Tag Archives: literature

E-book battles: writers pawns and prize

[Editor’s note: while not directly related to the e-book lawsuit, it is related as it pertains to Amazon, probably the biggest seller of books and e-books. As before, to find out more about the e-book lawsuit, click on e-book in the “Filed under” section at the bottom of this blog post. Thanks for stopping by.]

Source: http://www.nytimes.com/2012/04/16/business/media/amazons-e-book-pricing-a-constant-thorn-for-publishers.html?src=recg

April 15, 2012

Daring to Cut Off Amazon

New York Times

By DAVID STREITFELD

TULSA, Okla. — Plenty of people are upset at Amazon these days, but it took a small publishing company whose best-known volume is a toilet-training tome to give the mighty Internet store the boot.

The Educational Development Corporation, saying it was fed up with Amazon’s scorched-earth tactics, announced at the end of February that it would remove all its titles from the retailer’s virtual shelves. That eliminated at a stroke $1.5 million in annual sales, a move that could be a significant hit to the 46-year-old EDC’s bottom line.

“Amazon is squeezing everyone out of business,” said Randall White, EDC’s chief executive. “I don’t like that. They’re a predator. We’re better off without them.”

It is an unequal contest. EDC has 77 employees, no-frill offices on an industrial strip here and a stock-market valuation of $18 million — hardly a threat to Amazon, a Wall Street darling worth $86 billion. But Mr. White’s bold move to take his 1,800 children’s books away from the greatest retailing success of the Internet era is more evidence of the extraordinary tumult within the book world over one simple question: who gets to decide how much a book costs?

The Justice Department last week sued five major publishers and Apple on price-fixing charges, simultaneously settling with three of the houses. The publishers say they were not illegally colluding but simply taking advantage of a new device platform — Apple’s iPad — to sell their e-books in a different way, where they controlled the prices.

The publishers wanted to stop Amazon from using what one of them called “the wretched $9.99 price point,” according to court papers. Selling e-books so cheaply, they feared, would solidify Amazon’s robust grip on the business while simultaneously building a low-price mind-set among consumers that could prove ruinous to other bookstores and the publishers themselves.

EDC does not produce e-books, but saw exactly this happening with its physical inventory. Amazon was buying EDC’s books from a distributor and discounting them to the bone, just as it does with everything it sells. This might have been a boon for readers, but it was creating trouble with other retailers who carry the company’s titles, as well as with EDC’s network of independent sales agents, who market its books from their homes.

“They were becoming showrooms for Amazon,” Mr. White said. “We were shooting ourselves in the foot.”

Amazon is generally reluctant to explain its business practices and declined to comment for this article. But its executives say it is shaking up an antiquated business model by eliminating middlemen and passing the savings on to consumers. Publishers that try to cling to the past, they have said, will die.

The retailer’s growing list of critics, however, argue that Amazon has $48 billion in revenue but hardly any profit, proof that its approach is opportunistic and unsustainable. When traditional publishers, booksellers and wholesalers are destroyed, these opponents say, Amazon will be left with a monopoly that will be detrimental to the larger health of the culture.

In recent months, the dispute over Amazon’s strategy of selling books below cost has boiled over from several directions.

During the holiday season, Amazon encouraged customers to use physical stores as showrooms before ordering more cheaply online, a move that infuriated bookstores in particular. Publishers and distributors say that Amazon, never exactly shy in negotiating terms, has been more assertive in its quest for ever-better deals.

In February, Amazon demanded better margins from the Independent Publishers Group, a Chicago distributor of dozens of small imprints. IPG balked, so Amazon removed nearly 5,000 of the company’s e-books from its site.

“Amazon wants the price of books to be very, very low — lower than the publishing community can support,” said Curt Matthews, IPG’s chief executive. “Making a book is still a craft industry. Books need to be edited, to be publicized. Someone needs to say this is good and this is not. If there is not enough money to support that whole chain, the system will break down.”

Publishers have often been ambivalent about Amazon. On the one hand, it offers an extraordinarily efficient method of distributing their wares. Readers anywhere can easily order the most obscure volume and have it delivered the next day. With e-books, access is even easier, but publishers’ vulnerability is compounded; Amazon controls not just the method of distribution but the actual device the text is consumed on.

“Last year was the best in our 37 years, mainly due to the way Amazon was pushing the books,” said Bryce Milligan of Wings Press in San Antonio, an IPG client. “Then Amazon cut us off because they couldn’t get a better deal. Now our e-books sales are down 50 percent.”

If publishers and wholesalers feel threatened, writers are caught in the middle — both pawns and prize.

Ted McClelland, a writer in Chicago, had two IPG e-books dropped by Amazon. He just got a royalty statement on one of them, “Horseplayers: Life at the Track.” Half of his modest income on the book came from Kindle sales on Amazon.

“I don’t know whether Amazon is being greedy or IPG is being cheap, but I’m caught in the middle,” Mr. McClelland said. “What matters to me is getting my books back on Kindle.”

Here in Tulsa, EDC operates out of offices on the eastern outskirts in a less-than-glamorous district of warehouses and auto supply shops. Like IPG, it is primarily a distributor, selling picture books developed in England by Usborne Books to toy stores and bookshops in the United States. Its publishing line, Kane Miller, produces the popular “Everyone Poops” book and its sequels.

EDC’s so-called consultants — a direct sales force of about 7,000 women — sell to friends and acquaintances as well as their local schools. For a while the party plan was successful. Sales more than doubled from 2000 to 2004.

In recent years, though, the consultants have found it rough going. They would pass around a picture book like “The Noisy Body Book” or “Guess How Much I Miss You,” talking it up, and then the customer would order it online. Sales fell about 20 percent. Frustrated consultants began quitting.

What happened in February to Christy Reed, a sales consultant in Pleasanton, Tex., was becoming all too routine. Her school district decided to order 16 copies of a science encyclopedia and a science dictionary but then completed the deal on Amazon.

“I worked so hard to sell those books,” Mrs. Reed said. “I had to talk to so many different people. Then I lost the sale to a couple of clicks on the computer.”

She acknowledged that the district saved a few dollars but added: “I’m here, in the neighborhood. I went to school here. My kids went to school here. Yes, they got the books for less. But my earnings go back into our community. Amazon’s do not.”

After Mr. White, EDC’s chief, heard about that episode, his exasperation with Amazon peaked. Several times in the past, he had grappled with the retailer. He tried to get it to lower its discount on his books three years ago, but a tentative deal did not stick, he said. He was outraged that the company did not collect sales tax, which had the effect of making its books even cheaper.

Two months ago, he asked his biggest wholesaler, Baker & Taylor, to stop selling all EDC books to Amazon. When Baker & Taylor refused, Mr. White canceled its account. Baker & Taylor declined repeated requests to comment about EDC.

Of EDC’s $26 million in annual revenue, Baker & Taylor was responsible for about 6 percent, most of which was because of Amazon. Mr. White, a trim 70, said that when he made the decision to bail out, his blood pressure soared. But he’s also reveling in the excitement, just a little. He commissioned a drawing of EDC in the role of David taking on the giant Amazon. “I’m Type A,” he said. “I don’t mind a fight.”

Somewhat to Mr. White’s surprise, EDC is doing better without Amazon, at least for the moment. (Some of its books are still available on Amazon from third-party sellers.) Sales in March rose, in part because of new accounts like a toy store in Round Rock, Tex., that placed an initial order for 61 books. And colleagues in the business have been congratulating the publisher, or at least expressing their admiration for Mr. White’s guts.

“I tell them, ‘You never had the chance to make 7,000 women happy in one day,’ ” he said.

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E-book pricing: lawsuit filed

Source: http://www.latimes.com/entertainment/news/la-et-apple-authors-20120413,0,6062761.story

Lawsuit against Apple: Writers wary of action by Dept. of Justice

Michael Connelly and Sherman Alexie are among authors who view the Justice Department’s suit against Apple and five publishers as acting against writers’ interests.

By Carolyn Kellogg, Los Angeles Times

April 13, 2012

When the Department of Justice and state officials announced their lawsuits against Apple and five major publishers Wednesday, it sent a ripple of anxiety through the talent at the industry’s heart.

“I’m in a bit of an awkward position because this has pitted my publisher against the retailer that far and away sells more of my books than any other,” says Michael Connelly, the bestselling mystery novelist. “I don’t want to bite the hand that feeds me, and both of these hands feed me.”

Connelly is published by Little, Brown, which is owned by Hachette, one of the publishers named in the suits that has since agreed to settle.

The scrutiny given to Apple’s alleged arrangement with the publishers — they are accused of colluding to raise the price of e-books, which they have denied — is largely perceived in publishing as shifting the balance of power in bookselling to Amazon. Publishers rely on Amazon as a major source of print book sales and have generally cooperated with its policies. When it launched the Kindle, Amazon deeply discounted e-book prices and offset the loss with profits from other parts of its business. Apple has been the first significant alternative to Amazon as an e-book retailer.

“I think the DOJ’s suit is misguided,” explains Andrew Wylie, the most powerful agent in publishing, who counts a number of Nobel Prize-winners among his 800 clients. “I think it is acting against the interests of culture and diversity in publishing. I think it is acting against the interests of authors.”

In part, that’s because the pricing of e-books directly affects the way authors can earn a living — and the publishing ecosystem that sustains them. “I know for a fact that my publishers and my editors publish books that they know are going to lose money but they think should be of the world,” says National Book Award-winning writer Sherman Alexie. “The John Grishams of the world support the experimental nature of publishing.” The DOJ’s suit, he says, “gave Amazon explicit permission to go for a total monopoly.”

Connelly observes that the DOJ suit seems to be unbalanced. “I believe in fair play. So I feel that if the government is going to step in and put controls on how publishers act to ensure a competitive marketplace, then I hope the government will be just as vigilant in guarding this amazing, creative and important industry from being monopolized by one entity,” he says. ” Amazon spreads my work far and wide. You can’t beat that. I’m very grateful. But I don’t want a world where there are no bookstores or other venues for discovering my work or the work of any other writers.”

For a writer just starting out, the suit served as a reminder that publishing is in flux. “I love writing and am going to continue writing, but having all my eggs in one basket is kind of scary,” says Elliott Holt, whose debut novel will be published by Penguin in 2013.

carolyn.kellogg@latimes.com

Copyright © 2012, Los Angeles Times

[Editor’s note: while I read and enjoy the works of Michael Connelly and Sherman Alexie, I don’t think the lawsuit is “misguided.” I think colluding to fix prices is misguided and as history shows, only furthers to protect the profits of those on the inside (Those fixing the prices.) at the expensive of those on the outside (Those having to pay them). Apple should not be allowed to set prices and neither should Amazon, but in this case it appears that Apple with the aid of publishers was doing just that, which profited them at the expense of book buyers. To read earlier articles on this, click on one of the Category listings below: e-book, publishers, or publishing.]

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I’m a writer and I don’t get no respect

Writer don't get no respect

She threw the book at me!

I’m a writer and I don’t get no respect. Just the other day I hired an editor to help me with my manuscript, and the first thing she did was throw the book at me! The unabridged book at me. The one that defines words. You know it. D-i-k something something something.

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Filed under Cartoon, cartoon by author, no respect, writing

Building a better story: three elements to character building

You can’t always get what you want
You can’t always get what you want
You can’t always get what you want
But if you try sometimes you just might find
You just might find
You get what you need

So goes the chorus from The Rolling Stones song, “You Can’t Always Get What You Want.”

Those are perfect lyrics in which to briefly discuss the three elements that can help a writer build a character.

When creating a main character, ask yourself three questions:
1) What does your main character (protagonist) want?
2) What does your character need?
3) How can these two things be brought into conflict?

Despite what advertising might try to convince about having hunger pangs that only a certain hamburger can cure, there is a difference. Hunger is a need. The body needs food to live. The hamburger (Or whatever other food you wish to insert) is a want. Hunger can be alleviated by a wide range of foods, not just the one being advertised at the moment you feel hunger.

Dear Dorothy

What a character needs is often more important than what she wants.

You can also think of this way: want is often an external thing; need an internal thing. The hamburger is an external manifestation of something that is an internal need: hunger. They come into conflict when you find out you don’t have enough money for that hamburger, or if having that hamburger will cause you to break out in hives, due to an allergic reaction you may have recently developed to ground beef.

The same is also often true of your story’s main character. There is something he wants. There is something he needs. The want and the need to come into conflict.

Take for example, Huckleberry Finn in Mark Twain’s The Adventures of Huckleberry Finn.

What is it wants: to escape his alcoholic father who has kidnapped him and locked him in an old cabin in the woods, because the father wants the money that Huck is entitled to. He escapes from his dad and hides out on an island as part of his plan to keep from being kidnapped again. What he needs, though he is not willing to even admit it to himself, is an adult who will accept him for how he is (and won’t try to civilize him), but still be willing to take care of him, even guide if not raise him, and love him. Huck finds that in the runaway slave Jim, and at the point of the novel where Huck should turn Jim in as runaway slave, Huck decides not to do what society wants him to do, he sides with Jim because Jim is somebody whom Huck needs, and who also needs Huck. Much of the rest of the novel from that point on is about handling the consequences of that decision and the temptations to still turn Jim in.

There are many other examples in fiction and in film, on the stage and even sometimes in long story poems.

You can have your protagonist side with what he wants over what he needs. This often leads to more trouble or even tragedy. You can have you protagonist win by losing. He loses what he wants, but wins what he needs and is the better for it. He can find a way to make the two work together, with the want being a true outward manifestation of the inward need.

So, decide what it is your character wants (that job promotion, the girl next door, the pot of gold) and what he needs (validation of his self-worth, love, money to buy the thing he always wanted), and then bring those two into conflict.

[Editor’s update/note: click on “building a better story” in the Category listings to find several other blog pieces of information I have put together from classes, books, and other sources (including my own experiences).]

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Filed under building a better story, cartoon by author, character, writing tip

Writing Tip: Plotting backwards

[Editor’s note: the essay below is taken from an e-mail newsletter sent out by the writer Bruce Hale. you can find his web site at: http://www.brucehalewritingtips.com/. You can also sign up for his e-newsletter at that site. Each electronic newsletter comes with other information, including a writing joke.]

WHY BACKWARDS IS BEST WHEN PLOTTING A MYSTERY

By BRUCE HALE

When I wrote my first mystery, I hadn’t a clue. I tried writing it straight through, plotting as I went, and ended up falling flat on my face. Why? I hadn’t yet learned that backwards is best.

You see, contrary to the way most fiction is mapped out, mysteries are backwards creatures. They’re easiest to write when plotted backwards from the ending, rather than forward from the beginning. Mysteries, by their nature, are a complex tangle, and if you’re not careful, you’ll get stuck in it.

As I learned the hard way, if you write from the beginning, you’ll be left flatfooted with your detective, trying to figure out how to solve the mystery.

Better to go the easy way: work from the solution. Start from the ultimate revelation of whodunit and work your way backwards to mystery writing success. Here’s how:

– DECIDE WHODUNIT, WHY, AND HOW
First, pick the crime to be solved and the culprit. Suss out why they committed the crime – and the less obvious the reason, the better. Your villain (or clues from him) should be part of the story from fairly early on, but his motives and actions must remain hidden until the twist reveals them. Hide your villain in plain
sight – heck, you could even go so far as to make them a seeming ally of your hero.

– PLAN YOUR TWIST
This is the dramatic reveal, the “It’s not Snape, it’s Quirrell!” moment. (Sorry if I spoiled Harry Potter I for you.) The twist should occur at the least convenient moment, preferably when the hero is most vulnerable. Usually the twist occurs at or just before the climax.

To make the twist work, you need to come up with at least one or two plausible culprits, then show why they didn’t commit the crime.

– LAY OUT YOUR RED HERRINGS
These are the likely culprits, the leads your detective follows that turn out to be dead ends. Be sure the herrings are motivated as well, and if you can disguise their motivations or make them ambiguous, so much the better. Anything to make them *more* plausible, and your true villain *less* plausible.

– SCATTER YOUR CLUES
What tips your hero off to the fact that the villain is guilty? A latticework of little clues (usually connected much too late). You must always play fair with the reader, so be sure the clues are there, even if the detective and her trusty assistant initially dismiss them.

The key with clues is to use misdirection — have them seem insignificant, or be misinterpreted. You can’t make it too easy for the detective, or the reader!

– START WITH A BANG
And last, but not least, come up with a grabber of an opening that plunges us right into the heart of the mystery. Ideally, it should contain some small clue that points us toward the true culprit.

With all that in place, now you’re ready to write your first words. Happy mystery writing, and may the spirit of Chandler and Hammett be with you!

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Filed under Bruce Hale, plot, writer, writing, writing blog, writing tip

I’m a writer and I don’t get no respect

[Editor’s note: I believe it was the late Rodney Dangerfield who had a comedy routine based on “I don’t get no respect.” The lack of respect could come from anybody, anywhere, including his wife. Below is a playwright Rodney could empathize with. He writes to Dear Abby, and she responds. I have known one or two other writers in the same situation. Maybe you, do, too.]

Rodney Dangerfield

Sometimes respect is hard to come by for a writer, or a comic. Just ask Rodney Dangerfield.

DEAR ABBY: I am an amateur playwright. Our local theater sponsors an annual playwriting contest. The prize isn’t monetary, but something far more important to an author – full scale production of the play.

I have won this prize four times – more than any other writer in the history of the contest. But is my family impressed? Not at all! My wife told me she thinks I write everything the same way and have simply repeated myself four times.

I am up in years. It’s unlikely I will ever again win this prize. So how do I respond to such indifference? What do you do when you feel you have accomplished something important and the response is, “so what else is new?”

–Looking for Validation in Florida

DEAR LOOKING FOR VALIDATION: My hat’s off to you. That you have won this prize more than any other writer in the history of the contest is a notable achievement. Attend the production, take your well-earned bow in the spotlight, and accept that the less you look to your wife for validation, the happier your life will be.

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Unwise wit: Pain of a different sort

Wise author Paul Coelho writes: Contrary to glasses and windows, a broken heart remains intact.

Unwise wit responds: That’s because it’s a pain of a different sort.

The window pain

The window pain ... in The Twilight Zone.

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Filed under pain, Paul Coelho, wit, Woirds to live by, word play, words, writer

The Good Doctor S.

Dr. Seuss, can you come and play?
Dr. Seuss, it’s your birthday.
Dr. Seuss, can you stay?
Dr. Seuss has gone away.
Oh, Dr. Seuss, you cause dismay
and all the children want to say,
“Slay the monster or feed it hay,
that mean ol’ one that took you away.
Leave it toys or snacks on a tray,
however odd, bizarre, outre.
Oh, Dr. Seuss, what a display
Of love we have for you this day.

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Filed under Dr. Seuss, humor, poem, poetry

Writing Tip: Successful Revision

[Editor’s note: the essay below is taken from an e-mail newsletter sent out by the writer Bruce Hale. you can find his web site at: http://www.brucehalewritingtips.com/. You can also sign up for his e-newsletter at that site. Each electronic newsletter comes with other information, including a writing joke.]

5 ELEMENTS OF A SUCCESSFUL REVISION

By Bruce Hale

So you’ve finished that first draft and let your story marinate in its own juices for a while, and now it’s time for revision. Only question is: where to start?

With a picture book, that’s not too terribly daunting. But with a longer novel, you’d be well served to devise a strategy before plunging into those narrative hickets that can swallow the unwary writer. I suspect everyone has his or her own favored approach to revision. Here’s the one I’ve found most useful…

1. FIRST READ
First time through, the hardest thing is to *just* read your story and take notes. No line edits, no grammar corrections, no paragraph revisions — just reading. But if you want to be able to see the whole forest, instead of the individual trees, this approach is vital.

By all means, take copious notes. “Tighten the opening on page 43;” “wonky sentence on page 12, first paragraph;” “fix the plot logic in Chapter 18.” These are all helpful. And they prepare the way for…

2. FIRST REVISION
Once you’ve waded through your story and taken copious notes, congratulate yourself. It’s not as bad as you thought, right? (We hope.) With this optimistic thought, it’s time to roll up the sleeves and plunge into wholehearted revision.

The first time through, work on larger issues: plot holes, character inconsistencies, gaps in story logic, slow scenes that need to be trimmed, and so forth. You can always do the fine polishing later.

Revise sequentially if you can, rather than skipping around. For any sections that require you to write new material, use the same method you would in a first draft: write it fast and sloppy. After all, you can always fix it in the NEXT revision.

3. READ-ALOUD REVISION
Taking the time to read your work aloud may seem redundant at this point, but it’s necessary. You won’t believe how many errors you’ll catch. Homonyms, awkward phrasing, missing words, echoes (unintentionally repeated words) — all these will pop out at you like Halloween skeletons at a haunted house.

This is the revision where you can really focus on the sound and rhythm of your writing. Listen for those areas that sound clunky and don’t really roll off the tongue — that’s your cue to break out the belt sander and make things smooooth.

4. DIALOG REVISION
Once the story is as good as you can make it, and you’ve read aloud to catch hidden glitches, it’s time to turn the microscope on your dialog. First, make sure each character speaks differently. Have them use different idioms, word choice and catch phrases — otherwise, they’ll all sound like each other (or like you).

Top-notch authors like Elmore Leonard vary their character dialog so deftly, they don’t even need attributions (he said/she said). It’s that clear who’s speaking. In real life, we all have our own ways of putting things. So just make sure your fictional characters possess that same distinction.

5. FINAL CHECK
Before I send my story off to agent or editor, I usually try to let it sit for a week or so, then do one last read-through, to make sure all my changes fit, and to smooth out any remaining rough edges. This is an ideal time to search for words you overuse. (And we *all* overuse certain pet words.)

For example, I know that I tend to drop in “just” and “only” too often, and I tend to have too many characters shrugging and nodding. A quick search for these words shows me where I’ve overdone it, and a quick fix guards against too much sameness in the manuscript.

And that’s about all I can bear to write on the subject of revision right now. I think you know why. Yes — time to get back to revising my latest story.

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Filed under advice column, Bruce Hale, revising, words, writer, writing, writing tip