UK micro-presses see sales soar 80%.

tnps_publishing briefUK micro-presses see sales soar 80% as readers who don’t want “another novel about a dead girl on a train” find their next read.

“I worried that they would be able to get it into shops, but within two or three months I have sold more copies than my last book did with Simon & Schuster.”

Many indies think it’s either Big 5 or indie, but there’s lucrative opportunities in the hidden middle ground.

Read more over at The New Publishing Standard.

Mark Williams now writes daily on global publishing maters for The New Publishing Standard.


Charlie and the Crowdfunded Chocolate Factory

tnps_audio books

A British children’s audio start-up has not just almost doubled its crowdfunding target on Kickstarter, but has signed a deal with the estate of Roald Dahl to produce audiobooks for toddlers to go with its no-screen, no-internet child-safe learning cube.

“The audio renditions of Dahl’s work are not just replays of existing audio versions, but commissioned specifically for the target age-group … My guess is Yoto will spawn many imitators and the audio-for-toddlers sector will add even more revenue to publishers’ bottom lines as publishers start to produce more content.”
Find out more over at The New Publishing Standard.
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Mark Williams now writes daily on global publishing affairs for The New Publishing Standard.

SE Asia “one of the most promising publishing regions.”

tnps_se asiaIndonesia has more internet users than any country in Europe. And its only at 54% penetration.

Indonesia is just the largest of a group of publishing countries that make up SE Asia, one of the most exciting prospects on the planet for digital authors.

We indies like to think of ourselves as ahead-of-the-curve digital-first authors, but many of us would better be described as behind-the-curve ebook authors.

What’s the difference? From today’s post over at TNPS:

“Digital doesn’t just create ebook stores and ebook subscription services. It drives sales of print books, directly through online bookstores, and indirectly through titles being made available with POD that otherwise would never be seen in print.

It also drives book sales and book creation thanks to other digital media – most notably video right now, making more and more films and TV available to global audiences hitherto off-limits. But also audio, where the removed need for clunky hardwear is having a noticeable impact on audiobook sales.

It drives new writing and experimental form through micro-fiction sites like Terribly Tiny, through fan-fiction sites like Wattpad, and through serial-fiction sites like Radish. We’re just beginning to see the impact of AR and VR.

And it drives word-of-mouth audience engagement through social media, which in turn become the platform of new writing, as we’ve seen most startlingly with the rise of the Tumblr and Instagram poets.

And that’s just the tip of the digital iceberg.

But it is, all importantly, just that: a digital iceberg.

With two pre-requisites: internet access and smartphones.

SE Asia has them both in spades.”

Read more over at The New Publishing Standard.

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Mark Williams now writes daily on global publishing matters at The New Publishing Standard.

Uruguay’s Night of the Bookstores. Who says Latinos don’t read?

Uruguay just held its first Night of the Bookstores.
Earlier this year Argentina held its tenth Night of the Bookstores.
As we all know, Latinos don’t read, so clearly the 1.2 million visitors to the Buenos Aires Int. Book Fair this year is a typo, the tens of thousands that turned up to the Buenos Aires Night of the Bookstores is a typo, and it’s totally not true that Buenos Aries has more bookstore per capita than any other city in the world.
Except, it is true, and that 1.2 million visitors is no typo. Nor is the tens of thousands attending the Night of the Bookstores event.
Demolishing the false narrative that Latinos don’t read, over at The New Publishing Standard today.
NB Mark Williams now writes daily on global publishing for The New Publishing Standard.


The Hot Sheet Reviewed – second November edition

tnps_publishing brief
Another two weeks somehow have passed by and it’s The Hot Sheet Reviewed yet again over at The New Publishing Standard.
In the TNPS headlights this time is the demise of Pronoun, the departure of Mark Leslie Lefebvre from Kobo, and a (ever so polite) disagreement with Porter Anderson and Jane Friedman over what the Tencent IPO means for the publishing industry.
Lots more over at The New Publishing Standard.
NB Mark Williams now writes daily on global publishing for The New Publishing Standard.

Pakistan 3G/4G users hit 46 million. Ebooks widely unavailable as Big 5 ebook retailers look the other way

46 million 3G/4G users in Pakistan, e-shopping, streaming video from Netflix and Amazon, etc. Buying ebooks? The Big 5 western ebook retailers don’t want to know.

It gets worse. Pakistan is a country of 200 million people. English is one of its key languages. Pakistan has more English-speakers than the UK.

Do they like books? The Karachi Int. Book fair next month is expected to have 400,000 visitors. Last year at the KIBF 200,000 books were sold in four days.

The February Lahore Int. Book Fair is even bigger.

Read more at The New Publishing Standard.

The Two CreateSpaces. CreateSpace Pro for Publishers and CreateSpace Lite for Indies.


Amazon Print-On-Demand? Meet CreateSpace Pro. Is POD-Select Exclusivity On the Cards?

During the Amazon-Hachette spat one of Amazon’s tactics was to push for Hachette and other publishers to use Amazon’s POD system, making sure all books were perma-available.

Needless to say Hachette didn’t go down this route, but rest assured trad pub big and small is looking closely at, and investing in, what we loosely call POD, and as the costs come down so more and more print production will shift to this model.

It’s a bizarre irony that the technology supposedly killing print will end up being its saviour. More on that in another post.

Here to take a look at Amazon Print On Demand and how it differs from CreateSpace.

Basically, if you’re an indie author you’re not welcome. Amazon POD is a business venture for publishers, and indie authors trying to get in on the act will be shuffled off to the regular CreateSpace site as per the sidebar. (LINK)

Amazon ram home the point that we are not “publishers”here. (LINK)

From FAQs:

19. I am an author and I want to self-publish, can I take advantage of Print-On-Demand to publish my novel?
The information on this website is intended for publishers, however Amazon does offer Print-On-Demand services for authors who want to self-publish. Please visit (CreateSpace) for more information.

And yes, Amazon does go on to explain the difference. One key difference being Amazon give publishers “exclusive benefits” not available to us small-fry.

Q 20. What is the difference between CreateSpace and Print-On-Demand?

CreateSpace is the platform through which both independent authors and publishers using POD can upload and manage their titles.

“The key difference between the two services is that Print-On-Demand offers benefits that are exclusive to publishers, including managed accounts, flexible uploading options and additional solutions for your titles.”

As ever, it’s Amazon’s business and they set the rules.

CreateSpace still offers indies great way to get our books into print and we’d be crazy not to be using CreateSpace as part of our “going wide” strategy.

But there are plenty of other options, like Ingram, and now StreetLib’s POS print-on-demand service has dropped its upfront fees that could be well worth exploring further.

Bottom line is, print is not going to fade into oblivion any time soon. Just the opposite. Continuing improvements and cost efficiency will make digital printing more and more central to publishers whatever our size.

And with Amazon’s drive to get more publishers using CreateSpace with the professional publisher option, the print arena is about to get a whole lot more competitive.

Many of us are seeing our CreateSpace titles appear in our KDP dashboard, and I would expect that to continue apace until all KDP authors have the KDP-CreateSpace set-up available.

CreateSpace itself will no doubt become a professional-publishers only site.

No idea yet what sort of royalties pro-publishers will get compared to us indies in CreateSpace Lite. Looks like we need to be signed up to get that sort of information.

Meantime don’t be surprised if Amazon starts offering an exclusive POD-Select option, whereby we indies can get some sort of extra benefits by eschewing Ingram, StreetLib POS and all the myriad other POD options competing with CreateSpace, and have our print titles available solely through Amazon.

This post first appeared in the International Indie Author Facebook Group. (LINK)