{"id":1953,"date":"2011-08-25T13:33:08","date_gmt":"2011-08-25T17:33:08","guid":{"rendered":"https:\/\/tremblethedevil.com\/?p=1953"},"modified":"2013-08-05T17:56:49","modified_gmt":"2013-08-05T21:56:49","slug":"the-only-lasting-thing-you-can-create-2","status":"publish","type":"post","link":"https:\/\/tremblethedevil.com\/?p=1953","title":{"rendered":"it’s hard out here"},"content":{"rendered":"

\"\"<\/a><\/strong><\/p>\n

(read the book free online<\/a>\u00a0–\u00a0<\/strong>read the Reddit AMA<\/a><\/strong><\/strong>)<\/strong><\/strong><\/strong>
\n<\/a><\/strong><\/p>\n

Imagine you live in a small apartment above a bookstore.<\/p>\n

Like most bookstores, it has an area set aside for perusing novels and consuming refreshments where you can relax with a alluring and fragrant pile of books stacked in front of you.\u00a0 The only sounds come from the soft mood music the establishment is piping in and the contented signs of other customers.\u00a0 You’re free to evaluate each prospective purchase at your own leisure, languidly stroking their pages one-by-one, seeing if this one or that one’s spine has what you’re looking for attached to it.<\/p>\n

No one who works there ever comes up and hassles you about hurrying up and buying something already, there’s an implicit pact between client and business – you’re free to lounge for as long as you’d like, but if you want the convenience<\/em> of taking the book with you, a fee is required.<\/p>\n

That’s really all you’re paying, a convenience fee.\u00a0 Each book sits on the shelf open and waiting, shyly beckoning you with coyly designed covers and promising words – tempting you to pick them up, sit them in your lap, fall in love with them, and pay to take them home. But whether or not payment is rendered, you can still have your way with as many books as you want, regardless of whether or not you pay a single cent.<\/p>\n

If you actually lived in an apartment above a bookstore, how often would you actually pay to take a book home if you could take your time with each and every book right then and there in the store?\u00a0 Probably not very often if you could conveniently come and go whenever you wanted.\u00a0 So it’s been a good thing for the publishing industry that very few people actually live above or abreast a bookstore.<\/p>\n

Unfortunately for the publishing industry, and just about everyone who works for it except the authors themselves, the internet went and got itself invented – so the publishing industry is now in the process of becoming well and thoroughly screwed.<\/p>\n

Publishing has always been a notoriously fickle business:<\/a>\u00a0Harry Potter<\/em> was rejected by nine publishers, A Time to Kill <\/em>by twenty-six. The Diary of Anne Frank <\/em>was labeled “very dull,” and “a dreary record of typical family bickering, petty annoyances and adolescent emotions.”\u00a0 George Orwell was told Animal Farm would never sell because “it is impossible to sell animal stories in the U.S.”<\/p>\n

Before selling over 130 million copies worldwide, Chicken Soup for the Soul<\/em> was passed on by over 100 publishing houses<\/a>.\u00a0 And it took Doctor Seuss’s first book twenty-seven publisher rejections<\/a> before it finally found a taker.<\/p>\n

Talk to any literary agent and they’ll tell you that publishing has always been an absolute crap-shoot<\/a>.\u00a0 If people inside the publishing industry themselves admit that \u201cIt\u2019s an accidental profession, most of the time,\u201d and that “people think publishing is a business – but it\u2019s a casino,” how exactly does it make sense to argue that the current economic model isn’t<\/em> hilariously broken?<\/p>\n

The randomness of publishing wasn’t due to some inexplicable high variance, it was a result of the fact that most people in the publishing business have no fucking idea what a good book looks like.\u00a0 Walk into any bookstore in American and start randomly plucking books off the shelf.\u00a0 You’ll have to go through about a dozen before you find one that’s worth reading more than a few pages of.<\/p>\n

But maybe the most absurd part of the process is that even if your book did manage to run the gauntlet – querying agents, getting one to bite, finally selling your manuscript to a publisher – there was still one massive trial you had to pass. Bookstores still have to order your book from the publisher, and for Barnes & Noble’s entire fiction department this order was controlled exclusively and entirely by one woman<\/a>.<\/p>\n

Ponder that for a moment.<\/p>\n

Some nameless faceless entity, who probably ended up getting into the bookselling business only after she failed at actually producing art herself, would hold the life of your dream in her hands, adjust her reading glasses, maybe absentmindedly pet one of the fourteen or so cats, and render judgement.<\/p>\n

Unsurprisingly, Barnes & Noble is a slowly sinking ship<\/a> – it’s only a matter of time before it comes to rest at the bottom of the business ocean alongside Borders. But there’s good news, and hope out on the horizon. Because the thing is, pretty much no one actually lives above a bookstore.<\/p>\n

\"\"<\/a><\/p>\n

The evolution of the alphabet is shrouded in mystery, although many archeologists accept the theory that the first instance of phonemes being broken down into discrete chalky semaphore occurred somewhere inside of the Levant and probably served as a code for the enslaved to communicate the means of freedom to each other.<\/p>\n

Kind of like the modern hobo code<\/a>, but somehow more profound.<\/p>\n

Then comes what we know for sure – the printing press empowered the Protestant Reformation, as for the first time knowledge could be disseminated free from any authoritative oversight.\u00a0 And now revolution is beating down the doors of oppression and autocracy in the Middle East, riding waves of electronic dissent that never could have formed without the dissemination of the Internet to nearly every corner of the globe.<\/p>\n

Tweeting and Facebook didn’t cause any of these revolutions, they merely allowed them to coalesce inside societies with incredibly strict laws about public gatherings<\/a>.<\/p>\n

Along with authoritarian regimes, the ongoing Information Revolution now seems to be well on its way to tearing down the crumbling facade of the book publishing industry.\u00a0\u00a0 The flip side to that is that it’s being argued that “writing, as a profession, will cease to exist,”<\/a> a conjecture which couldn’t be farther from the truth.\u00a0 It’s perhaps one of the more absurdly short-sighted and alarmist statements ever made in the short history of modern literature.<\/p>\n

The only thing that might cease to exist is many of the superfluous managerial and bureaucratic jobs in the publishing industry, as well we writing as a profession… that can make you a multimillionaire who has a tank parked on his damn lawn<\/a>.\u00a0 Not to single out Tom Clancy<\/a>, his first dozen books or so were absolutely brilliant and firmly established the geopolitical military thriller as a genre – but the tail end of his career bears witness to just how absurd the publishing industry has become.<\/p>\n

Instead of quietly going into retirement he leveraged his name out to a series of video games, which isn’t something you can really knock him for in and of itself.\u00a0 But he also slapped his name on a series of incredibly crappy books, as well as what’s hopefully one final gawdawful book<\/a> that he supposedly “co-authored.”\u00a0 But if you’re at all familiar with Clancy’s earlier works, it becomes very readily apparent that Clancy didn’t contribute anything to that book other than maybe a plot roughly outlined on a cocktail napkin.<\/p>\n

Or maybe on a one-hundred dollar bill, they’re probably interchangeable in the Clancy household.\u00a0 And the publishing industry welcomed this misleading farce with open arms, because they knew all they needed was Clancy’s name slapped on something with pages attached to it.\u00a0 It would sell, and they’d be able to roll in the dough it produced like greedy myopic pigs.<\/p>\n

Ewan Morrison’s argument that writing is a dead profession because of the prevalence of e-books isn’t only short-sighted, it doesn’t even hold together logically.\u00a0\u00a0 He jumps from the fact that “most notable writers in the history of books were paid a living wage: they include Dostoevksy, Dickens and Shakespeare,”<\/a> which has continued to the modern system of authors receiving advances against royalties – all the way to the idea that the reduced advances are going to send authors straight to early retirements because they can’t live on the royalties from past books alone.<\/p>\n

Even discounting the fact that Dostoevsky’s desperate need for advances came as a result of his compulsive gambling<\/a>, and that J.K. Rowling isn’t alone in being able to write her first book without any hope of an advance, even living on welfare in her particular case – it becomes readily apparent that Morrison’s line of reasoning is deeply flawed:<\/p>\n

To ask whether International Man Booker prizewinner Philip Roth could have written 24 novels and the award-winning American trilogy without advances is like asking if Michelangelo could have painted the Sistine Chapel without the patronage of Pope Julius II. The economic framework that supports artists is as important as the art itself; if you remove one from the other then things fall apart.<\/em><\/p><\/blockquote>\n

Conflating Philip Roth’s career, which was spent living in a modern American city, with an artist living in 16th century Renaissance Italy is about as asinine as it gets. The artistic market and map to success for someone authoring books in 20th century America has next to nothing in common with trying to make it as a painter and sculptor hundreds of years ago – the fundamental\u00a0 ideas of market and commerce were completely and utterly different. \u00a0The economic framework Morrison cites has been holding up the publishing industry, not the authors themselves.<\/p>\n

<\/p>\n

Traditional publishing never worked, it was an industry ruled by chance and blind luck. Its demise will be the best thing that\u2019s ever happened to authors as the royalty system is rearranged and bureaucratic fat is removed from the system.<\/p>\n

Roth did just fine as a writer before he began penning novels and getting advances, he taught and wrote small pieces on the side – getting an advance isn’t the issue, being paid at all is. Are a lack of advances the issue, or could that be theoretically compensated for by – oh, I don’t know – changing up the royalty system?<\/p>\n

Let’s take a quick look at the royalty system, here’s how Wikipedia explains it: “Hardback royalties on the published price of trade books usually range from 10% to 12.5%, with 15% for more important authors. On paperback it is usually 7.5% to 10%, going up to 12.5% only in exceptional cases.”<\/a>\u00a0 How does this compare to the sale of e-books?\u00a0 Well, on Amazon if authors price their books above $3, they take home 70% on every sale, roughly five-times as much money for every single sale.<\/p>\n

So instead of eighty to ninety percent of the profits going to people other than the author, authors are now able to take home the vast majority of the profits generated by their work.<\/p>\n

That’s what’s going to gut the literary industry – not writers themselves, the industry<\/em> – the fact that the people who actually produce the art are going to be taking home the lion’s share of the profits, instead of the other way around.\u00a0 The problem isn’t the emergence of e-books and print-on-demand publishing, it’s that the old system was broken.\u00a0 A similar structure exists in the music industry, as the producer for Nirvana’s “In Utero” once colorfully explained<\/a>:<\/p>\n

Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. Nobody can see what’s printed on the contract. It’s too far away, and besides, the shit stench is making everybody’s eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the shit. Eventually, one of them capitulates, and there’s only one contestant left. He reaches for the pen, but the Lackey says “Actually, I think you need a little more development. Swim again, please. Backstroke”. And he does of course. <\/span><\/em><\/p><\/blockquote>\n

In a nutshell, a $250,000 advance would soon turn into a grand total of $4,031.25 for each member of a band consisting of three musicians.\u00a0\u00a0 And yet the advent of online file-sharing and torrenting hasn’t made musicians obsolete.\u00a0 Although the music on your local pop radio stations probably still sucks – you can now find awesomely talented obscure bands everywhere from Pandora to their own websites, where they often give away several tracks of their music for free.<\/p>\n

The old means of distribution was choking ingenuity and creativity while enriching the pockets of industry executives who had precisely zero to do with the actual creation of music<\/em>.<\/p>\n

Morrison’s final misconception is about the nature of the long tail<\/a>:<\/p>\n

“The recent enthusiasm for the long-tail market does, however, obscure a very basic economic fact: very few writers and independent publishers can survive in the long tail. Amazon can sell millions of books by obscure authors, while at the same time those authors, when they get their Amazon receipts, will see that they have sold only five books in a year.”<\/em><\/p><\/blockquote>\n

Without pre-selection and mass marketing, Morrison argues, the market can’t possibly function.\u00a0 But here’s the thing, the market has never functioned rationally – rational and effective systems aren’t hallmarked by the randomness and chance discussed earlier.<\/p>\n

Which is the point the rest of Morrison’s article should have but didn’t make: all of the industries he lists – movies, music, porn, computer games, newspapers, video games, newspapers, photography, telecommunications, and the internet – are suffering financial crises of at the bureaucratic management level, which is being mistakenly viewed as a fight for the survival of the artists who actually populate them with art.<\/p>\n

Musicians aren’t the ones who’ve been hurt by the evolving open marketplace, it’s the record stores who’ve gotten the shaft.\u00a0 And the same pattern is already holding true with literature.<\/p>\n


\n<\/a>\"\"<\/a><\/p>\n

With the advent of e-books, authors no longer need the means of production that the publishing industry once had a monopoly on.\u00a0 And so in the scheme of things, there’s no better time to try and make it as a writer.<\/p>\n

People still love reading, so as sales of physical books flow out of brick-and-mortar book stores like rats from the proverbial sinking ship, they’re going to flow into both e-books and print-on-demand options offered by companies like CreateSpace <\/a>and Lulu<\/a>.\u00a0 Maybe there’s no better indication that the publishing industry as we once knew it is good as dead than J.K. Rowling deciding to release the e-book version of all the Harry Potter<\/em> books from her own personal website<\/a>.<\/p>\n

Obviously Rowling’s situation is worlds different from an author who’s first trying to break into the market, but they do share a common thread.<\/p>\n

In a process that’s materially no different at all than being able to casually stroll through a bookstore, taking your time browsing through as many books as you’d like, all an author needs to do is post his work up online so people can read it on their monitors. And then if they want the convenience of being able to it with them – either on their e-reader or by ordering a print-on-demand copy – all they need to do is pay a small fee.<\/p>\n

Consumers have never paid for access<\/em> to books, they paid for the convenience<\/em> of being able to take the words with them.<\/p>\n

Again going back to the music industry, it turns out people who illegally pirated music weren’t just a little more likely to actually buy music, they were ten-times more likely<\/em><\/a> to actually buy music.\u00a0 And the model of making your writing as free and accessibly as possible has already worked once when it comes to writing.\u00a0 In 2001 when The Alchemist author Paulo Coelho had been struggling for a few years to break into the Russian market, he decided to take this novel approach: he set up a site where anyone could download a PDF of the book for free<\/a>.\u00a0 And how’d that work out for him?<\/p>\n

In 2001, I sold 10,000 hard copies. And everyone was puzzled. We came from zero, from 1000, to 10,000. And then the next year we were over 100,000… I thought that this is fantastic. You give to the reader the possibility of reading your books and choosing whether to buy it or not.<\/em><\/p><\/blockquote>\n

Having your sales increase one-thousand fold seems like a pretty damn good business model.<\/p>\n

Morrison fundamental lack of comprehension about what’s really going on might be best captured by one of his final points: “In every digital industry the attempt to combat piracy has led to a massive reduction in cover price: the slippery slope towards free digital content.”<\/a><\/p>\n

The reduction in cover price isn’t a slippery slope towards free, it’s the culling of a bloated and archaic publishing industry whose time has now passed.\u00a0\u00a0 As the music industry and Paulo Coelho have proven, the more access potential customers have to art the more likely they are to actually spend money on it. Authors will now be able to glean more of the profits created by their work, instead of having to whore themselves out to an industry populated mostly by people who failed at producing what they’re now selling – quality art.<\/p>\n

Writers are no longer subject to the whims and vagrancies of faceless executives, the only thing they need now is a little bit of determination and a willingness to hustle the streets a little bit, which is a whole lot better than the alternative of letting a corrupt and dead-behind-the-eyes industry pimp out their dreams.<\/p>\n","protected":false},"excerpt":{"rendered":"

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