Are Publishers “The Good Guys” or “The Bad Guys”? (Part 1)

Depends on who you ask.

As an editor, I obviously want publishers to succeed for the sake of my future employment and good literature, but I also want to feel like the people I work for are on the right side of things. What’s more, I believe that this reaction isn’t unique or surprising: almost all book lovers have passionate reactions to the book-making process once they get a glimpse behind the curtain, myself included. So when it comes to Amazon, libraries, self-publishing, indie bookstores, and so many other controversial issues, most people tend to come out passionately on one side or the other, oftentimes lambasting my future colleagues.

In the face of criticism from the people who buy our products, publishers should not be afraid to question their business decisions; do we truly know best in terms of our business model, or are we limited by conservative thinking that hurts our authors, distributors, partners, and readers? This post will attempt to lay out and flesh out the controversial issues that the publishing industry faces today, why these issues matter, what the general public thinks about publishing houses under this specific lens, and whether or not we as publishers should feel righteous, defensive, worried, ashamed, or any other feelings about the issue.

This series has a lot to cover, so this post will focus mainly on issues surrounding Amazon and self-publishing.

Amazon vs Hachette

If the continued feud between Hachette and Amazon has taught us anything, it’s that publishing houses’ PR departments will have a major impact on the profitability of publishing in the coming years. As both parties haggle over future pricing of eBooks, Hachette has harnessed the power of bestselling authors like James Patterson and Stephen Colbert to protest Amazon’s purported shady business practices and gain public support for its books. The power of this practice can best be seen in the success of Edan Lepucki’s debut novel California: Stephen Colbert announced on his show that the first-time author would be destroyed by Amazon’s undermining of Hachette titles during negotiations, and suddenly her book became a surprise bestseller.

Meanwhile, Amazon has released a couple of open letters to authors and readers that attempt to show the distributor as looking out for writers and buyers more than the publishers themselves by emphasizing their superior e-royalties for Kindle Select authors. The distributor then argued that everyone wins if Amazon can just price eBooks at bargain prices, since the increased number of sales leads to more money on average for all parties—all of which plays to the idea beloved by self-publishing enthusiasts and unpublished writers that publishers are greedy, uncreative misers who don’t deserve anyone’s support.

Economically, Amazon’s argument isn’t as sound as they’d have you believe. An illuminating New Yorker article quotes literary agent Brian DeFiore, who has in fact criticized publishers for low ebook royalties in the past, as being highly skeptical of Amazon’s plan to lower prices:

Amazon doesn’t quantify what lower e-book prices would mean for sales of physical copies of the same books. Authors who work with traditional publishers like Hachette tend to make more, per copy, from hardcover sales than from e-books. If cheaper e-books draw people away from hardcovers, that could hurt these authors financially…If lower e-book prices were to eventually destroy the market for physical books entirely—or even shrink it enough so that it wouldn’t make financial sense for traditional booksellers to publish them—that would help Amazon consolidate its power, which would ultimately be dangerous for authors.

The article does go on to mention that authors don’t care as much about financial gains if they can increase their readership, and that lowering book prices has been proven to lead to this eventuality. That’s part of the appeal of the self-publishing model—that authors ignored by traditional publishers have garnered huge followings through their own marketing efforts and more reasonable prices for readers. And yet, connected to the earlier point, these authors would have to place all of their hopes on one digital sales channel, whereas traditional publishers offer print sales to many channels (including Amazon) but provide reduced royalties due to costs like overhead.

Verdict: Publishers are always going to put print first in the climate Amazon has created, where its tantalizing digital business model and loss-leader pricing would give them an eventual monopoly that makes print books hard to sell for a profit. Issues like author advances, the advanced marketing and respectability that traditionally published books hold over self-published works, and the need to keep their own ebooks from undermining print sales are valid concerns that Amazon and its supporters ignore too readily.

At the same time, I do find the idea of paying authors more than 25% for ebooks compelling. Various factors have contributed to most authors making less and less on print sales, so it would be a sign of good faith to authors to increase royalties for e-sales after they have resisted the temptation of Amazon’s attempted bribery to stand behind them. But my area of expertise is not economics, so I don’t know if that is viable or naive thinking. Overall, though, my “good guy” award goes to the publishers in this category, and the “bad guy” award goes to Amazon.

Amazon’s Wild West vs. Publishers’ Literary Canon

Should publishers decide what literature should reach the bookshelves of everyday readers, or should readers’ average score out of 5 stars and bestseller lists decide? In a triumphant critique of traditional publishers in the face of rising self-publishing sales, Smashwords founder Mark Coker mocks the old idea that, “publishers alone possessed the wisdom to determine if a writer deserved passage through the pearly gates of author heaven. Writers were taught that publishers had an inalienable right to this power, and that this power was for the common good of readers.”

Coker’s argument could be that self-published novels are chosen solely on the merit of the storytelling, whereas with publishing houses readers are at the mercy of the tastes and prejudices of their editors. Of course, the most successful self-published novels don’t just succeed due to quality, but also due to skillful marketing, SEO optimization, and Amazon promotions, done either by the author herself or by her hired team. Still, he would likely argue that authors can allow readers to directly validate the enjoyability and skill of their manuscripts, rather than need a stodgy editor or literary agent to act as the solitary judge and gatekeeper.

So should traditional publishers have this power? As I said at the beginning, depends on who you ask. Many might argue that editors have more authority than regular readers to judge which stories have merit and which do not, as it’s their job, and hopefully their passion, to think critically about what people will like in their stories. And the success of certain imprints, specifically ones that generate texts in one genre or format (i.e. poetry), shows that readers have grown to trust the discerning eye of certain editors and the authors they’ve chosen to represent the publishing house. This is essentially the argument for literary canon—that publishers have discovered and nurtured the Hemingways and Fitzgeralds of the past and that they protect posterity by raising books like The Goldfinch over popular bestsellers like Fifty Shades of Gray.

Yet with each self-published bestseller that achieves acclaim after being rejected by publishers, these authors prove that the judgment of publishers and agents aren’t infallible. And the recent controversy at the Book Expo America, where publishers revealed a startling lack of diversity in their acquired children’s books, is a problem that extends far beyond one genre. Literary canon has always been homogenous, primarily dominated by white men and more recently white women, and the publishing scene similarly demonstrates a disparity of representation beyond a token few. Some argue that self-publishing offers the solution to the whitewashed literary sphere that publishing houses have engendered. Others argue that publishers simply need to get past the perception that multicultural books won’t sell or that POC characters can only fit within a certain mold. The fact is, publishing houses lack diversity in hiring and executives, and that engenders a culture that ignores diversity and pretends that narratives with diverse characters are inaccessible to everyday readers.

Verdict: Amazon is an incredible resource for authors, and publishers have to try to offer services and rates to compete with Amazon. I would argue that they do, especially because Amazon has thus far failed to make a major impact in their own attempts to get print books into bookstores and homes. And publishers, teamed with the literary agent barrier, do have a system in place of finding quality literature from the masses of manuscripts published every year. But the lack of diversity is a serious issue that we cannot continue to brush under the rug or place on the shoulders of a few authors of color. I personally love reading about people of different cultures, races, species, and worlds (I’m sure you can guess sci-fi is my favorite genre) and don’t understand why those narratives should ever be excluded for reasons of supposed “inaccessibility.”  So yes, this is one area that will give me no small amount of guilt if my future publishing house perpetuates this problem rather than rectifies it, and publishers will start to lose readers and money to self-publishing if they do not rectify their small-minded acquisition strategy. I unfortunately have to give the good guy rating to Amazon here, though if big publishers get their act together diversity-wise they can easily stop being the bad guy and be a force for good in literature.

Monopoly: Amazon v Apple/Big 5 Edition

I won’t go too far into the details of this case, as there are several articles that describe them for us. But the dilemma of the case is straightforward: Amazon buys books for wholesale prices from publishers and sells them for less than they paid so that no one can possibly compete with their prices, creating a monopoly supposedly in the name of consumer rights. Thus, consumers buy major publishers’ books for cheap and then stay to buy Kindle Select books that make up the profits for Amazon. Apple and the publishers colluded to create an agency model where they determine the price of books and Amazon has no say in changing it, which would drive prices up and allow other distributors like Apple to actually compete in the ebook market, but hurt consumers.

Now, the big publishers and Apple have all settled, essentially admitting guilt for their crimes, and public opinion is falling into two predictable lines: slimy Apple and stupid old publishers finally got what they deserve for sticking it to consumers, and self-publishing will take big publishing’s place; or evil Amazon is sitting laughing on the corpses of its competitors while books lose all cultural value and the industry collapses in the spirit of “competition.”

Verdict: It’s difficult to find a proper answer, despite how biased I am toward publishers. First off, it’s perfectly reasonable to ridicule the “it’s not a monopoly because Amazon did it first” defense as elementary school level, and what they did was illegal, even if Amazon has created a climate where only a united front could win against it. Still, Amazon’s current removal of pre-orders and speedy delivery for Hachette titles, and its more drastic action of removing all of Macmillan’s titles in 2010 for switching to the agency model, shows just how terrible Amazon can be to anyone who dares to ask for fair rates.

 I’m of the personal belief that companies like Wal-Mart and Amazon that destroy all small business competition, terrorize its suppliers, treat their employees like shit, and then offer insanely low prices to boost its popularity are horrible; still, what the publishers did was illegal, and gave moral high ground to the company when they should have colluded to have the DOJ go after Amazon instead. I’m giving the “Bad Guy” rating to both parties here, though the worse one clearly goes to Amazon.


It’s difficult to paint Amazon as the “bad guys” when they are the number one buyer of both print and electronic books for most publishers and universalize the accessibility of titles throughout the U.S. and the world to increase sales, and they have ended the stigma of “vanity publishing” in favor of empowering any entrepreneurial author to pursue his or her dreams. Major publishers are rightfully appealing to the public to make Amazon maintain the value of books and curtail its predatory pricing, but they are also completely dependent upon the distributor at this point and could not abandon it without putting their entire business at risk. In some ways, Amazon’s ruthlessness has forced publishing as an industry to adapt more quickly than it might have to the digital age, while in other ways those adaptations have hurt the publishing industry and the authors it represents by turning books a cheap business commodity. Thus, publishers have abandoned any risk-taking in favor of guaranteed money-makers from celebrity biographies to big name (white) authors’ sequel novels. So the question becomes whether publishers and Amazon will continue to fight or manage to reach an accord, since right now neither side can safely say they are entirely in the right.

Final Score: 1 Good Guy and 2 Bad Guys Each

I threw out a lot of controversial stuff and possibly criticized my future bosses while roasting the “enemy,” so hopefully I succeeded in being fair. But if you think I was too hard or soft on either side, feel free to speak your mind in the comments for some spirited debate!

For the next post on my publishing conscience I’ll talk about publishers’ relationship with independent bookstores and libraries. Spoiler alert: like today, there’s some good and some bad.

Thanks for reading!


Publishing Technology: Would foldable Kindles increase ebook sales?

Source article: Slate’s “It’s Almost Time to Roll Up Your E-Reader and Put It In Your Pocket.

If you could fold an eReader into your pocket, would you be more likely to buy one? And if so, how would that change when and how you read?

Here’s a short summary of the article: Nokia and its technology partner showed two designs for LCD screens that could be folded in halves and thirds. I’ll let you read the original article for the technological details and pictures (I’d post them here but I don’t want to anger the copyright gods), but supposedly you can fold them “about 100,000 times before they wear out.”

Takeaways and Implications:

1. Unless I’m missing something, I’m not sure why a patent presumably owned by Nokia would lead to foldable Kindles, as the article implies. Maybe Amazon will buy the patent for their reader from Nokia, or is already researching their own alternative, but it could also be that Nokia would release a competitive eReader device using this technology as a selling point. The problem is, Amazon dominates the ebook market so completely that it’s a risky proposition to try to break into the market. Publishers will never give a new distributor the same unbalanced deal that Amazon is demanding right now from Hachette and others, and so they would never be able to compete against Amazon’s loss-leader pricing.

2. Foldable eReaders wouldn’t just be competing against Kindles; they’d also compete against smartphones. You’re selling the idea with these hypothetical products that you want to carry a book in your pocket and whip it out to read on the train or in the bathroom. But you’ll have to convince consumers that they want to read more than play Flappy Bird, listen to music, text, etc. Will these eReaders simply have ebooks, or will they have other capabilities like Kindle Fires? Will they be comfortable to hold, or easy to break or lose?

3. Oyster, the “Netflix for books” program that allows you to read unlimited books for a monthly fee, started out solely on mobile platforms. It focused on changing the reading experience by emphasizing the “% read” and “time left to finish” aspects of the book. This type of eReader would probably want to emphasize a similar experience if it hopes to capture the mobile market, by translating the book into the modern mindset. A lot of book lovers don’t love this type of reminder and avoid ebooks for this reason, but perhaps this type of interface will reach a different audience.

4. Technology companies love planned obsolescence as a means of getting us to buy their newest products every 2 or 3 years. The fact that foldable eReaders stop working by design after a certain point means that the company cannot be blamed for the eventual failure of the device, but it might convince consumers to not buy it in the first place.

I think this technology is fascinating and could contribute to an enjoyable reading experience, but there are still plenty of questions to ask about how it would be incorporated into the current ebook market. Let me know in the comments if you think this is a great or terrible idea, or if you think I missed something.

Thanks for reading!

Should Publishers “Window” Their Products Like Hollywood?

The recent Book Expo America conference in New York was dominated by two discussions: the lack of diversity in publishing and the Amazon-Hachette negotiations. I think publishers were relieved that Amazon’s bullying came into the limelight at the ideal moment to drown out as much talk about their egregious shortcomings in diversity, both at the editorial and authorial level, as possible.

And the mental effort of solving publishing’s economic problems while ignoring its social inequalities has led to some very interesting notions about how to “save” the industry. One I found personally intriguing was the idea that publishers abandon the simultaneous print-ebook release date model that has become ubiquitous for most trade publishers. In a recent Publishers Weekly article, Codex Group CEO Peter Hildick-Smith argues that publishers should “follow the film industry’s successful model of releasing new content in premium format first, followed by discount formats in later releases…as a way to ‘give bricks-and-mortar stores a chance to do what they do best,'” a practice known as “windowing” because of the staggered release windows.

So, in the same way you choose between going to theaters, buying the Blu-Ray, or indulging in both for the latest Marvel movie, consumers would choose between buying the more expensive hard copy immediately or waiting for Amazon’s cheaper Kindle copy (since, let’s be honest, all ebook sales happen there at this point). Publishers would have to step up on marketing for the release dates of both versions, however. And just as movie studios put deleted scenes and cast commentary on their DVDs, publishers would need to step up on enhanced ebook features—hyperlinks, embedded media, and interactivity—to make them more attractive.

As intriguing an idea as it is, I don’t see it happening. Amazon explicitly bans “windowing” in its contracts with publishers, and the company would know how that kind of contract concession would damage their business. Amazon can sell books and ebooks at a loss so long as it owns the market on tablet e-readers with Kindle, Paperwhite, and Fire. But would you buy the latest Kindle if you knew that the latest books wouldn’t be available? Maybe, maybe not. On the publishing side, pub houses would be loath to raise marketing budgets on an uncertain scheme, and would have to start hiring more programmers to create enhanced ebooks. They haven’t done so yet precisely because Kindles are the worst of all the eReaders in terms of enhancements, and while Apple ebooks can have exciting features, the Apple store just doesn’t provide enough profits to justify the effort.

Having Amazon as the primary e-tail and major print retail sales channel cripples the opportunity for publishers to try new tactics, encouraging a fatalistic conservatism of trying to preserve what little profits remain. Amazon purports to be a Wild West-style landscape where any author with a good story can make millions; the fact that it continues to squeeze the life out of the publishing industry, big houses and small, shows that Amazon only cares about authors that spit out more Kindle Singles. While publishers this week tackled economics to avoid issues of diversity, I believe these issues are irrevocably linked: a rich, thriving publishing industry doesn’t guarantee that opportunities will arise for more writers of color, LGBT+ writers, or female writers, but an industry writhing under the thumb of its distributors all but erases such a possibility.

Until publishers cut themselves off from Amazon and attempt to sell directly to consumers, or else attach themselves to an Amazon retail competitor that is willing to give them a better deal in exchange for exclusives or some other perks, this problem will persist. For this reason, if you want to join this field, it’s important not only to keep yourself apprised of the economic issues of the field, but also become an economist yourself if you can. Although Mr. Hildick-Smith’s plan has some flaws, he’s thinking radically about the kind of changes that publishing needs to make in order to not only survive, but adapt into something new—a profession that inspires pride while still generating a profit.

Opinion: What the Amazon/Hachette Battle Means for Future Publishing Professionals

Many people have already read about the circumstances of the Amazon/Hachette feud, and other articles have summarized the issues better than I could in a blog. Read this NY Times opinion piece for a succinct summary of monopsony—”when a buyer of goods has the power to unlawfully lower the prices of what it buys“—Amazon’s predatory business practices, publishers’ legal woes with Apple, and an argument for a new distribution system for all publishers. If you want to read about how publishers’ refusal to raise royalties for authors for ebooks left them vulnerable to Amazon’s aggressive negotiations, peruse this Slate article. And if you have a lot of time on your hands to truly understand Amazon’s corporate attitude and to see more of its attacks on unprepared publishers, read this excellent New Yorker article by George Packer. Finally, you should check out this PW summary of the Apple legal case, where Judge Denise Cote decided in favor of the government (and Amazon in effect) by stating Apple and publishers had attempted to create a monopoly.

Finished doing your reading? I’ll wait!

Now that you’re an expert on Amazon’s relationship with publishers, it should be clear why publishers have become dependent on Amazon as their primary sales channel, and how any steps they might take to rectify that can cripple their business. So, what could this mean for your future career? Here’s some possibilities, and their likelihood:

A. Publishers band together to create a new digital platform for ebooks (not likely)— Imagine if you were put on a task force to help design a new commercial platform for books from the Big 5 publishers, and possibly some smaller publishers. Each publisher has so many books that this new site would need a system of curation and recommendations that shows the products from each publisher. Would Penguin-Random House get prime placement because they sell the most books, and would they accept anything less? Similarly, would smaller publishers demand equal placement in order to compete against their larger counterparts, and would the Big 5 allow this to happen? And who would decide which books are put on sale (by genre or publisher or authors); would there be a committee of staffers from each publisher, or a third party company trusted with making fair choices?

In either case, if publishers set up this site with this level of collaboration and withdrew their books from Amazon, Denise Cote and the Department of Justice might leap to Amazon’s defense again, declaring this action another monopoly that gives one site power over pricing of goods. If they merely created the site and continued to put their books on Amazon, then publishers would have the continued problem of competing against Amazon’s business model of selling for a loss. Ultimately, if you can figure out a solution to the Amazon problem, you can guarantee yourself a promotion and a raise at your company, so the problem is worth tackling, but I don’t agree with the NY Times that this is the solution.

B. Publishers create more dynamic individual websites (likely to happen, not to succeed)—It’s weird to think that publishers used to warehouse and distribute their own books, even own their own bookstores. Now, publishers can take a leaf out of the books of self-published authors who distribute their own books. Marketing their own books and bringing readers to their actual website (not just job-seekers), publishers can make huge profits by cutting out the middleman. A lot of smaller publishers have revamped their website to try and make their books more accessible, while others have tried making it a site of social media. Editorial or marketing assistants who find a way to bring more traffic to the site, or business employees who manage to improve sales on the actual site, would greatly raise their stock in the company. Unfortunately, the problem of Amazon’s predatory pricing won’t disappear anytime soon. If consumers are going into bookstores only to buy them on Amazon, you can bet that they will find it even easier to open Amazon in a second tab from the comfort of one’s home.

C. Publishers drop all risky, diverse, and mid-list titles in favor of guaranteed moneymakers (Already happening)–Publishers sell the majority of their books at a major discount to retailers: usually 60% discount to big box stores like Walmart and 47-50% to B&N and Amazon. Combine that with the fact that about 600,000 to 1 million books are published per year in the US including self-published books, publishers are struggling to make enough profit on books to even make back their royalty advances to authors. Partially a sign that publishers need to step up their marketing and publicity schemes to support their authors, these statistics also show why publishers are becoming risk-averse. If you plan on becoming an acquisitions editor trying to pitch a book to your peers, you have to prepare for the eventuality that books will become so unprofitable that you can only acquire titles that are “guaranteed” to sell. That means more celebrity titles, more books by the same authors with strong fan bases, and more derivative knock-offs of whatever sells (i.e. the influx of supernatural romance and dystopias after Twilight and Hunger Games); by logical extension, that means driving away new authors toward self-publishing or not writing at all, as well as a continued exclusion of writers and characters of color (see the recent BEA controversy for a sign of how publishing remains overly homogenized).


There are certainly other eventualities that could arise from this feud. Amazon and Hachette could end up maintaining the status quo for a few more years. Or authors could Kickstart their own website to sell their books, which could actually end up helping publishers and authors while avoiding any claim of monopoly. Or Amazon could drive more publishers to merge together in order to survive. But what this means for you depends on whether or not you are willing and able to help your future employer separate itself from Amazon and create a new system of bookselling.

Thanks for reading!