Spennende artikkel om hvordan forfattere omgår forlagene og hva det betyr for forlagene

Hva betyr steder om iUniverse.com for forlagene?  Her er en artikkel jeg kommer til å skrive mer om i løpet av noen dager.  Men artikkelen, fra New York Times 28. januar er super aktuell -- også i lys av lesebrettets fremvekst.  

January 28, 2009
Self-Publishers Flourish as Writers Pay the Tab
By MOTOKO RICH
The point may soon come when there are more people who want to write books than there are people who want to read them.
At least, that is what the evidence suggests. Booksellers, hobbled by the economic crisis, are struggling to lure readers. Almost all of the New York publishing houses are laying off editors and pinching pennies. Small bookstores are closing. Big chains are laying people off or exploring bankruptcy.
A recently released study by the National Endowment for the Arts found that while more people are reading literary fiction, fewer of them are reading books.
Meanwhile, there is one segment of the industry that is actually flourishing: capitalizing on the dream of would-be authors to see their work between covers, companies that charge writers and photographers to publish are growing rapidly at a time when many mainstream publishers are losing ground.
Credit for the self-publishing boomlet goes to authors like Jim Bendat, whose book “Democracy’s Big Day,” a collection of historical vignettes about presidential inaugurations, enjoyed a modest burst in sales in the hoopla surrounding President Obama’s swearing-in.
After failing to secure a traditional publishing deal in 2000, Mr. Bendat, a public defender in Los Angeles, paid $99 to publish the first edition of his book with iUniverse, a print-on-demand company. He updated the book in 2004 and 2008, and has sold more than 2,500 copies. IUniverse takes a large cut of each sale of the book, currently on Amazon.com for $11.66.
As traditional publishers look to prune their booklists and rely increasingly on blockbuster best sellers, self-publishing companies are ramping up their title counts and making money on books that sell as few as five copies, in part because the author, rather than the publisher, pays for things like cover design and printing costs.
In 2008, Author Solutions, which is based in Bloomington, Ind., and operates iUniverse as well as other print-on-demand imprints including AuthorHouse and Wordclay, published 13,000 titles, up 12 percent from the previous year.
This month, the company, which is owned by Bertram Capital, a private equity firm, bought a rival, Xlibris, expanding its profile in the fast-growing market. The combined company represented 19,000 titles in 2008, nearly six times more than Random House, the world’s largest publisher of consumer books, released last year.
In 2008, nearly 480,000 books were published or distributed in the United States, up from close to 375,000 in 2007, according to the industry tracker Bowker. The company attributed a significant proportion of that rise to an increase in the number of print-on-demand books.
“Even if you’re sitting at a dinner party, if you ask how many people want to write a book, everyone will say, ‘I’ve got a book or two in me,’” said Kevin Weiss, chief executive of Author Solutions. “We don’t see a letup in the number of people who are interested in writing.”
The trend is also driven by professionals who want to use a book as an enhanced business card as well as by people who are creating books as gifts for family and friends.
“It used to be an elite few,” said Eileen Gittins, chief executive of Blurb, a print-on-demand company whose revenue has grown to $30 million, from $1 million, in just two years and which published more than 300,000 titles last year. Many of those were personal books bought only by the author. “Now anyone can make a book, and it looks just like a book that you buy at the bookstore.”
To be sure, self-publishing is still a fraction of the wider publishing industry. Author Solutions, for example, sold a total of 2.5 million copies last year. Little, Brown sold more than that many copies of “Twilight” by Stephenie Meyer just in the last two months of 2008.
But in an era when anyone can create a blog or post musings on Facebook or MySpace, people still seem to want the tangible validation of a printed book.
“I wanted the satisfaction of holding the book in my hands,” Mr. Bendat said.
As a result of his iUniverse book, the British news channel Sky News asked Mr. Bendat to provide live commentary on Inauguration Day. A group of Washington hotels ordered 500 copies to give to guests who were in town for the event.
“O.K., it’s not a best seller,” Mr. Bendat said, “but I’m happy for what’s happening.”
Vanity presses have existed for decades, but technology has made it much easier for aspiring authors to publish without hefty upfront costs. Gone are the days when self-publishing meant paying a printer to produce hundreds of copies that then languished in a garage.
Now, for as little as $3, an author can upload a manuscript or collection of photos to a Web site, and order a printed book within an hour. Many books will appear for sale on Amazon.com or the Web site of Barnes & Noble; others are sold through the self-publishing companies’ Web sites. Authors and readers order subsequent copies as needed.
The self-publishing companies generally make their money either by charging author fees — which can range from $99 to $100,000 for a variety of services, including custom cover design and marketing and distribution to online retailers, or by taking a portion of book sales, or both.
Some, like Lulu Enterprises and CreateSpace from Amazon.com, allow the author to create the book free, but then make their money on a small printing markup and a profit split with the author.
For some authors, the appeal of self-publishing is that they can put their books on the market much faster than through traditional publishers.
Of course, authors who take this route also give up a lot. Not only do they receive no advance payments, but they also often must pay out of their own pockets before seeing a dime. They do not have the benefit of the marketing acumen of traditional publishers, and have diminished access to the vast bookstore distribution pipeline that big publishers can provide.
Still, many self-publishing companies allow authors to take more than the traditional royalty of 15 percent of the cover price on hardcovers and 10 percent or less on paperbacks.
Michelle L. Long, an accountant who advises small businesses, published “Successful QuickBooks Consulting,” a guide for others who want to help businesses use a software package made by Intuit through CreateSpace a little more than a year ago. She said she had earned 45 to 55 percent of the cover price on each sale and had made $22,000 in royalties on the sale of more than 2,000 copies.
During an economic downturn, books tailored to such narrow audiences may fare better than titles from traditional publishers that depend on a more general appeal.
“A lot of this niche content is doing fairly well relative to the rest of the economy because it’s very useful to people who have a very specific need,” said Aaron Martin, director of self-publishing and manufacturing on demand at Amazon.
For many self-published authors, the niche is very small. Mr. Weiss of Author Solutions estimates that the average number of copies sold of titles published through one of its brands is just 150.
Indeed, said Robert Young, chief executive of Lulu Enterprises, based in Raleigh, N.C., a majority of the company’s titles are of little interest to anybody other than the authors and their families. “We have easily published the largest collection of bad poetry in the history of mankind,” Mr. Young said.
Still, the dream of many self-published authors is that they will be discovered by a mainstream publishing house — and it does happen, however rarely.
When Lisa Genova, a former consultant to pharmaceutical companies, wrote her first novel, “Still Alice,” a story about a woman with Alzheimer’s disease, she was turned down or ignored by 100 literary agents.
Ms. Genova paid $450 to iUniverse to publish the book and sold copies to independent bookstores. A fellow author discovered the book and introduced Ms. Genova to an agent, and she eventually sold “Still Alice” for a mid-six-figure advance to Pocket Books, an imprint of Simon & Schuster, which released a new edition this month. It had its debut on the New York Times trade paperback fiction best-seller list on Sunday, at No. 5.
Ms. Genova likened her experience to that of young bands or filmmakers using MySpace or YouTube to attract a following. “It’s really tough to break into the traditional model of doing things,” she said.
Louise Burke, publisher of Pocket Books, said publishers now trawl for new material by looking at reader comments about self-published books sold online. Self-publishing, she said, is “no longer a dirty word.”
Diamonds in the rough, though, remain the outliers. “For every thousand titles that get self-published, maybe there’s two that should have been published,” said Cathy Langer, lead buyer for the Tattered Cover bookstores in Denver, who said she had been inundated by requests from self-published authors to sell their books. “People think that just because they’ve written something, there’s a market for it. It’s not true.”