Calculating the Cost of an E-Book

CalculatorI’ve had a lot of positive feedback from my previous post entitled Weighing in on E-Books, so I wanted to talk about ways to calculate the cost of an e-book.

First, let’s pull some arbitrary numbers. (And by arbitrary, I mean that these are not precise figures.) Let’s say that we paid our author $3,000 for their novel that was 100,000 words in length, which is the equivalent of about 3 cents per word. Then, let’s say we paid an editor a flat rate of $1,250 to edit the novel and an artist $500 for cover art. Add in production costs of $250 to create an e-book, and that gives us a grand total of $5,000 as the sum of the costs for our imaginary publisher.

In order to make up the costs of producing the e-book, we would need to sell a certain amount of copies at a specific price. Say that we priced the e-book at $10.00. If we kept one hundred percent of the revenue, we would need to sell 500 copies of that e-book to make up our costs before we made any money off of the book.

We decided that a retailer, like Amazon, is the best way to offer our e-book for sale. Currently, Amazon takes 65 percent of the cost of the book for all Kindle editions. Recently, they announced that they will lower that rate to thirty percent, but the new rate won’t kick in until June 30, 2010. (Read Amazon ups author royalty for Kindle, matching Apple per CNet.)

Let’s calculate our cost based on the 65% rate, because I think it’s important for you to see how that affects a publisher’s bottom line.

Now, we’d only make $3.50 for every book sold at a price of $10.00. At that rate, we need to sell approximately 1,429 or almost three times the amount of e-books if we took 100% of the revenue to make up our costs. Some retailers take less than 65 percent, but they still take a percentage to offer the book through their store. If you sign up with a One BookShelf site like DriveThruHorror e-books for example, they’ll only take 30 percent. Our profit would now be $7.00 for every e-book sold. So, we need to sell approximately 715 e-books to make up our costs at the $10.00 price rather than 1,429.

Even though we’ve estimated a price based on our costs, we need to think about something else — demand. Is this title only available as an electronic book? Or do we have a hardcover or paperback edition? Will pricing the e-book on sale at $5.99 sell enough copies to warrant the discounted price? How popular is this particular author? The volume of e-books that we need to sell might be different, depending upon any number of additional factors. One issue might come down to the original agreement that a publisher has signed with the author. Unfortunately, there are contracts that pre-date the release of electronic formats so it’s not uncommon to see authors providing a publisher with print rights but not digital or audio rights.

For me, I’m factoring in demand based on the reader’s awareness of my work as an author. Chances are, my soon-to-be-released small press product is not going to sell 1,000 copies at a price of $9.99 within a reasonable amount of time. Because I’m projecting lower sales, I’m lowering the costs of developing my digital product. Instead of paying an editor a thousand dollars, the publisher is offering a direct royalty payment that pays per product sold. We also are reviewing ways to make the product more valuable and attractive to readers by researching different types of graphics and layouts. Still, I needed to come up with two pricing structures; a retail price and a sale price. For me, my e-book price is lower than $9.99 because my costs and the demand for my work are both lower than a mainstream author. Those two things combined also mean that it may take me longer to recoup my costs.

Personally, I have a lot of trouble with people offering e-books at heavily discounted prices or for free, because this devalues the books considerably. What would you think of a print book that’s “on sale” for only ninety-nine cents? It’s original price is only $1.99? To me, this pricing structure seems pretty arbitrary. If your costs were $1,000 and you offered the book through OneBookShelf, you’d still need to sell approximately 720 books to make up that cost. (If your costs were $5,000, you’d need to sell 3,598 copies!!!)

Regardless of whether you self-publish or not, I feel that it’s a smart idea to calculate price based on your costs and your projected sales. By doing that, it can help you set reasonable expectations for your e-book pricing structure and prevent you from losing money over the long haul. Keep in mind, that the biggest mistake I see publishers making, is offering their e-book through a digital retailer like Amazon.com or OneBookShelf, and then “forgetting” about that book. If you want to make up your costs, be sure to include marketing your books — wherever they are being sold — into your plan. Sometimes, you need to make readers aware that you now offer your books in a different format, in order for them to buy those products.

If you’re curious about Amazon’s rates, be sure to visit Amazon.com’s Terms and Conditions or the Terms and Conditions for DriveThruRPG through OneBookShelf. (The Terms and Conditions for the DriveThruRPG site are very similar to the fiction and the comic book sites.)

Do You Need to be Heard, Or Do You Need an Answer?

One of the things I’m beginning to find pretty frustrating, is the need for people to publicly rant about something that they haven’t tried to resolve on their own. From misprints to crappy downloads, it seems like ranting about bad business experiences, politics and other frustrations is the “thing” to do. The trouble is, there’s this little link on most websites that offers you the ability to “contact us.”

I often have to quash the internet myth that once you post something online — everyone will read it. Yes, everyone can read it but that doesn’t mean that everyone will.

Online reputation management can be very time-consuming for businesses, especially since they already have protocols in place to handle customer complaints and troubleshoot issues. Using Google Alerts is one way anyone can monitor what people are saying, but even that has its limitations depending upon how someone uses them and when they get around to reading the emails. Even then, there is no hard and fast rule for businesses to deal with public rants about customer service. Often, contacting customers directly opens the door to several, different types of reactions: some customers get even more upset, others expect the attention or appreciate it and many freak out about “big brother” watching them.

I understand that it’s easy to complain about things that happen in your daily life. Believe me, I really do. However, if you want an answer to your woes, if you want someone to address your concerns and listen to what you have to say, try to contact that person or business directly. If you’re unhappy with politics, write your local congressman or woman! If your coffee maker failed, then try to contact the manufacturer and get your issue resolved. Or, if you’re frustrated with publishers for not releasing digital files on time, take it up with the publisher rather than stage a “protest.” (See this article.)

Companies, from the small mom-and-pop shops to larger corporations, have systems in place to help customers. Use those channels, and you’d might be surprised not only how quickly your voice is heard, but also how much they care about you as a customer. While not every issue can be resolved, you have a better chance of getting the answer you want if you deal with the company directly.

Just something to think about.

🙂

Weighing in on E-Books

It’s been really interesting for me to watch the complex discussions about e-books online, because I work for a digital publisher. My company provides digital sheet music files to our customers and there are a lot of similarities between our industry and the publishing industry. However, books have a broader market than sheet music does, in part because more people know how to read text than music.

One of the biggest challenges that I see is two-fold: one, inconsistent pricing models and two, proprietary platforms and formats. E-book pricing is based of a number of different factors that go beyond what a writer, editor and/or publisher earns. First, you have the cost that the e-book retailer charges for every book sold. That charge varies from site to site, but it can comprise as much as forty percent of the book’s value. Second, you have the cost of laying out and creating that digital file in the appropriate formats. Third, you have to pay an artist for cover art and fourth, you have to pay the additional cost of online marketing to get people to buy the book. I believe that publishers have a challenging time coming up with a set price for e-books that people will respond to, because the costs of doing business may be different depending upon the product. Graphics, tables, high page counts and other file format issues can easily tack on more time to the e-book production process.

Unfortunately, these “invisible” costs are not apparent to the reader. Many readers believe that e-books should be less expensive than their paperback or hard cover counterparts, because they assess a different value to the production of a printed book differently than an electronic file. (This is also why I believe piracy is such a huge threat to digital publishers, too.) Part of that assessment is their experience with the internet where information has been “free.”

I’m not sure what the answer is, but I feel that it’s going to be pretty challenging to educate readers on what the production value of an e-book. I don’t feel that being transparent about the cost of doing business for a publisher is the answer, but I also feel that the e-book “evolution” is still in its infancy stages.

As I mentioned earlier, I believe that one of the biggest challenges e-book publishers face is proprietary e-readers and formats. Why? Without having a standardized format that all e-book readers can use for the books they want to read, you’re immediately limiting the market to a select few. I’ve heard many comparisons between e-books and the digital music industry, and while there are similarities, they are still very different. Imaging the cost of archiving these e-books at a library, for example. Now, instead of needing physical space, you need electronic space. Instead of a standardized format that works on all e-readers, you need several different types of readers and several different formats (e.g. duplicates) of the same book.

For the reader, you’ve now increased the cost of being able to read their favorite books. The accessibility of where you can buy a proprietary e-reader, the cost of upgrading them and the cost of maintaining them or replacing files adds in a layer of “cost” to the e-books that wasn’t there before. Now, instead of just buying the books like you would in a physical store, you have to buy the platform and then buy the books, which inflates the cost of whatever e-books you buy. This is also why I believe readers expect that e-books should be cheaper. They aren’t looking at where their money goes, they see it as “I spend $350 on an e-reader and now I have to spend $7.99 on a single book. Why are they so expensive?” As a result, reading a book is no longer available to those who can’t afford the platform to read it on.

In my opinion, copyright restrictions and the threat of digital piracy aren’t the only reasons why the music industry has evolved the way that it did. In part, it’s also because of the volume and the demand. For this reasons and many more, I feel that the e-book “evolution” will not happen overnight. This will be a long process that publishers, retailers, readers, libraries, authors and editors will need to go through. My only hope is that there will be more long-term discussions on how to move toward accessibility to more readers and some standardization.

Puking Content, Plagiarism and Too Much Free

I’m sure many of you have thought something along the lines of, “My gosh, there’s a lot of misinformation on the internet.” And you would be right.

I don’t know about you, but I feel like it’s too easy to get sucked into providing editorial on bad information to set the record straight. Of course, I’m speaking in generic terms here, but this is one of the reasons why a lot of people “puke content.” The more content that gets written about a particular subject, the more saturated the topic gets, the harder it is to discover the truth. Ultimately, this results in “louder” or “more forceful” content and angry emotions.

And that’s how internet trolls are born.

Sometimes I feel that professionals are “too” scared to set the record straight partially because they know the trap exists, but also because internet content is “stored.” Not every piece of internet content has a date stamp, so even if you provide content that corrects an error, there’s no way to keep track of “when” something was said. (Also, a lot of internet rumors start based on outdated content. So just because something has a date — even in the URL — it doesn’t necessarily mean that someone reads that content.) Unfortunately, silence isn’t always golden.

If you look at the trend of “too much content,” the reason why that’s a problem is not because of what you, yourself, are doing. It’s an aggregate trend that occurs because many professionals or amateurs like yourself are all doing the same thing at the same time.

There are a two other “trends” that concern me right now, too. I feel these are getting lost in the shuffle.

1. Too Much “Free” – My blog is a free, watered-down sample of some of my knowledge. I often cover extremely generic topics that are related to what I do, but I save the more “crunchy” bits for paid work or my day job. Why? Because this knowledge is what I get paid for. The free sample entices people to see what I’m about, without ramming self-promotion down someone’s throat.

I made the mistake of believing that my experiences were a good conversation starter to talk about my own fiction writing. Oh sure, I’d having interesting discussions with people about what I do – but in every case, no one offered to pay me or talk about my fiction writing. When they did, it was an “afterthought.” No one cared about my work, they cared about getting my knowledge for free.

Think about it this way: If everyone has a contest for a free book give-a-way, then that contest becomes the norm. It becomes “expected” for an author to provide that contest for a free book. If piracy and free content is left unchecked, then the reader (or consumer) expects things that normally have value to be “free.” Same goes for accessibility, which in a way, is “free” access; if you’re always online, people “expect” you to be there and answer your email immediately. For me, it was something along the lines of, “Well, Monica is always there to answer my questions. So I can ask her more questions, can’t I?”

Too much free devalues what a work or experience is worth; not enough free doesn’t allow readers (or consumers) to try before they buy. I believe that not enough people are concerned with giving things away for free (or taking them) as a whole. Just like the trend of puking content is a problem, so is “too much free.”

2. Plagiarizing “Free” Content – I have heard of several cases where writers are taking both non-fiction content (from Wikipedia and related sources) or fiction published online and offering it as paid work. One “author” took online published stories, published them as their own, and offered recommendations for themselves using fake sock puppet or alias accounts. Another, all-too-common practice is to copy/paste reference material from Wikipedia or other sources online and use it in articles, non-fiction or other published works. Recently, I heard of a fan offering free material under Creative Commons and a publisher picked it up, re-tooled it and offered it as a paid product.

While I believe that this is heinous for several reasons, this type of behavior originates from “too much free.” After all, if content is posted online, who really owns it? The person that created the content in the first place? The website that it’s located on?

The word “entitlement” comes into play here for two reasons: one, people expect content to be free for them and two, once they receive that content, they can simply do whatever they want with it and not expect some sort of recourse. They don’t seem to see the “aggregate” of thousands of other people believing the same way they do; they see it as “Well, it’s just me…what’s the harm?”

Note that popularity has more to do with the expectations of what should be free than the quality. YouTube! is a great example of this, because it continues to lose millions of dollars. (1) The moral to this story is that conventional wisdom still holds: There is no such thing as a free lunch.

One person plagiarizes and it effects the original author, publisher and the writer. A million people plagiarize and all of a sudden multiple businesses start going under because they can’t afford the lawsuits, damage to their reputation, etc. not to mention the loss of sales.

Same thing with piracy. One person “takes” an image from an artist that’s normally offered on commission, and that artist is out the amount they charge. Add several people to that equation and now the artist is out more than just money lost from those taken images; he’s unable to “sell” artwork to new, more viable customers because people just simply take from him.

These questions are currently being explored more in depth through changes in copyright and internet law. I believe that these changes won’t be received well because it’s a little like putting a genie back into the bottle, which is why education about the negative effects is really important. Just like piracy and plagiarism is “achieved” on a one-on-one basis, people need to remove their blinders about the negative effects this type of behavior causes. After all, you wouldn’t expect a doctor to provide care for you for free — why would you demand an artist or writer do the same?

Regardless, these trends are affecting not only what I read and write online, but how I pursue my career objectives and what I recommend other people to write as well.

Why Your D&D Game Doesn’t Make a Great Novel

DragonHave you heard the line, “Your D&D game won’t make a great novel?” If you’ve heard me speak on panels before, or if you’ve read several submission guidelines from agents or publishers, you might have. I’d like to tackle why.

First, let’s get all the bad mojo out there on the table by saying something completely untrue. “Oh, that evil publisher doesn’t like gamers…” Several well-known authors I’ve met are either gamers themselves or their kids are. And by gamers, I mean everything from tabletop to video and card games. Also? Publishers aren’t evil. You may get frustrated by their decisions, but publishing a book — even if it’s potentially your book — is integral to their overall business. To imply that they’re evil means that a business is a biological entity with a soul. Yes, some businesses have been accused of being soul-less, but that’s actually a correct statement. A better description of a business would be to think of it as a large, gigantic clock. You only see the face that tells the time, but there are lots of moving parts. Each of those “parts” may have a soul, but together they act as a publisher who wants to produce books that other people will want to purchase and read – they certainly aren’t there to make a writer’s life miserable.

So now that we’ve got that out of the way, let’s get back to the topic at hand. Why won’t your D&D game make a great novel?

Here’s a rhetorical question: have you heard this story before? It’s about an elf, a ranger, a dwarf and a mage…they wake up at this inn…they don’t have any memories…they face this really evil overlord guy who–

Yes. Yes, I’m sure you have. So has everyone else on the planet.

The first lesson here, is that those characters and that plot have been beaten to death so badly, they’ve become their own cliche.

The second lesson I’d like to offer, is that writing a story not the same as “writing up a game” as a story. When you “write up a game,” you are telling the story as it happened during play, because you believe your game is so exciting other people will want to read about it. However, these stories often turn into a dictation of events, which causes the story to sound forced and the characters to become inflexible. When you write a story, you have more freedom because you don’t have to stick to a specific series of events, partly because the writer hasn’t already experienced what had happened.

Third, I’d also like to point out that many new writers don’t realize that when you write a story about your D&D game, you are engaging in a form of writing called “fan fiction.” In other words, you don’t “own” the story that you’ve created and legally, you aren’t able to sell what you’ve written. (Be sure to read my post about the difference between shared world, tie-in and fan fiction if you’re confused).

Yes, there are people who write for DRAGONLANCE and other tie-in novels for established settings. They do have some challenges writing novels, because they are writing in a world that has already been created. This type of writing can be more difficult than writing original fiction, because there are often strict guidelines that the writers and editors have to follow. (If you’ve ever worked on tie-in or media fiction, it’s a lot like putting a puzzle together.) However, this form of writing isn’t the same as “writing up a game,” because the story isn’t about a “real life” game that’s being played, it’s about a story set in the world of D&D.

If you want to share the story about your favorite game, I recommend reviewing Wizards of the Coast’s Fan Site Policy. If you want to write media, shared world or tie-in fiction, that’s an entirely different path and I encourage you to read Wizard of the Coast’s book submission guidelines.

Regardless, if you’re serious about your love of gaming and honing your craft, I’d encourage you to take a more professional approach. Please, do yourself a favor and conduct a little bit of research before you start typing away. Writing a novel is not as easy as it looks, and you don’t want to get off on the wrong foot.

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