Libraries Look To Indie Authors As The Future

I love libraries. One of my favorite memories involves a library. I was as a kid, it was summer and very hot. I biked over to the library on my no-gear bike and sank into one of its absurdly comfortable, enthusiastically orange, chairs. I listened to the whir of the air conditioner and gazed in appreciation at all the books. As I drank in the stillness, for a moment it felt like a sanctuary.

I can't imagine living in a city without a library. I can't imagine there not being any more libraries! But that could happen.

Not only is library use down, but a few publishers--most notably the 'Big 6' (Random House, Simon & Schuster, HarperCollins, Macmillan, Penguin and Hachette)--are making it more difficult for libraries to buy books. The following is from a librarian from a "mid-sized library system in South Carolina" who wishes to remain anonymous. He writes:

Random House tripled the cost of all their books so, for me to buy a copy of a $7.99 backlist title now costs me $23.97. To buy a copy of Fifty Shades of Grey would cost you $9.99 - that same copy costs a library $47.85. Hachette, beginning October 1, will be increasing the price of their titles by an even greater margin from early accounts. Oh, and Hachette won't sell frontlist titles to libraries at all - we can only buy backlist (and very old backlist at that). Which drew the reply from Sullivan: “Now we must ask, with friends like these...?” I couldn't have said it better myself. (E-books in Libraries: They Still Don't Get It)

What are librarians doing about this? If Librarian X is any indication, they're getting angry and finding ways of procuring affordable, quality, material: they're turning to indies. Librarian X writes:

If you don't sell us your frontlist authors, what will happen in time is that other authors will show up who will take their place ... and the odds are that these others will be self-published or publish through a smaller publisher who doesn't view libraries as enemies. Speaking personally, I don't buy e-book titles from any of the Big 6 any longer. Why bother? I can buy titles from smaller publishers and authors for less than $10 through OverDrive and, in my studies of my circulation figures on those titles, they circulate just as well as the more expensive ones. Why should I care? With my purchasing decisions, I'm buying more titles and showing a return on investment far sooner. My boss is happy and I'm more than pleased to be doing my part to twist the knife even if only a little. (E-books in Libraries: They Still Don't Get It)

This could be a marvelous opportunity for indie authors. Joe Konrath, one of the first and most well-known indie authors, has put together a proposal. He writes:

Blake and I are willing to sell our entire ebook catalog to the Harris County Public Library, and to any other libraries that are interested, under these terms:

1. Ebooks are $3.99

2. No DRM.

3. The library only needs to buy one ebook of a title, and then they can make as many copies as they need for all of their patrons and all of their branches.

4. The library owns the rights to use that ebook forever.

5. The library can use it an any format they need; mobi, epub, pdf, lit, etc. And when new formats arise, they're’re free to convert it to the new format.

In short, the library buys one copy, and never has to buy it again. (Ebooks For Libraries)

.  .  .  .

I've ... gotten lots of emails from authors who want to offer libraries the same terms.

The problem is organization. We need someone to act as a liaison between publishers and libraries to run something like this on a big scale. And I believe that person should be paid. How big a job this will be, and how much of a cut they deserve, can be discussed in the comments section. But indie authors need to come together to offer libraries their books, and dealing with 9000 different library systems would be a full time job. (E-books in Libraries: They Still Don't Get It)

If you're interested in either selling your books to libraries or in helping to organize this gargantuan undertaking, head on over to Joe's comment section.

Of course you don't need to organize to sell your books to libraries, or even to bookstores! Just approach the library and find out what their procedures are.

Whatever you decide to do, best of luck! :)

Other articles you might like:
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- Amazon's KDP Select: The Best Long-Term Strategy?
- Save The Cat! The Importance Of Sympathetic Heroes

Photo credit: Paul Lowry

You Can Be a Successful Writer Without a Bestseller

To make a living at indie publishing, you must have a decent number of books and stories for sale.

This is the point Dean drives home in his latest blog post: The Money is All in the Numbers. Dean acknowledges that there are people like Joe Konrath and Amanda Hocking who have made a huge amount of money off of one or a few books in a relatively short period of time, but these good folks are the exception not the rule. Dean's point: you don't need to write a bestseller to earn a comfortable living as an indie writer.

Dean writes that

I have, at my last count, just over nine million copies of my books in print, yet I have never had any big splash. Just a book here, a book there, and a lot of books selling over decades. And none of that counts any ghost-written novel or indie-published title. (The number would be a ton higher if I counted those.) Just traditional novels through traditional publishers under one of my own names.

Traditional publishers, Dean says, make their money "not so much on sales-per-book ... but on numbers of different titles that are for sale". It is all about control. A publisher can't control whether one of their books will become a best-seller, but they can control how many titles they have for sale. The more titles they have for sale, the more money they will make month after month, year after year.

Some books lose money, some make more than expected. But the hope and goal is that the average over a line of books over a period of time will be around the 4% figure, give or take. If the book line loses money regularly, the editor is eventually fired or the imprint or publishing company is killed. Just business.

If these big publishers were only publishing one book (or even only one hundred books) per month, they sure couldn’t afford the big buildings.

Quantity in numbers of titles is everything.

Here's how all of this applies to indie writers:

Indie-published writers got all the money that publishers used to get for building those huge buildings in New York.  Instead of getting 14.8% on electronic sales (25% of 70% – 15%), that publishers were offering, we got 65-70%. Period. And we could put books on our own web sites for sale and maybe even make 100%.

And even more importantly to us midlist writers: All our backlist suddenly had value again. (This is huge!!!)

On top of that, indie writers have more freedom. Not only can we write what we want but we can also write to the length that's right for the story.

Even if you are a novelist. Remember the one-hundred-thousand word novel was an artificial creation of the publishing industry over the last forty years to justify price increases. Let your stories go natural lengths. You will discover that most novels are fine around fifty-to-seventy-thousand words. Sometimes shorter. Just write the story you want to write.

I have only discussed a few of Dean's points, I would highly recommend that anyone interested in writing or publishing go over to his blog and read his article, The Money is All in the Numbers.

Then, write, and build up that backlist! :-)

Simon Wood's Road to Writerly Riches

Simon Wood has written a guest post on JA Konrath's blog that details his long journey down the road to success. He writes:

I have to admit sales were slow at first, but to be honest, I wasn’t approaching it right. To use a Field of Dreams analogy, just because I built it didn't mean anyone would come. Success in the eBook market thrives on endorsements from trusted voices and you find them in the blogosphere . I sent review copies, essays and articles about my books to any and all blogs and websites with a good following. This helped get the word out and it showed itself in sales. With ten titles to my name, trying to promote them all at once was monumental and diluted my message.

In April, I decided to focus on title at a time. I focused on ACCIDENTS WAITING TO HAPPEN first, as this was originally my debut novel. The approach worked. I had some good feedback coming from a lot of sources. Then momentum took over, I started to see various eBook and Kindle blogs talking about ACCIDENTS or one of my other titles almost daily. Sales climbed from April to June and ACCIDENTS hit Amazon’s Top 100 titles.

Then in one of those serendipitous events, Amazon sent out an email blast about the book at the end of June. This catapulted ACCIDENTS to the #2 spot at Amazon over the 4th of July weekend, just behind Janet Evanovich’s latest.

Proving the adage that a rising tide lifts all boats, I saw incremental sales growth across the board as ACCIDENTS spearheaded the rise to the top. THE FALL GUY cracked the Top 100. I have six titles in the Hardboiled Top 20. WE ALL FALL DOWN looks to be the next title to go big judging by its rising numbers.

So what does this mean for me now? It means a few things.

Read the rest here: Guest Post from Simon Wood

Click here for a list of Simon Wood's books.