Tag Archives: acx

The Book Biz is A-Changin’

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by James Scott Bell
@jamesscottbell

(Apologies to Bob Dylan)

Can you believe we’re into November already? Why does time feel like a toboggan on Kiwi Flats at Mammoth Mountain? Things are also moving faster than ever in the world of publishing, both self and traditional. And now we’ve got AI out there, churning out subpar fiction that crowds the electronic shelves. (I’m currently reading the letters of Raymond Chandler. Get this. In 1947 he wrote to an editor, “I wrote you once in a mood of rough sarcasm that the technique of fiction had become so highly standardized that one of these days a machine would write novels.” Ha!)

Wherever you are in this game, be ye DIY or working with agents and publishers, you have to think of it as a business. Indeed, as a business that may not look the same six months from now. In that regard, here are a few items that recently caught my eye:

Kindle Direct Publishing Beta Testing AI–Narrated Audiobooks

The biggest barrier keeping self-publishing authors from doing audio versions of their books is cost. To hire a narrator to produce an 80k novel can easily run you north of $3000. An alternative is Amazon’s ACX program, which offers the option of splitting the royalties between author and narrator, and thus no upfront cost to the author (but only half the take).

Now comes another option. According to Publishers Weekly:

KDP has announced that it has begun a beta test on technology allowing KDP authors to produce audiobook versions of their e-books using virtual voice narration. The ability to create an audiobook using synthetic speech technology is likely to result in a boom in the number of audiobooks produced by KDP authors. According to an Amazon spokesperson, currently only 4% of titles self-published through KDP have an audiobook available.

Under the new initiative, authors can choose one of their eligible e-books already on the KDP platform, then sample voices, preview the work, and customize the audiobook. After publication, audiobooks will be live within 72 hours, and will distributed wherever Audible titles are sold. Prices can be set between $3.99 and $14.99 and authors will receive a 40% royalty. All audiobooks created by virtual voice, the post says, will be clearly labeled and, as with any audiobook, customers can listen to samples.

I suppose this was inevitable. The question is, what will the quality be? Will books be better or botter? Can a bot read a novel with the same emotional caliber as a human? Will there be market resistance from a large swath of audiobook fans?

In somewhat related news:

Debbie Burke’s Nightmare Becomes Real

The head coach of the Michigan football team, Jim Harbaugh, is being accused of cheating, specifically sending one of his assistants out to steal the signs of opposing teams. He has denied the allegations and the NCAA is currently investigating.

But now a video has surfaced on X (formerly Twitter) of Harbaugh in a press conference admitting he knew, and that “I’m just doing what I can to drag this sorry program out of the mud.”

It’s Harbaugh’s “voice” matched up with his lips from another presser. It’s obviously a fake, because the real Harbaugh would never say anything like the above. Most commenters get the “joke,” but no doubt many will think he really said it. It’s just eerie what can be done with AI, and from now on our thrillers will have to take it into account.

Authors Guild Survey of Writing Income

The Authors Guild recently conducted its most comprehensive author income survey to date. According to the Guild: “A total of 5,699 published author participated, and the survey sample was meticulously divided, with representation from both traditionally published and self-published authors, making it the most representative author income survey to date as well.”

Only key takeaways are available as of this writing (posted on the site linked above). Here’s the one about income

The median author income for full-time authors from their books was $10,000 in 2022, and their total median earnings from their book and other author-related income combined was $20,000. Book income includes advances, royalties, and fees from licensing and subsidiary rights. Other author-related income includes work such as editing, blogging, teaching, speaking, book coaching, copy writing and journalism.

***

This means half of all full-time authors continue to earn below minimum wage in many states from all their writing related work, and well below the federal minimum wage of just $7.25/hour from their books. It also tells us that most authors are earning half of their writing-related income from sources other than their books.

Now, I’m not sure what definition of “full-time author” is being used here. It can’t mean authors who make their living solely by writing fiction because, kids, who can live on ten grand a year? They are also including “other author-related income” such as editing, teaching, etc. But if you’re editing and teaching to make money, how is that being a full-time writer? Or maybe I’m missing something. It wouldn’t be the first time.

There’s a marketing segment to the survey. It should come as no surprise that the most effective marketing tools reported by the respondents were: Kindle Unlimited, ebook discount programs (e.g., BookBub), and an email list. One curious nugget about KU: “Kindle Unlimited was particularly effective for self-published authors, who earned 67 percent more book income from the platform than traditionally published authors make on book-earnings alone.”

Amazon Sues Scammers Targeting Authors

Amazon announced last month that it has filed a lawsuit in the Northern District of California against 20 individuals “scamming authors by falsely claiming an affiliation with Amazon Publishing and Kindle Direct Publishing. According to the suit, the scammers run fake Amazon knockoff websites designed to lure would-be authors into paying a fee to publish, and then deliver either substandard or no service at all.”

Dealing with scammers is like playing 100-hole whack-a-mole. At least you pound one every now and then. Glad to see Amazon stepping up.

Goodreads Taking Steps Against “Review Bombing”

In June, bestselling author Elizabeth Gilbert (Eat, Pray, Love) pulled her novel, The Snow Bird, which was slated to be published in 2024. The reason: “Review bombing.” That is a spate of 1-star negative comments meant to depress sales. It’s not based on the writing, but for political or cultural reasons. Goodreads allows any user to rate and review a book before it has been published, whether or not they’ve read an advanced copy.

The Snow Birds is set in Soviet Russia. Based only on the description, over 500 negative reviews from Ukrainian and pro-Ukrainian users expressed concern that the book would “romanticize” Russia. So Gilbert pulled the book, stating, “I do not want to add any harm to a group of people who have already experienced – and who are all continuing to experience – grievous and extreme harm.” She will now focus on other literary projects.

Goodreads issued a statement to its users saying, in part,

Earlier this year, we launched the ability to temporarily limit submission of ratings and reviews on a book during times of unusual activity that violate our guidelines, including instances of “review bombing.” If you see content or behavior that does not meet our reviews or community guidelines, we encourage you to report it.

Isn’t the simple answer to require a reviewer to be a “verified purchaser” or at least be identified as having read the ARC before posting a review? Or does that make too much sense?

Meanwhile, At the Big 5

Jane Friedman of The Hot Sheet (subscription required), spent two hours talking with Peter Hildick-Smith, who helped the Guild conduct their survey. She concludes:

Finally, the survey results look sobering for anyone with a Big Five house: Earnings have declined for those authors over the last five years at the rate of inflation. The biggest selling authors are seeing their sales soften, which indicates to Hildick-Smith that the big traditional publishers need to think of some new approaches for marketing and promotion. For the top 10 percent of traditionally published authors, he said, “There are a lot of folks out there nipping at your heels, and you’re having to share the winnings a lot more.”

So Be a Cork on the Roiling Sea of Change

Way back in 2012 I wrote about the “discoverability problem” in the “roiling sea” of digital publishing. Our job is to be a cork, always bobbing right back to the surface, no matter what waves come our way:

The good news is there is one tried and true method that is consistent throughout all marketing platforms: good old word of mouth.

Which comes from quality + consistency x time. The best books and stories you can write, and then more, and more, never stopping, ever.

What say you? How are all the changes affecting your work or plans? Are you keeping the main thing (writing) the main thing?

On Producing My Own Audiobook

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by James Scott Bell
@jamesscottbell

We all know audiobooks are booming. As reported by Forbes:

The publishing industry’s 2018 year-end results are here, and audiobooks did astoundingly well. According to the Association of American Publishers, which collects and reports on data shared by many publishers across the country, estimated publisher revenue for downloaded audio increased 28.7% over 2017. Downloaded audio was worth an estimate of 13.7% of publishers’ online sales.

Downloaded audio has long seen increases of this magnitude; the 2018 report reiterates this, estimating that publisher’s revenues in the category grew 181.8% from 2014 to 2018.

This growth, too, is continuing into 2019, which has already seen massive increases: in the first three months of this year, downloaded audio revenues increased 35.3% over the same period last year.

While the industry as a whole is seeing much more modest increases (or, in some categories, small decreases), audiobooks have a ways to grow, providing publishers with an exciting market for many months to come.

And an exciting extra income stream for authors. As many of you know, Amazon offers indie authors an audio platform called ACX. It’s like Kindle Direct Publishing for spoken-word books. ACX was developed by Audible, which was purchased by Amazon in 2008.

Thus: audiobooks created on ACX are sold on Amazon.com, Audible.com, and iTunes (which will soon undergo a transition).

ACX is extremely easy to navigate. For the overwhelming majority of indie authors it is a way to hook up with voice talent for audiobook narration. Here’s an overview of the process. There are two types of deals you can make with the narrator/producer: 1) royalty sharing; 2) cost per-finished-hour.

With the former, you share the royalty with the narrator. ACX pays out a 40% royalty (of the retail price), which you then split with the narrator. [NOTE: This 40% is if you are exclusive with ACX and not distributing elsewhere; if you go non-exclusive, the royalty drops to 25%]. You audition narrators via the ACX dashboard and there’s plenty of talent out there. Like a fellow by the name of Basil Sands who drops by TKZ on occasion.

With option #2, you pay the narrator/producer per finished hour (PFH) for their time and effort. In return, you keep all the royalties. This of course involves a hefty up-front cost. Let’s say you have a 10 hour book and the narrator charges $400 PFH. That’s four grand out of your pocket before you start selling. Just remember to think in terms of sales over years, not just months. You can certainly find excellent voice talent out there. One way to do this is to listen to audio samples on Amazon or Audible of books in your genre. When you find a voice you like go to the narrator’s website and make contact.

I opted for a third way—producing and narrating my own books. Why? Because I’m cheap. Also because I spent a good part of my early years developing my voice for stage and television commercials. Why let the pipes that once proclaimed, “What from the cape can you discern at sea?” in an Off-Broadway production of Othello go to waste?

My big hangup was the technical aspect. I didn’t have a recording studio or sound equipment. I could rent a studio and engineer, but once again…cheap!

So I did some research and found I could put together a workable mini-studio right on my desk. The two main pieces of equipment I needed were a good microphone and sound panels—that soft, foamy material that usually covers entire walls. I found a small, adjustable “sound shield” for under a hundred bucks and got a Blue Snowball microphone and a foam mic cover to go with it.

Next I needed recording software. I’m a Mac guy and thus already have GarageBand. But how to set it up with the right parameters for ACX was going to be a challenge. I was not at all sure I understood what the heck that entailed.

Fortunately, a gentleman named Rob Dircks has generously made available, for free download, his pre-set GarageBand settings for an ACX book. Thanks, Rob!

Finally, I started narrating Write Your Novel From the Middle and uploading the finished chapters to ACX. I created a cover image (the parameters are square, like a CD cover), and filled out all the metadata. When I was all done I hit publish and waited two weeks for the quality review. Frankly, I didn’t know what to expect. Maybe some technical issue I wasn’t aware of would require a re-work of the whole thing. Ack!

But I passed the inspection. And now Write Your Novel From the Middle is an honest-to-goodness audiobook.

As I mentioned earlier, I am exclusive with ACX because it hits the largest slice of the audio distribution pie and pays a generous royalty. I know there are indies who have gone “wide” via other companies, but that is beyond the scope of my current experience. (Anyone who has info along these lines, please feel free to share it in the comments.)

Is narrating your own books an option for you? Many “experts” warn that authors who are not voice trained shouldn’t make the attempt. I say, “Bosh.” (I don’t say “bosh” often, but when I do, I mean it.) ACX has a helpful video and other info for authors as narrators. It does get easier after you’ve done it once. I’m now prepping How to Write Dazzling Dialogue and it’s like an assembly line of audio chapters. I plan to press on and produce all my books in audio.

In traditional publishing contracts, the audio rights are always defaulted to the publisher, with a clause like: Publisher, at its sole discretion, shall have the right to publish a recorded audio version of the Work, for which the author receives 10-15% of net. I’m no math whiz, but 40% of retail sounds a tad more favorable. If you are going to sign with a publisher, you ought to try to reserve the audio rights and create the audiobook yourself. Especially since hard copies (CDs) of audio are rapidly becoming obsolete. In other words, you don’t need Barnes & Noble shelf space to get the most out of your audio rights.

Of course, retaining these rights is going to be tougher going forward because all publishers know audio is the growth area. Discuss this with your agent. Go for the rights; in the alternative, negotiate a higher royalty.

Just don’t put your head in the sand, because audio is a major part of the future.

So what’s been your experience with audio versions of your books? Have you ever thought about doing it yourself? Have you ever said “Bosh” in mixed company?

2016 Publishing Trends

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Jordan Dane
@JordanDane

stack-of-books

I recently received an email from a reader fan who complained about not having access to my Amazon Kindle Worlds (KW) digital books in Australia. I’ve heard this complaint before regarding the difficulty of obtaining US books in other countries. You’d think that in this digital world, it would be easier to satisfy markets all over the globe (especially with digital books), but not so. In the case of Kindle Worlds, the division is separate from Amazon and has to build upon its infrastructure and distribution resources. KW will be in Australia eventually—things are changing—but online retailers restrict certain markets because of their selling platform limitations. Yet the world is becoming borderless and more universal, so it got me thinking about trends in the publishing industry that have changed how books are created, marketed, and distributed.

1.) Publishers Optimizing Licensing Prospects – Publishers over the globe are recognizing the value of licensing and holding tightly to the rights they have under contract. Licensing, traditionally a subsidiary rights value, could become a larger contributor to a publisher’s cash flow if the house can expand its reach into the global marketplace. International borders would become less important (not an obstacle) and publishers could expand their reach in creative ways by enhancing the book experience for the reader. Plus, larger houses could continue to acquire struggling mid-sized houses to acquire these rights that they could exploit across the globe.

How can indie authors exploit their sub-rights (ie foreign language translations, audio, film rights, serial rights, and merchandising)? They can either sell those rights themselves, or have an agent do it for them, or exploit these rights on their own, such as audio rights for independent artists and authors through ACX, Spoken Word Inc, and Open Book Audio. If the author controls the artwork for their covers or develops a series logo as a brand, they can control merchandising through service providers like Café Press, Zazzle, and DeviantArt. For foreign language rights, some independent authors have worked directly with translators, offering them nothing up front but with 20% of proceeds on the back end. If you’re not daring enough to go directly to the translators, there are ways for author right holders to be matched with publishers willing to acquire such rights through a site called PubMatch. (Pubmatch is free to join but when I input my profile, they asked for money to be paid annually since I was submitting books for consideration. I paid a nominal fee of 19.99 for a year and will see how things go.) The author would create a profile and either wait to be contacted on their offerings or be more proactive by searching the profiles of publishers listed on the site, similar to the way ACX (for audio) is set up.

2.) The Importance of Local POD Providers – There have been some out-of-the-box thinkers who see the value in “local” print on demand (POD) options as a means to get around the international obstacles of limited selling platforms. My reader in Australia could wait for Amazon KW to expand its reach into the country, or some entrepreneurial company (like a more nimble micro-publisher) could simply place an order at any local POD service providers in various countries to create a bigger marketplace. Could this lead to niche POD companies springing up to support a strengthening print sales demand across the world? Only time will tell.

3.) Print Book Resurgence – It wasn’t long ago that people were predicting the death of the print book, but quite the opposite has happened with stronger print sales being reported in 2015. Perhaps this is because publishers now have more control over pricing after the reintroduction of agency pricing through online retailers like Amazon. And with demand strong and the boutique model dominating digitals, larger publishers are optimizing their marketing strategies by attempting to manipulate their print prices up.

How? By offering fewer books for predominantly well-known authors with large readerships—books that are in demand—publishing houses can control how books are launched, pricing-wise. With ebooks priced nearly on parallel with print sales, publishers can create a value-related decision point for readers to evaluate whether they would rather own a print book versus a digital copy. At certain prices, readers will make the choice to own a print copy, even if they are paying slightly more. Would you pay an extra $2.00 to own a hard copy print book?

But it’s not all rosy for large houses, even with the glimmer of print sales being up. Overall, traditional publishers are offering fewer books to the reading public—focusing on big name authors—so they must squeeze profitability out where they can. They won the right to control their pricing through online retail giant Amazon, but Amazon is quietly expanding their reach as a service provider and/or a publisher, working with indie authors and micro-publishers with revenue from all sources. We live in interesting times.

4.) The Rise of Alternatives to Traditional Publishers – AuthorEarnings.Com reports that in 2015, nearly half of all ebooks sold on Amazon (the most influential digital retailer) are either self-published, published by micro-publishers, or are generated through an Amazon Imprint. Here’s their ebook breakdown by publisher type:

• Big Five Published 33%
• Indie Published 34%
• Micro-Publishers 19%
• Amazon Imprint 10%
• Misc 4%

So this is what I mean about Amazon making money off the competition of traditional houses. As a service provider, and an imprint, Amazon doesn’t have to be in direct competition with traditional houses as their only source of revenue.

5.) The Retail Gorilla – According to AuthorEarnings.Com – the overall market share of US ebook unit sales is dominated by Amazon at 74% with the balance held by other online retailers: GooglePlay, Kobo, Nook, Apple, and miscellaneous others. So if you’re an indie author with a limited budget, where would you spend your ad dollars?

For Discussion:

1.) Have you noticed any interesting trends in the publishing industry that has affected how you do business as an author?

2.) Whether you’re a traditionally published author, independent author, or a hybrid author with feet in both camps, have you been rethinking the value of sub-rights?