Tag Archives: Fiction

Ebooks cost a lot of money to make; will no one explain why that has to be so?

Andrew Wheeler wants people to stop saying that ebooks don’t cost publishers lots of money to make:

Creating an individual ebook format — one of the current suite of them — costs roughly as much as creating a print-on-paper edition; the costs of the actual paper and ink are vanishingly small in this equation. Some ebook formats, such as the currently fashionable one, have a baroque process of creation that involves multiple transformations and iterations of quality control, which drives up costs further. And the cost per unit is massively higher for ebooks than for printed books — infinitely so in some cases, since there are plenty of ebook editions that have never sold a single copy.

Now, I feel the need to respond to this post, because I’ve chimed in on ebook economics before and it’s a topic I care a lot about. However, I’m going to first point out that I have a great deal of respect for Andrew Wheeler, both as a blogger and an editor, and I’m fully aware that he knows a lot more about the inner workings of the publishing industry than I do; I’m not going to tell him he’s wrong, because he isn’t. I’m not going to refute the claim that ebooks currently cost a lot of money to make. I am, however, going to say that they shouldn’t cost a lot of money to make, that they don’t have to, and that the longer they do, the smaller the chances of them ever becoming a viable industry in their own right.

Part of this isn’t the fault of the publishers; as Wheeler points out, there are a dozen competing ebook formats with arcane creation processes; there are DRM frameworks; there are ebook vendor requirements that predicatably take advantage of the over-the-barrel status of the publisher and milk them for as much as they think they can get away with. This is pretty much how new technologies always work; I can see parallels with the digital music business as it meared the Napster era. The publishers dragged their feet then, as well, and in the process allowed an openly accessible file format (the mp3) to gain ascendancy in a series of distribution networks that they had no investment in or control over. I expect book publishers are well aware of this parallel; what surprises me is that they’re not talking to the consumers about it more actively.

I do need to quibble on one of Wheeler’s points:

… the cost per unit is massively higher for ebooks than for printed books — infinitely so in some cases, since there are plenty of ebook editions that have never sold a single copy.

Now, again, I’m not saying he’s wrong here – he’s seen figures and spreadsheets that I’ll never be shown, of that I’m certain. But if you’re running a set-up where the per-unit cost of an infinite good is higher than that of the physical finite version, either there’s something massively wrong somewhere in the production chain, or my understanding of the publishing process has a huge flaw which I would sorely appreciate being corrected on.

Allow me to explain: some of you may be aware that I work for UK small press PS Publishing. Now, we don’t sell ebooks (yet), but we make PDF versions of our books available to reviewers. Those PDFs are almost identical to the file we send to the printers, except for being saved at a lower resolution to save on disk space and download times. In other words, the work to produce a template for the reproduction of a physical book or an electronic one can be exactly the same; the same editing, proofing and typesetting/layout process, all the way up to the stage where the book is released to duplication.

The obvious answer to that statement is “well, you’re using PDFs and no other formats, so of course it’s easy”. Well, yes; and that’s kinda my point – if the publishing industry continues to allow intermediary vendors to shaft them with ludicrous hoop-jump requirments and costs for multiple proprietary formats, then they’re never going to make a dime out of selling ebooks. There needs to be a concerted push by the industry for a single, simple and secure digital format that everyone uses; then leverage can be applied to the makers of reader hardware to support that format, plus the formats used by public domain material (e.g. the humble and ubiquitous PDF, which is either unsupported or charged for on most current readers of which I am aware).

Part of the establishment of that file format should include software for easy conversion of proofed electronic galley files directly into it, so that once a book is ready for printing, it’s also ready for ebooking in one click. At this point, there’s no way the per-unit cost for ebooks can be higher than print, because that ebook is ready to ship, and any intermediary vendors should be willing to eat the storage and distribution costs out of their final to-consumer price. If they’re not, you go with the one who will; the rest will soon follow. Now, sure, you’ve still got your marketing and promotion budget to consider in to that per-unit cost, but that’s the same outlay for both editions up to this point in the process, and with a digital format that cost is spread over a theoretically infinite number of units at no extra cost.

By comparison, after that final file is deemed ready for production, printed books must be printed, warehoused, shipped, lifted onto shelves in brick-and-mortar stores and run past the till scanners there, too… and all that money has to be coming from the profit margins. By any rational analysis from outside (with the caveat that I’m not an economist or an accountant), that must cost more than making digital books available; I’m prepared to believe that there may be reasons that it doesn’t, but I’d suggest that those mysterious reasons point to a heroic flaw in the economics of book publishing as it stands.

To reiterate: I’m not saying Andrew Wheeler is wrong to say that ebooks cost more to make than dead-tree books; I’m saying that disparity in cost is impossible to understand for anyone not privy to the way the system works – people like me, and people like the ones who want to buy ebooks but find them either unavailable due to antiquated regional licencsing, hobbled or useless thanks to proprietary and restrictive file formats, or just simply too damned expensive by comparison to the dead-tree version.

Wheeler’s final point s that many ebooks never sell a single copy, which surely only underlines my point that making every effort to reduce that inexplicably high per-unit cost is the only way to make them a viable business. As Blue Tyson says in the comments below the post, “[p]ricing them double is a pretty good strategy to sell zero, certainly.” If your current system means you have no choice but to charge an arm and a leg for an infinte good, your system is surely broken. I think part of the problem is considering the physical and electronic versions as two separate products; that proofed and typeset file is the product, and the ebook or bound paper are just the delivery systems for it.

Now, I’m fully prepared to admit that there are things I don’t know about how the system works, as mentioned above. The point I’m trying to make here is that until the consumer has been shown why that price must be so high, they will never stop complaining about it. I’d genuinely like to know the truth of the matter, and as such I’d like to invite Andrew Wheeler (and anyone else with the pertinent experience and knowledge) to set us straight; I’ll happily publish a response here, or link to it if published elsewhere. Sunlight is the best disinfectant, so they say. 🙂

NEW FICTION: FLUIDITY by Eric Del Carlo

One of my hardest jobs as editor here at Futurismic is trying to write the introductions to our new fiction pieces that actually do them justice. This month, I’m not even going to try – all I’ll say is that Eric Del Carlo‘s “Fluidity” totally blew me away when Chris sent it over for me to look at, and that I’ve not read such a strong yet sensitive treatment of gender politics in science fiction for some time. See for yourself.

Fluidity

by Eric Del Carlo

Some prim Prior in Xen’s childhood had made a pulpit-pounding fact of this statement:  “To interrupt one’s Cycling is to throw oneself off a cliff!”  So often and with such spittle-spraying vehemence was this preached that it had locked in Xen’s mind.

And so when he pulled the braided sash and his burgundy robe heaped the ground around his bare ankles, he stepped forward over the ice plants with that Prior’s fervor guiding, not warning, him.  The ocean’s salt-tart wind handled his slim naked body carelessly as he came to edge of the bluff.  Cascades of ice plants turned to dark rock below, then colorful sand.  Xen paused to touch his exterior genitals.  It was a wistful gesture.

Off a cliff…

He went, making instruction of that long-ago thunderous remonstrance.  When he struck the dark rocks, he crushed numerous bones; when he bounced and tumbled out onto the beach itself, he lived only long enough for a group of startled concerned bathers to huddle over him. Continue reading NEW FICTION: FLUIDITY by Eric Del Carlo

Telepresence: virtually as good as being there

This topic – telepresence – started knocking around in my head when I walked into a business meeting almost a year ago in Kirkland, Washington. A wall-sized (literally, exactly, one wall floor to ceiling, side to side) picture showed a room the same shape as the one we stood in. People walked into the room and sat down.

They were in Silicon Valley. Continue reading Telepresence: virtually as good as being there

Fear of a Transhuman Future – Zombies and Resident Evil

Much like the vampire, the zombie is a long-lived trope of the horror genre whose subtext has mutated alongside the contemporary fears of the audience. So what do current zombie movies and games say about our modern metaphysical boogie-men?

Blasphemous Geometries by Jonathan McCalmont

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The Horror genre is a profoundly parasitical creature. Not only is it endlessly adaptable to cultural changes, but it also has a rare capacity to track sources of social anxiety and attach itself to them, mining our deepest fears and presenting them back to us in the shape of art – a cathartic form of art that helps us to overcome our fears by making us confront them in safe environments such as cinemas and comfy chairs [Cinemas are a safe environment? Not in this town, man. – Ed.]. Indeed, Joss Whedon owes much of his fame and following to the fact that Buffy the Vampire Slayer helped millions of TV viewers to overcome the traumas born of attending high school – traumas transformed by Whedon and his staff of writers into monsters physical enough to be defeated week in and week out by a small blonde woman and a gang of geeky side-kicks. Continue reading Fear of a Transhuman Future – Zombies and Resident Evil

Google AdWords as a writing tool

Ever have trouble thinking up character names for your fiction?

Gareth L Powell takes the quick route of simply opening his spam email folder and looking at the pre-randomised names in the “From” field, but Robin Sloan (who we mentioned in passing when talking about new publishing business models) went into a little more in depth: he ran a bunch of Google AdWords campaigns to find the name people were most interested in reading about.

Here’s what I did:

  • Created a campaign attached to a bundle of search terms: mystery, detective story, sherlock holmes, noir, and more like those.
  • Came up with a whole set of names, basically wide variations on a theme. One was my original pick, but I liked all of them. Then, I created an ad for each one, all with the same body text but each with a different name swapped in for the headline.
  • Allocated a small budget ($40, to be exact) and kicked off the campaign. And wow there are a lot of people searching for stuff on Google. Over the span of 24 hours, my ads made about 100,000 impressions.

Sounds a bit like a very convoluted form of displacement activity, no? Well, Sloan’s aware of that, but it’s part of his overall writing philosophy:

… okay, I’ll be honest. This was mostly just an excuse to try a new tool. Any nerd will tell you that tools can provide their own intrinsic rewards. There’s an aspect of exploration to it, too: you’re pressing out into new tool-territory, learning about what you can and can’t do.

This little AdWords test is a first step. Mechanical Turk might be next. I mean, imagine — this is the sci-fi extrapolation — imagine highlighting a block of text, choosing a menu item called Test the way you’d choose Spellcheck today, and when you do, a little timer appears next to it. Five minutes later, ding — the timer goes off and you have the results right there, floating over the text. Aggregated feedback from an anonymous swarm of readers: “I stumbled here,” “this variation works better,” “this line rings false.”

That might sound naive — it’s definitely oversimplified — but I think there might be something useful lurking in this particular tool-territory.

Crowd-sourced micro-fragment beta-reading… for some reason, my brain wants to rebel against the idea (because it doesn’t fit into the pre-established set of writer behaviours, I guess), but that’s probably as good a sign as any that it might actually work. [via GalleyCat]

One could be cynical and assume that Sloan performed the AdWords experiment as much for the potential publicity as for practical purposes, but if that’s the case, hey – it’s worked, hasn’t it? Writers have never really had the same opportunity as visual artists or musicians to experiment publically with methodologies up until now… maybe this sort of “performance writing” will fill that PR void we were talking about before? Nothing gets a link passed around as effectively as novelty.