Showing posts with label Random House. Show all posts
Showing posts with label Random House. Show all posts

Monday, April 28, 2014

The Eye of the Storm?

Last week, one of Kris Rusch's reasons for cutting back on her business blogging was that the publishing business had entered a period of stabilization. But with the Gulf hurricane season officially starting a month from Thursday and preparation ads starting to spring up, I wondered:  Are things really stabilizing or are we in the eye of the storm?

1) Writers

The trickle of writers who had contracts for novel length works leaving publishing companies has turned into a steady stream. Many new writers are refusing to even consider  working with a major publishing house. We haven't gotten to the point where that steady stream turns into a gush, or where a MAJOR name like King, Roberts or Grisham walks away from their publisher.

2) Publishers Houses

Sure, you've got guys like Joe Konrath predicting the big publishers will collapse, but the bigger publishing houses made record-breaking profiits in 2013. There's also a lot of issues not being said.

Both Disney and Warner Brothers streamlined their print book operations so that they are focusing on materials and IP properties they fully control, e.g. Star Wars and Superman among others. Supposedly, Disney is keeping the contract Lucasfilm had with Random House to produce Star Wars novels, but I question how long that arrangement might last.

After news got out that Harlequin used contractually sleight-of-hand to rip-off writers, pitch slots to their editors were empty at the 2013 Romance Writers of America Conference. Other small publishers, such as Kensington and Ellora's Cave, are seeing a drop in submissions, and the submissions coming in are dropping in quality.

Overall, the publishing houses are reducing advances, reducing print runs, and issuing draconian contract terms to keep the writers they already have tied to them. They are also tying up reversion rights even though they seem to have no interest in reissuing the older books.

The question is at what point will the majority of writer grow tired of these shennanigans and walk way from the publishers, or writing, altogether.

3) Brick and Mortar Stores

It's been a little over two years since Borders collapsed here in the U.S. Barnes & Noble is scrambling to stay alive by cutting down on books and selling trinkets and toys. Book-a-Million and Half-Price Books only sell a fraction of what the ailing B&N sells. Walmart, Target and Costco will only sell  book on the top twenty of the New York Times bestseller list. Groceries stores and pharmacies are whacking their mass market paperback displays in a quarter of what they used to carry, assuming they are still carrying books at all.

On the plus side, many independent bookstores have arisen from the ashes of the Borders collapse and the closing of several B&N's. They've learned their lessons that they can't compete on price alone and are focusing on service and the customer experience.

Can the bigger stores afford to carry books? And if not, at what point do they quit?

4) Devices

This is where I think the most pundits are short-sighted. I've read article after article about slow down in sales of dedicated e-readers. Barnes & Noble is floundering. Sony gave up on devices totally, then sold its e-book division to Kobo. Kobo turned around and laid off 63 people last week. Yet, I still see publishing CEOs claim the slow down in dedicated device sales means adaption to e-books is also slowing.

This is where I *facepalm*.

First of all, if e-book adaption is slowing, why are the same companies claiming record profits? Sales of paper books are down or steady according to the folks who keep track of such things like Bowker.

Second of all, consumers are buying more and more tablets and smartphones. These multi-purpose devices are driving technology sales right now. In fact, tablets sales are seriously impacting Dell's laptop business. Executives don't seem to understand that you can READ on these multi-purpose devices.

Do you want a prime example? Two weeks ago, an older woman and I were sanding in line at the post office to mail Easter packages to family. I was reading on my iPhone 4. She had a HC. She didn't understand how I could read on such a small screen. I showed how I could adjust the font on the Kindle app, which led to an explanation of how apps work on a phone.

And why am I reading so much on my iPhone? Because the toggle switch on my Kindle 2 broke. While I like reading on e-ink since I spend twice as much business time on my computer than I ever did when I was a programmer or systems engineer, I question why should I spend the extra money. If my eyes need a break, I have 1300+ paper books I can read.

Even Genius Kid, who just got a Galaxy S4, doesn't think he needs another device, even though he's been asking for a Kindle for the last year.

When are execs going to understand that the loss of dedicated devices doesn't mean the loss of e-books?

* * *

With all these issues still outstanding (and I'm sure there's more I missed), I can't see any supposed stability lasting for long. The real question to me is--are we on the clean side of the hurricane or the dirty side when the storm roars past us?

Friday, March 8, 2013

The SFWA Strikes Back

In a strongly-worded response (for a trad-pubbed writer organization, anyway), the board of the Science Fiction and Fantasy Writers of America, in response to Random House's weaselly letter regarding the Hydra imprint in Publishers Weekly, told Random House "there is very little to discuss."

Click here for the full text.

Nice to see the SFWA board grow a pair.

Thursday, March 7, 2013

Random Shenannigans

Yesterday, Random House threw a cow patty at a set of circulating blades. They seem quite surprised that writers are unhappy about the mess.

I wish I could say I was surprised that Random Hose [mistake or Freudian slip?] House decided open, not one, but several vanity press lines. Considering their proposed merger with Penguin, which is already using the notorious vanity publisher Author Solutions for their Archway imprint which now owns notorious vanity publisher Author Solutions, I'm not. Not at all. [Note: Simon & Schuster own the Archway imprint, which subcontracts work to Author Solutions. Mea culpa for the error.]

I first heard the breaking news from the lovely Angie Benedetti when she spoke about the kerfluffle on her blog. I didn't have the chance to do more than skim her thoughts before the family and I had to leave to meet some associates for dinner. My first thought was the situation is pretty bad if it pisses off SFWA president John Scalzi.

Several of our dinner companions are SFWA members and expressed their thoughts, none of which I'm at liberty to repeat here. But let's just say they weren't flattering towards Random House.

When I got home from dinner, I read Mr. Scalzi's full post regarding Hydra, Random House's questionable SF/F line. By then, he'd managed to obtain a copy of the contract for Alibi, RH's mystery line. I have to agree with John that if the tems are that egregious with Hydra and Alibi, they are equally egregious for Loveswept (romance line) and Flirt (New Adult).

Both Dean Wesley Smith and Kristine Kathryn Rusch talked a bit about the terrible terms. And today, a majority of The Passive Guy's headline gathering consists of stories regarding Random House's vanity lines, the scariest of which is RH's public letter to John Scalzi, the SFWA, and Victoria Strauss of WriterBeware.

HERE'S THE REAL DEAL, FOLKS-

If you want to be traditionally published, by all means, go for it. But a real traditional publisher DOES NOT FOIST ALL THE PRODUCTION COSTS ON YOU WHEN YOU HAVE NO SAY IN THOSE SAME PRODUCTION COSTS!!

Seriously, why are you paying Hydra, Loveswept or their ilk a huge chunk of your profits if they are doing nothing for you and you are paying ALL the costs?

Don't sign a contract with these assholes. Period. End of story.

If you really, REALLY want to pay the production costs, go indie.

Wednesday, March 7, 2012

Latest Industry News

Like a prairie dog, I'm poking my head out of my hole for a moment before heading underground to type until my little paws bleed.

Random House has decided that fucking over libraries is in their best financial interest. Apparently tripling prices protects the company from the "perpetuity of lending."

I don't think the RH execs take into account that there's lots of folks, like me, who use the library as a testing grounds for new authors. If we love a book, we'll go out and buy it to read again and again. If we love an author, we'll buy their whole freaking catalog. By tripling prices (and the odds are high the other big publishing houses will quickly follow suit), libraries will buy fewer and fewer books. That leads to fewer writers being exposed to new readers. Which cuts into the publishers' bottom line because fewer books are being bought by the readers and/or recommended to the readers' friends and families. Which in turn takes a bite out of the publisher's profits...

I feel like I just gave Yoda's speech from The Phantom Menace.

At the other end of the spectrum, Smashwords just signed a deal with Baker & Taylor, a print and e-book distributor. What does this mean? Indies have the opportunity to get into more libraries! Yes! *fist pump*

Goddess, I love this business!!