/her writing process. This writer finishes the first draft and gives it to three ‘readers’ for comment. Their suggestions are incorporated into the next draft, which then goes to the ‘editor’ for further suggestions, and here again some at least of these are used to produce the third draft.

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In this particular case, the text has now been developed by five people, but still it is considered to have been ‘authored’ by the original writer, who said –  in jest? –  that the names of all those who had contributed should perhaps be on the cover alongside the author’s name.

It may have been a throwaway remark, but it provoked my question about when the author’s apparent work is more, or less, than the author’s actual work.

In this particular case, the author is very well known and sells huge numbers of books all around the world. The first readers the author uses are people responsible for selling the author’s books in various countries. It is in their interests, therefore, for the book to be as attractive as possible, to increase the sales and their profits. They would not expect payment or acknowledgement for their work, as they are actually employed to maximise sales, and might even benefit financially from doing so.

The editor’s role is slightly different, one assumes, and concerned with the intrinsic quality of the book rather than only its commercial appeal. Prompted by the editor, more rewrites are undertaken by the author, and after some further discussion and polishing the text is sent for the final stages of editing and proof-reading. When it is printed and sold the author might/will acknowledge the role and assistance of all these people, but the reader will still believe that the author with their name on the cover actually wrote the book. In fact, it was most likely the author’s name, not the title, cover or subject matter, that made the reader buy the book. It has almost become a conspiracy of silence, to preserve the image of the author’s sole responsibility for the book’s final form.


The other nudge to my thinking about this issue was a recent journalistic fracas surrounding an article about a well-known British ‘celebrity’. This person had written a  new book and as part of the promotion was interviewed by a journalist. When the piece was complete, the celebrity and her agent leaned on the publishing editor of the magazine to change the article, to make it more favourable to the image they wanted to project and include more positive reference to the book. The journalist was outraged that this was agreed and her article was changed in this way, without her consent – so outraged that she insisted that her name be removed.

OK, these are different ‘genres’ of writing with different protocols. A key difference is that in the first case the author requests and welcomes amendments to her work, and in the second case the amendments were neither sought not agreed. But clearly the line between apparent and actual authorship is being blurred, and in each case the reader is probably unaware of what has happened behind the scenes.

Does it matter? Is the reader being duped?

The perils of going back

I’m in Winnipeg, Manitoba, at present, visiting for a few days. Over the past two decades I’ve been here dozens of times, three times a year for several years, in the fall, the deep winter and the very early spring, working with teachers and school leaders in various parts of the city and around southern Manitoba.Winnipeg skyline.@1x

This will probably be the last visit, and I was in two minds about it. Part of me wanted to see again people I’ve worked with closely, seen in their schools, shared evenings with and many glasses of wine. It’s a couple of years since I was last here, and as the plane touched down yesterday I hoped it wasn’t a bad idea to return.

Going back can be difficult. Times change, people move on, the work we thought at the time was so significant may by now have blurred and faded, or been forgotten all together. New people are in the schools, new ideas in the air. Would they remember me? Would some say, ‘Ruth Sutton? Who’s that? What did she do?’ All that may be true, but I’m still glad I came. The city I’d seen so often in monotones of white and grey,  snow on the ground, nothing growing, deeply cold and crackling dry, is now clothed in full leafed trees, stretching out towards the plains beyond. Balconies and porches smell of flowers, children play by the river and in the parks, the air is soft.

There’s a party tonight, a retirement and farewell party for me – the only one I’ve ever had – and I’m touched by the thought of it even before it’s taken place. So maybe coming back wasn’t such a bad idea. I used to be a teacher and an educator. Now I’m a writer, with five books already out and another ‘Burning Secret’ taking shape in my head. But I’m still the same person, and happy to see however many of my old friends and colleagues will come and say hello.

By the way, to hear more about the writing, here’s a link to a  conversation I had recently, about all the writing and publishing I’ve been doing since my ‘retirement’.  It’s quite long, but I think you’ll enjoy it.