The other day, Inside the Outside author Martin Lastrapes asked me about Kindle Select (or Kindle Direct Publishing Select, or KDP Select, depending on the day and who’s typing, it seems). I’m now several weeks committed to being a Kindle-exclusive author, and I thought I’d share some of my experiences.amazon, apple, Barnes & Noble, corporate publishing, digital publishing, e-books, ebooks, independent publishing, KDP Select, kindle, Kindle Select, Kobo, nook, self-publishing, Sony
Posts Tagged “apple”
Jan 27 2012
Jan 25 2012
Last week, in an event specified as education-related, Apple announced new software that enables authors to more easily create and publish media-rich digital content. They’re calling the sales app iBooks 2 and the creation app iBooks Author, but they seem to be making a very marked distinction that what has generally become known as an e-book is not what Apple has in mind when it talks about iBooks.
A lot of authors—especially independent authors—and other people in the publishing industry have been writing about the agreement that comes with the software, and complaining about how restrictive and evil it is. I’ve read the agreement in question, and I think that all the discussion around it is based on simple misunderstanding.amazon, apple, Barnes & Noble, e-ink, education, exclusivity, iBooks, iBooks 2, iBooks Author, iBookstore, independent publishing, ipad, iphone, kindle, Kindle Fire, nook, Nook Tablet, publishing, self-publishing, textbooks
Dec 23 2011
After careful consideration, I’ve removed my collection from Smashwords and enrolled all my books in Amazon’s new KDP Select program. I did it for both professional and moral reasons that disagree with most everything else people say about Amazon, so I thought I’d tell you about why, but first I wanted to mention that one benefit of doing so means that, for a very limited time (until December 27th, in fact, so just five days including today), all my short stories, essays, and collections will be available free.
Totally free. No catch. No caveat. You don’t have to be a Prime member.
Now. Why am I going Amazon exclusive (if only for 90 days at a shot), when most people in the publishing industry are decrying the evil of the Seattle corporation–even though that’s kind of ironic, given that pretty much everyone who’s called them an evil corporation is either a corporation or deeply associated with one (or many)?
Because I don’t see them as evil. I’m a reader, first–I write because some of the books I want to read haven’t been written yet–and Amazon has done more for me as a reader than anyone else ever. It’s also done more for me as a writer than anyone save my editrix.
But let’s talk about Amazon. And evil. And corporations.amazon, apple, Barnes & Noble, corporate publishing, independent publishing, ipad, kindle, nook, nook Simple Touch, publishing, self-publishing, traditional publishing
Dec 09 2011
Just received an email that Amazon has made a special KDP Select option available on its Kindle Direct Publishing platform, which what many authors–including me–use to publish our work for Kindle. Which is awesome. I know a lot of corporate publishers, literary agents, retailers, and authors are wary of Amazon, its continued growth, and its possible dominance, but for many of us–again, myself included–it’s been uniquely empowering.
The new Select option is interesting; authors who agree to digital exclusivity with Amazon can both make their books available as part of Kindle’s new Lending Library and take advantage of free promotions.
I decided to try it out to see what I could see. I went ahead and enrolled “Jamais Plus: Explorations in the Curious Case of the Mysterious Death of Edgar Allan Poe”, while at the same time increasing its “normal” price to non-promotional level (and taking advantage of that free promotion). “Jamais Plus” is a choose-your-own-adventure noir, a twisting-winding throwback to the adventure novels so many of us grew up on, in which C. Auguste Dupin investigates the death of the man who made him an infamous detective. It required substantial and specialized coding to make it work on Kindle, and it’s sort of even more a reading experience than a story.amazon, apple, Barnes & Noble, ereader market share, iBookstore, independent publishing, ipad, KDP Select, kindle, Kindle Direct Publishing, Kindle Fire, Kindle Select, nook, Nook Tablet, publishing, self-publishing
Interesting: as I discussed words and their meanings and how the ways they influence ideas (good and bad), a development:
Giant corporate publisher Penguin announced “self-publishing services” through their Book Country site.
And yes, those words are in quotation marks because that is not what is meant. At all.amazon, apple, Barnes & Noble, Book Country, CreateSpace, kindle, nook, Pearson, Penguin, publishing, Putnam, RWA, self-publishing, SFWA, subsidy press, subsidy publishing, vanity press, vanity publishing, Writer Beware
Nov 15 2011
As Amazon takes on more roles and responsibilities in the book world, many wonder if that’s a great thing. I remember back when Amazon sold only books, before it was the retail powerhouse it has become, the online equivalent of big-box stores. Now, it’s refocused on books, first with Kindle and then with publishing-related endeavors, setting up imprints as it has become both retailer and publisher in some cases.
Lots of smaller, independent bookstores–by which one means bookstores that are privately held, and not part of a chain, which means anyone besides Barnes & Noble and Books-A-Million, basically–don’t like this. They see Amazon as they saw Barnes & Noble when it was first beginning. The big boy on the block who set up shop next door and ultimately drove them out of business.
As a reader, it saddens me. As guy with a business degree, it makes me wonder.amazon, apple, Barnes & Noble, book stores, books, ipad, james patterson, kindle, Kindle Fire, Kindle Touch, manhattan, Nook Color, Nook Tablet, publishing, reading, St. Mark's, stephen king, stephenie meyer, The Great Gatsby, Twilight
Tying the knot isn’t the only big change I’m making in my life. But, then, my life has been one enormous change after another for the past five or so years, so I guess it’s not really altogether new.
But man is it exciting.apple, AT&T, iOS, iphone, Microsoft, Nexus S, Samsung vibrant, t mobile, Verizon, Voicestream, Windows
Sep 28 2011
My first was: shiny!
My second was: wow. I was so right.
I’m really pleased I nailed the pricing ($79 and $199, specifically). I had the feeling we’d see sub-$100 by year’s end, and I’d hoped it’d be sub-$80, because this paves the way for the continuing digital revolution. I think we’re going to look back and notice that the thing that finally made e-reading totally mainstream was the $70 Kindle. At that price, it’s nearly impossible to pass on it (and consider that by next summer, we’re probably looking at a sub-$50 Kindle).
Between a $79 Kindle and Apple’s iPad, this could well be the conquering moment for digital publishing. The death blow.
Can the big six maintain business-as-usual anymore? Heck, what is business as usual?amazon, apple, Barnes & Noble, corporate publishing, digital publishing, e-books, ipad, itunes, kindle, Kindle Keyboard, Kindle Touch, nook, Nook Color, nook Simple Touch, self-publishing
So, Borders is closing. Gone. Kaputsky. 399 stores. 10,000 employees.
I feel bad for those employees.
I don’t, in general, feel bad about Borders.
I wish I did.
I grew up with books. My parents read Stephen King. I don’t remember a time when I haven’t been reading. I read enough books that I’m technically never actually between books; there’s always something I’ve started and probably mean to go back to at some point. The library has been my happy place.
But things change.amazon, apple, Barnes & Noble, borders, ipad, itunes, kindle, nook, publishing, Walkman
Mark Coker’s Smashwords seems, ostensibly, a rather brilliant idea. It’s sort of the ebook equivalent of Amazon’s Author page; whereas Amazon’s page lists all the work an author has available on Amazon in one spot, Smashwords makes available a single title in myriad different digital formats, including the usual ePub and mobi formats (for pretty much all readers and for Kindle, respectively), as well as PDFs (people still read those?), html (for web viewing, I figure, whether by desktop, laptop, or tablet), Microsoft’s Word (er. For people who want to word process it?), and even text (for people who . . . I give up. You can tell me why people want text files).
I like the idea in theory. My job, as I see it, is to both write the story and make it accessible, and accessibility works on several levels. I want to make the story appeal to readers, but I also want it to be available in any way a reader wants. Even if I can’t imagine why a reader wants a certain story available in a certain way.
Nowadays, there are myriad ways for people to read stories. There are no fewer than four different Android tablets available right now, and that’s only Android. There’s also the iPad and now the new HP tablet running WebOS. In terms of ereaders, we’ve got Kindles and nooks, of course, but also Kobo and Sony’s efforts and several other somewhat generic readers all of which have e-ink displays and most of which display ePub files and etc.
So far as I can tell, Smashwords seeks to solve the actually legitimate problem of making one story available for every platform. Maybe that’s the reason for the txt file?
And it’s not a bad solution, by any means.amazon, android, apple, Barnes & Noble, e-readers, ePub, iOS, ipad, ISBNs, kindle, Kobo, Mark Coker, Mobipocket, nook, Nook Color, PRC, Smashwords, Sony, tablets
Feb 11 2011
After several years in a will-they/wont-they purgatory, the digital revolution in publishing has finally become more a matter of when than if, where “when” seems to be 2010. Apple’s launch of the iPad–which featured five of the big six corporate publishers as partners and only ignored the sixth because someone within the company had outed the device the day before official launch–got the ball rolling and demonstrated that ebooks were not just a novel trend but rather new media for novels and all sorts of other forms of storytelling. In late August, Amazon’s third-generation Kindle, with its improved screen and form factor and its lower price, effectively killed the counterargument. The only thing left to really argue about is price.
But really, that’s fodder enough.
Since Apple got all those publishers on board and got its iBookstore rolling (or did it? Has anyone heard anything about the iBookstore? All I hear about are the devices–Kindles, nooks, iPads. Not so much about the stores), there’s been a debate about what’s a “good” price for ebooks. One common idea discussed when the iPad launched was the so-called “agency model,” which basically meant that publishers got to set their own price. Tech Eye mentions that this is in opposition to allowing, say, the vendor to decide the price. In other words, it’s the difference between, say, Harper setting the price of its books and Amazon doing so.
Publishers, of course, want high prices. This was why $10 ebooks were so common during the beginning of last year. Right after the iPad? Seems like publishers–corporate and otherwise–got a little high off the power of the partnership and suddenly decided that the right price for ebooks was between ten and fifteen bucks. The New York Times discussed the phenomenon.
To really get into the discussion, though, we have to consider factors regarding price. There are myriad.agency model, amazon, apple, Bad Romance, Barnes & Noble, beethoven, business, digital publishing, frank sinatra, iBookstore, ipad, James Kaplan, Kill the Dead, kindle, Lady Gaga, Lev Grossman, marketing, mba, Meets Girl, neil gaiman, new york times, Nike, nook, publishing, Richard Kadrey, Sandman Slim, shakespeare, Stieg Larsson, Struck by the Light of the Son, Tech Eye, The Magicians
Jan 20 2011
Pretty much every year for the past several, I’ve tended to get a note from a friend or loved one, right around Christmas, wishing me a happy one and asking if I’d seen all this information about the Amazon Breakthrough Novel Award. They’ve known how intent I’ve been to be a writer, you see, and they figure it sounds like a promising contest for a novelist who hasn’t yet gotten a huge break.
And they’re right. It does.
The Amazon Breakthrough Novel Award tends to attract a big-name judge from one of the major corporate publishers–usually an editor or author (or both); a big-name judge from a prestigious literary agency; and a lot of aspiring writers. No, no: a lot. Of various degrees of ability, too: some are young, just starting out at the writing thing, just penning their first drafts of their first novels; others have been writing for years, and have completed multiple drafts of multiple novels that perhaps haven’t gotten them offers of representation (which are, as every rejection letter that ever was reminds, completely subjective, and based solely on the tastes of the agents reading them. Agents, for their part, are also generally quick to remind that they base their decisions neither on quality of writing nor perceived saleability but rather on whether they “fell in love with” the manuscript).
The Amazon Breakthrough Novel Award (hereafter the ABNA) seems like a great idea, almost like an American Idol for books. Entrants submit their manuscripts, excerpts, pitches, synopses, and even a photo (if desired), and progress through multiple rounds of judging, some of which are merit based and others of which are popularity based.
This year, I thought about submitting Meets Girl. It’s gotten solid reviews across several venues, and the response has been positive. People seem to like it, for the most part, and even, like any good book, seem split on their reactions; some people think the opening drags before it gets to the story, while others have noted they loved the opening but sensed a shift of tone and execution later. The manuscript is obviously finished, and I’ve written a good enough pitch–though for a different project–it’s been a Galleycat finalist. And hey, new headshot!
The contest entry period for 2011 begins this coming Monday, January 24th.
But I’m not submitting my book. And I’ll tell you why.amazon, Amazon Breakthrough Novel Award, apple, Barnes & Noble, books, borders, ipad, ipod, itunes, kindle, nook, Penguin, publishing, publishing rights, reading, Virgin, Virgin Megastore, writing
Feb 03 2010
Crash-course preamble: before Apple announced the iPad, it spoke to many publishers about providing content for its new device, which it hoped could be used as an e-reader. Perhaps hoping that the iPad could somehow do for books what the iPod did for music, many publishers–including the six largest corporate publishers, who include companies like Harper Collins and Penguin–made arrangements to distribute content via the new device at a price point of $14.99, 30% of which Apple retained. This seemed a coup for publishers, and flush with excitement over the deal, Macmillan decided it was going to use its new leveraging power to re-negotiate terms with Amazon and its Kindle, where e-books tended to run $9.99 when published by the big six. Why, Macmillan figured, should it accept $9.99 when it could charge $14.99 (nevermind that $14.99 is, at this point, mythical, given that the iPad right now only exists on Steve Jobs desk. So far as I know, we can’t even pre-order it yet)?
Amazon held firm to its price, and then a couple of old white guys fought like only the knew how, by digging in their heels and refusing to budge. If John Sargent and Macmillan were going to refuse their pricing scheme, Jeff Bezos and Amazon decided, well, they no longer needed to sell Macmillan books. Which included a lot of imprints, like TOR, Forge, ROC, and myriad others.
And readers, who tend not to care so much who publishes their favorite authors so long as they can buy the books, got hurt. Collateral damage.
Writers? Hurt too. Because most authors have no control over those sorts of things. Certainly not over how much their books cost.
The resulting mess and its Twitstorm highlighted the bigger issue, which is digital distribution, pricing, and information. The appropriate cost of an e-book is endlessly debated because the market is still nascent and nothing has yet emerged as the “right” price point. When Apple’s iPod came out, it established price points: 99 cents per song, $9.99 for most albums, with some bargains thrown in.
Apple came late to the e-book party because Steve Jobs didn’t want to admit he was wrong when he declared “Nobody reads anymore” several years ago. Also because, of course, he wanted to get it perfectly right. That’s what Apple tends to aim for (whether the iPad manages the feat is still anyone’s guess. My thought is close, but not yet). Amazon got to set a price–$9.99–that was widely but not universally adopted. I didn’t hear much about publishers grumbling over the price; all I really heard then, mostly, was publishers hoping to be saved by the Kindle.
For my money, I think even $9.99 is too high. I tend to think e-books’ price should fall around the price we’ve always paid for mass market paperbacks: ~$7.99 or so. Over here, Jeff Vandermeer notes why he thinks the mass market paperback analogy doesn’t work, but I’m not convinced by his argument, if only for the fact that he bases his argument on the mass market paperback business model–i.e., that a book needs to sell a lot of hardcover copies to justify the bulk order of paperbacks–which for me doesn’t make sense because why are we talking about printing books?
I understand why the publishing industry feels the need to justify its own existence. I’m just not sure it can.
Jan 28 2010
Those of you who’ve read my “The Trouble with Blogging post know that this is something I’ve been thinking about. Hell, it’s part of the reason I’m doing an MBA.
Right now, I’m teaching my students about structure and plot using Harry Potter and the Sorceror’s Stone as a demonstration of a Hero’s Journey plot archetype. Reading it, I’m rediscovering just how excellently Rowling hits every plot point and necessary element note for note, from the Call to Adventure to the Crossing of the First Threshold etc. Harry Potter is really an excellent example of someone who becomes a hero; he certainly doesn’t start out that way. Yesterday, while teaching, I was asking my students what makes people heroes. What do we look for as a demonstration of heroism?
One mentioned worthwhile purpose, and intention.android, apple, dan brown, dave eggers, firefox, harry potter, ipad, iphone, jk rowling, michael chabon, robert langdon, stephen king, steve jobs, the dark tower
What a difficult list to compile. Especially since, glancing down at my iTunes running, there are 33,773 songs in my library. According to iTunes, it will take me more than 100 days of continuous listening (with no sleep, now I realize) to listen to them all. It’s rather extensive, and it’s the sort of collection that makes my taste in music suspect at best, beginning as it does with A-Ha (because any collection without “Take On Me” is incomplete) and ending (before it reaches songs without proper ID3 tags and lumps them all) with “Skin Up Pin Up” by 808 State/Mansun from Spawn: The Album (iTunes is the first organization system I’ve seen that puts numbers after letters, rather than before; if it did, the first songs would be by 1 Giant Leap or 12 Rounds). In between those few, there’s everything from Rick Astley, Belinda Carlisle, and Bon Jovi to all of Clapton, the Beatles, and Sinatra.
So it’s pretty expansive.
But expansive as it is, I tend to stick to some favorites. Lately it’s been a lot of Wolfmother (and Jet; what is it about Australia that inspires such great rock music from its bands?), Vanessa Mae, and, as always, Roger Clyne and the Peacemakers. Also, Adam Lambert and Matt Wertz.
So there’s a lot. But I winnowed. I winnowed after I kept reading other lists that fawned over, like, Radiohead and such. I mean, has Radiohead ever managed to be as good as Pablo, Honey? They’re like Pearl Jam and Matchbox Twenty, with fantastic debut CDs but output that has gotten subsequently less terrific with each title. For me, anyway. Your listening may vary. Also, dear Rolling Stone: The Strokes and Wilco in number 2 and number 3 spots, respectively. No offense, but seriously? No wonder people debate the continued relevance of the magazine. I mean, how safe.
Why not stretch a bit? Why not reach for some choices few people would expect? Then again, this from a guy who doesn’t really enjoy any of those three bands. I know lots of reviewers fell over themselves to heap a lot of praise on Yankee Hotel Foxtrot, but there wasn’t a single song on it that made me want to listen to the CD again. I get the impression it’s all just, like, hey, everyone else likes it, so we should, too, but to cite one of the artists who earned a spot on my list by way of a great CD, “You don’t know what love is, you just do as you’re told.”
So, suspect taste noted, shall we? My top ten albums of the last ten years, in order:across the universe, aha, americano, amnesiac, animal collective, appetite for destruction, apple, avril lavigne, axl rose, beatles, better, black on both sides, bob dylan, bon jovi, butch walker, charmed and strange, chinese democracy, come together, eminem, eric clapton, ewan macgregor, fall out boy, folktronica, frank sinatra, guns n' roses, hot fuss, icky thump, irs, itunes, jim sturgess, julie taymor, kelly clarkson, kid a, letters, light blue sun, lili haydn, los angeles, madagascar, matchbox twenty, mos def, new jersey, no more beautiful world, pitchfork, radiohead, ready sex go, relapse, Rick Astley, rock, roger clyne, Roger Clyne and the Peacemakers, rolling stone, sam's town, shakespeare, slippery when wet, springsteen, the ecstatic, the eminem show, the hitchhiker's guide to the galaxy, the killers, the marshall mathers lp, the marvelous 3, the mentalist, the new danger, the white stripes, the wild the innocent the e-street shuffle, use your illusion, wilco, yankee hotel foxtrot, yoav, you don't know what love is
This past decade may have been the one that most changed music, both as an industry and in general (will we even have albums anymore, at the close of our new decade?). Apple introduced its iPod in 2001 and then its iPhone in 2007, both of which helped the Cupertino-based company located at One Infinite Loop become the largest music retailer in the industry. Before we go on, let that sink in a moment: iTunes Store is a larger retailer of music than Wal-Mart or Amazon. Part of it is convenience—the iPod dominates the digital music player category, while the iPhone continues to grow as a cell phone—but there’s more to it than simply that people just want something to plug in and forget. It’s changed browsing, publishing, and exclusivity, not to mention access; more musicians have more access to put up their music. It no longer takes the likes of Sony and BMG to reach an audience; now, anyone with a microphone and a guitar can record their music in their basement and charge a buck a track to anyone who wants them.
Which is not to say that anyone with a microphone and a guitar should (although at times it’s sounds like many have and still are); as with movies and books, few people ever want to believe they’re just not that good at what they want to do. Most publishers, be they of music, movies, or books, want the general public to believe they act something like gatekeepers, which may be one of the biggest PR con jobs in the history of people making stuff up for other people to enjoy.
But the past ten years have been really good to music. Spectacular, even, with introductions to fantastic new bands and new releases from ones we hadn’t heard from in a lot of years. So good a top-ten list is tough, and again, filled with lots of CDs that very nearly make it but either way certainly deserve a mention as elevens. In no particular order:apple, audioslave, clubbed to death, come away with me, cupertino, dave matthews band, everyday, fever, final straw, frank sinatra, furious angels, i, ipod, justin timberlake, lorraine a' malena, michael buble, mirror mirror, neil gaiman, norah jones, queen, rage against the machine, rob dougan, rodrigo y gabriela, snow patrol, soundgarden, the magnetic fields, the matrix, tinted windows, tom waits, van morrison
Apr 04 2008
I noted yesterday that I thought Nick Mamatas’ point was cogent; that, one day, the predominant business model might be Print-to-Inventory, so, basically, Barnes & Noble might actually stock all of a hundred or so books, mostly including the newest releases and the most popular sellers, and the rest of the inventory might be consigned to digital files that could be printed literally on demand. By “literally on demand,” I mean the sort of demand like a customer might walk in, approach a machine like an ATM, find a digital file, and print it perfect-bound while waiting for a cup of coffee and perusing the magazines. I’d say I like bookstores as much as the next guy, but I don’t know who the next guy is and wouldn’t wager he’d be as into reading as I am, and, really, from a business standpoint, the entire industry is cumbersome at best and actually borders on ridiculous at worst.
As just one example, I don’t think I’m aware of another industry that allows for returns. So a publisher might invest an unhealthy amount into a particular book, but booksellers might shelve it behind the tomes on kumquat botany, which no one reads, and then, when they receive the invoice for their order, rather than paying it, send the books back. Does BestBuy return DVDs it doesn’t sell? Does Wal-Mart return CDs its consumers don’t buy?
Which brings me to an interesting piece of news; Wal-Mart is no longer the nation’s largest distributor of music. Care to guess who is?
It’s too obvious to state that the literary publishing industry has to change just like the music publishing industry has. Over here, I made some comments concerning Seth Godin’s thoughts on Borders’ turning books face out, which led me ultimately to mention the same publishing model I mentioned up above (though perhaps not as concisely). Now, today, I caught this New York Times article about how HarperCollins is planning to change their publishing model. I found the piece sensationalistic, ultimately; its headline is “New Harper Collins Unit to Try to Cut Writer Advances”, which strikes me as the buttoned-up New York Times equivalent of ZOMG TEY BE TAKIN MAH BUKKITS UV GREENE!!!
Which is a shame, because though Rupert Murdoch and his News Corp corporate machine was one of the reasons I left MySpace, the model the imprint’s new CEO, Robert S. Miller, describes makes a lot of sense. Perhaps part of the model is to slim down the advances the imprint will give its authors, but really, that might not be such a bad thing; selling an arseload of copies and participating in profits means that books don’t have to earn back their advances, which seems to me (and I could be wrong, as I’m only just now a young writer with a single book under my belt) as though it might take some long-term pressures of authors who don’t need it. One of the worst possibilities for second-time-out authors is for their books to underperform their debuts, which can bring their futures into question. Also, the two most popular modern publishing success stories (Brown and Rowling) weren’t really based on debuts; if I remember right, Harry Potter had some early buzz, certainly, but I don’t remember it hitting its stride, marketing- and sales-wise, until at least the second hardcover (and might have been the third), while The Da Vinci Code was Brown’s third or fourth novel.
All of which is to say that the combination of the two seems a pragmatic approach. One of the biggest problems with a debut hardcover is: who really wants to spend thirty bucks on an unknown writer, regardless of how much hype it’s gotten? I sure don’t; heck, I rarely spend more than ten bucks on any writer anymore. I rarely buy magazines; most of the ones I read are available online, with mostly free text available. I don’t read newspapers; I go to their websites. I probably read at least twenty blogs per day. Which is to say: I don’t read less–I just read differently than I used to. My attention span is really no shorter; I enjoy sitting down with a good novel (keyword: good).
One of Godin’s more cogent points regarding publishing and marketing was a division: some people read a lot and are aware of writers like Dave Eggers and David Foster Wallace, while others don’t read much and are aware of writers like King, Brown, and Rowling. He mentioned there’s nothing wrong with either audience, but that one has to pick one or the other. Of that latter, I’m not all together certain, mostly because I’m one of the former who prefers the latter writers, but I realize, too, I think I’m an exception to a more pervasive, general thought about which Godin is correct.
The publishing model I described above might, in some ways, foster that division and make it even more marked, but I think the real benefit it is that, though it might cater to that divide, it still serves to the benefit of both types of customers.
I think, too, that the more these new technologies are used, the more blurry the actual idea of “publishing” is going to become. By founding McSweeney’s, Eggers blurred the line between traditional models of publishing and self-publishing, and I think, in years to come, the distinction is going to become even less clear.
So long as readers are satisfied, I’m okay with that.Tags: advances, apple, authors, barnes and noble, best buy, books, borders, cds, dan brown, dave eggers, david foster wallace, debut novel, digital publishing, dvds, harper collins, harry potter, itunes, j k rowling, marketing, mcsweeneys, music, new york times, news corp, nick mamatas, publishing, reading, rupert murdoch, self-publishing, seth godin, stephen king, the da vinci code, wal-mart, writers, writing