Self Publishing Electronic BooksSelf-publishing Electronic books
Allow the average writer to make money self-publishing e-books?
Consider self-publishing and e-books as two large conflicting meteors. With the upsurge in "indie" books produced, the boom in electronic literacy has hit rock-bottom with new publishing contents that are skyrocketing fast. In order to find out what writers need to know about how to read the radars - if they want to get their kites in the sky and when to blow them up - we asked selected sector specialists and top people on the independent e-book marketplace: writers in Ponychos, gallos hes on the floor, no Theoretiker.
Ebooks reached a crucial landmark in the first three months of 2012, when they sold out hardcover books for the first a year. According to estimates by experts, e-books now make up a fourth of all books sold. The Bowker market research shows that the number of self-published books issued each year has risen at an exponential rate to around 235,000 in 2012 (a conservation statistics, as the lack of ISBNs on many e-books makes it difficult to track).
Whilst observers never get tired of gambling about the insecure futures of pressure, it seems certain that the e-book markets are heating up with time. Even publicized breaks on e-book best-seller listings have attracted equal attention from contributors and sector experts. However, many of them are not interested in making a living with e-books.
It is about identifying a market that would not be profitable enough for conventional publishing houses to be able to competing in the market. Those abridged e-books, usually 5,000-30,000 words, can be available for feature films and other kinds of work that have no truly profitable counterpart in the printed market, and can also be an appealing way for authors to get more footage out faster.
Bell, for example, has found that his editors have shown no interest in his e-single novella - but his unrelated publications from them supplement his other work both in financial and creative terms. The disadvantage for writers like Bell is the low $0.99-2. According to most reports, the price of e-books in the online cycle that is running through the sector is an experiment and an aberration.
They all swim very quickly, because nobody has the answer when the publishing vessel is knocked over in the Taifun. The lower limit may well be the upper limit in the future. Is it possible for the writers who test the water to find out which point of prices is the sweetener - low enough to draw new audiences, but high enough to make a fair return?
This does not mean, of course, that some writers have failed to sell more books for less moneys. Its catchphrase is "findability" - so that the reader can find your work and recognise it for the good deal it is. Lothlorien says that people don't just buy a textbook because it's cheaper - especially in a market that's saturated with more and more such books every single business day. But Lothlorien also says that it' not just because it's not...
"When it comes to just getting a song on a top 100 Amazon listing, I haven't seen any compelling evidence that it works," she says. Protestants say that the highest value books will come to the top on their own - and indeed there is an excess of below-average competitors on the online market, especially at the cheapest prices.
It is always a good idea to concentrate on the most controllable factor: the wording of your work. In this sense, your sole selling policy should not be to set your prices dynamically. - Rogue charging. Allen Ashlock is Chairman of Movable Type Management, a company that released the e-book aided publishing print The Rogue Reader in October 2012.
That is the kind of cost adaptation that any experienced self-publisher can make. On the other hand, some writers have found it worthwhile to rate the first work low in a row to stimulate the reader to take a likeliness on a stranger, and then increase the cost of the following books once the reader is tense.
Each strategy is based on incentives for the reader - and, more revealingly, on the fact that your first volume is good enough to get the reader interested in your second. How, then, can writers be among the few fortunate ones who achieve this kind of exposure? However, it is another example of why it is important that even eBooks that are released are of the highest possible standard of excellence - to give them the best possible chance of getting the publicity that can make a big impact.
Regardless of the strategies you use to resist the changing tides of e-publishing, there is an unwavering agreement with which most writers agree: Look at my humour textbook, Oh Boy, You're Having a Girl.