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Amazon Surrenders To Macmillan On eBook Pricing
CuteSteveJobs writes with a followup to news we discussed on Saturday of a disagreement between Amazon and Macmillan Publishers over ebook pricing: "Amazon has thrown in the towel and announced it will now sell books at Macmillan's increased prices; up to $14.99 from $9.99. Said Amazon in a statement: 'We will have to capitulate and accept Macmillan's terms because Macmillan has a monopoly over their own titles, and we will want to offer them to you even at prices we believe are needlessly high for e-books.' Macmillan has sensed Apple's iBooks opens the way for higher prices. Perhaps the question should be: do we even need publishers like Macmillian? Publishers have long managed to keep their old business model chugging along nicely despite the Internet; Academics are still forced to give up copyright (PDF) of their work in exchange for publication. Textbook publishers have a history of unethical practices like frequent edition changes, unjustifiable price increases and bribing teachers. For that matter, why do the RIAA's members still control the music business? Why do these dinosaur publishing businesses still manage to thrive despite the Internet?"
Oh that's right, zero.
You are under the false assumption that items are priced based on marginal cost. They aren't in practically any market, they are priced at what consumers will pay and what the competition is selling at. Fortunately for them consumers are still willing to pay extra for the digital "convenience" and the competition doesn't sell the same books.
For that matter, why do the RIAA's members still control the music business? Why do these dinosaur publishing businesses still manage to thrive despite the Internet?"
Because they
1) Provide money and pay the big costs while artists are producing their album
2) Provide marketing
3) Find the promising artists and writers
4) Have the distribution channels
Actually, from what I hear of the music business, they don't really do any of these for new artists (unless, maybe, you just won American Idol or something).
The reason RIAA is still thriving is because they have a huge backlist of stuff that people still listen to, from artists who had signed contracts back when big studios really were the only way you could get airplay or distribution.
http://www.geoffreylandis.com
This kind of vertical price setting was illegal in the U.S. for about 100 years, considered a form of price-fixing under the Sherman Act. Macmillan was free to choose whatever wholesale price they wanted to sell books and ebooks to Amazon for, but once they sold them, they had no control over what retail price Amazon set. Unfortunately, that was overturned in 2007 in a 5-4 U.S. Supreme Court decision.
10 PRINT CHR$(205.5+RND(1)); : GOTO 10
The marginal cost of printing a book is pretty close to zero too. That isn't why they cost as much as they do.
I've worked in publishing as an accountant and this statement is completely wrong. The marginal cost of production of even the highest volume books or newspapers is no where near zero. It's not the dominant cost (those would be marketing and distribution in most cases) but the marginal cost isn't zero or anywhere near zero.
You seem to be confusing data compression with audio compression. For years now, going back to the analogue days but increasingly over the past decade, audio has been "dynanic-range compressed" to increase the loudness of the song. Imagine you have a song which goes from "0" to "10" in loudness over the track. In aggregate the song's going to be about 5. That's no good at turning heads on a jukebox or on the radio, so you bump up the quiet parts so the song goes from "4" to "10" in loudness. That means that the song, as a whole, is now about "7". It's louder, it's more noticable, it sells the brand more.*
However it has nowhere to go from there before it hits the loudness limit of the audio format. If you turn down the dial so that thequiet parts are at their original, low level of "0", then the loud parts of the song are actually down at "6", far quieter than it was before you compressed it.
*The technique is widely used by advertisers to make their particular ad louder without breaking volume level regulations or normalisation.
No kidding!!! What do you say at this point?
(I work for Macmillan, so I am not a disinterested party)
Macmillan's president held our annual company meeting just the other day (before the Amazon dispute) and he explained that the pricing for e-books was probably about to get a little rough. Apple had been courting the publishers for several weeks. Apple carries a lot of clout, and was offering terms that were very attractive to publishers, as it lets them set their own prices, within a flexible window. Amazon, on the other hand, was pushing publishers to sell books at a flat rate: $9.99.
Amazon has been angling to set themselves up as the "Wal-Mart of the web", and with that comes a lot of what Wal-Mart is know for: good and bad. Steep discounts are good for the customer, but generally, not so good for the manufacturer. Now, as someone who writes software to help ensure the quality of our books, I am a bit biased, but books are not the same things as widgets. You can't just churn them out. Even good, reputable authors give you something that needs a lot of polishing. We publish textbooks in my division, so this means that in addition to the standard copy-editing, you also need to do fact-checking, course integration, and lots of design work. It is a labor-intensive process, and each book requires the attention of dozens of people, and tens of thousands of man-hours. Often, these books also come with software. I don't think I need to explain to people here how hard it is to write good software.
Amazon is hard to say no to, because they move a lot of books. But they are cutting profit margins dangerously low for us. At what point do you say no? People like to do their work, but they also like to be paid. Macmillan, so far, has balked at Amazon's price-fixing, and (if I understand correctly) Amazon has been selling e-book versions of Macmillan titles at a loss. Amazon, however, sees the iPad terms as very dangerous, because publishers can sell some books higher, but more importantly, they can sell some lower. Apple can do this, because they're not taking as big a cut as Amazon does. Unlike Amazon, Apple's goal is to sell the platform; Amazon wants to sell the books. So Amazon makes a ton on books, but loses a little on hardware. Apple makes money on hardware, but not much else.
I don't know exactly how it will shake out, but it looks like the Macmillan deal will probably be a turning point for e-books. Amazon is now a sub-licensor of those books, and that means that the quality and success of those books is going to be important to them. We'll see how this turns out. For more on this, I recommend this and this.
I hear that Amazon's customers are "boycotting" books priced higher than $9.99. Ok, I hate "teh big bad corp" as much as anyone else, but come on-- it's not like we find these things laying around and just dust them off and hand them to you. There's no magic. Get real. We have to make these things, and that takes time and money, and hey, we like to get paid, too. I suspect the "$9.99 boycott" is Amazon astroturfing.
FWIW, Macmillan is a privately-held company, so that's why you see them taking a stand, and not one of our competitors. I'm fortunate to work for a private company, because we can actually focus on doing a good job. From my perspective, working here has been far from being a cog in some evil empire.
I owned a small self-publishing company for 3 years and sold it. When I started the company I made a firm decision that the company would NOT obtain or transfer copyright ownership from anyone we published for. I knew there were a few publishers that we competed against that had "questionable" contracts that appeared to transfer copyright ownership and/or enforcement from the creator of the work. I thought that by using a more honorable business model we could attract writers and offer another method to get works distributed.
Oh, wow, let me tell you how this industry is...
My company started almost from day one to be hit with a series of slanders and false statements from a number of "anonomous" sources. I was put through the grinder, but did manage to build a good reputation with the people we published and distributed for. I talked to a lot of other people who used various other companies, and got the chance to see some of the contracts that the competition used. I can tell you that most, if not all, either outright transferred the majority of ownership from the original creator or had terms that were so vague that it would take a team of lawyers to figure it out.
My biggest wakeup call was when we had to stop printing a series of art books because the artist signed a contract with another company, not for the works WE printed, but for another totally unrelated work. He didn't see the little part of the contract which gave the company he signed up with TOTAL rights to ALL his works, even those that they had never printed or were never planning to print, created since the day he was born. WOW!
When you control the distribution of a product, you can write your own terms to those who need their product sold. It's as simple as that. For years the publishing companies controlled all the methods to get books into the stores, and it continues to this day. Writers often find that they have to either sign on the dotted line or simply forget about ever having their works seen by the public. I also discovered that a lot of writers and creators had no idea that they had signed away their rights until I pointed out the terms in their contracts.
I once thought that companies such as Amazon could change the landscape for the independant writer/creator. But what I have been noticing is that even with Amazon most people are "locked" in to some sort of system that simply will not let go. A year or so ago I think that even Amazon tried (and may have succeded) into having all works printed through their own company, thereby eliminating small printing companies out of the loop. It's interesting to see that even Amazon must bend to the will of another company when it comes to distribution pricing.
And lets not even begin to think about what Google's book scanning system is doing to the copyright landscape. "Do no evil"? Bite me on that one.
I am glad to be out of the publishing business, and feel greatly sorry for the future generations that will have content locked, forced upon them, distributed through systems they have to participate in, and prices dictated not my market forces but by lack of competition.
Nuff said.
Eric Freyhart
"all manufacturing costs from editing to paper costs to distribution, as well as storage, record keeping, billing, publisher's offices, employee's salaries and benefits."
You're right, I don't have access to all the cost information. It's not my job. But let's break it down:
editing cost-- still there
paper cost-- gone
distribution cost-- smaller, but still there (oh wait, servers run on teh magic of the Internets! I forgot!)
storage-- mostly gone (no returns anymore), but still no magic Internet dust to run your data center
record keeping-- still there
billing-- still there, and more complex; books are often a large collection of sub-licensed works (this is the part that I write software to manage); you have to have permissions agreements for those copyrights, separate from print agreements, which means you need to pay people to negotiate those agreements
publisher's offices-- yes, we still have offices employee's salary and benefits-- yes, we still pay our employees, and we need to pay the people who pay the employees (HR, A/P, and HR systems we subcontract) You can see that there isn't much to trim.
the books you are publishing are edited electronically and sent to the printing machines electronically; the "new stuff" consists of a single conversion program that takes the electronic format you use for editing and proofing and converts it to the e-book format you're going to be distributing
It is much more complicated than this. The author hands us a manuscript in something (anything really). Editorial works on this in a word processor, usually Word. This is handed to Production, which typesets using page-layout software. This could be anything from LaTeX to Quark or InDesign, depending on the title. Mostly, this part is making the book readable, inserting art, etc. This produces print-ready PDFs that go to the printer. Digital typesetting is faster than moveable type, sure, but it still takes weeks to months. Don't think about the $4.99 paperback at Wal-Mart; think about the 4-color coffee table book, or the 4-color chemistry textbook. Making these things is hard.
The e-book process goes all the way back to the handoff between Editorial and Production. Why? Because the output of a traditional Production department is a PDF for print. e-readers are a completely different beast. For one, artwork is tricky. Does it look good? Do we have rights to distribute it electronically? Same goes for other poems, short stories, essays, maps, etc, that we sub-license. Every single page of every single e-book must run past at least one production person. The end-result is an e-book that is mostly similar, but almost always different than the printed version. And we'll have to do that for every platform the e-book goes to, dealing with all the little quirks of each one. Production is QA. We still have to do QA, regardless of the medium.
All your costs for returns disappear for e-books; since the seller only gets one 'master', and that's electronic, there is nothing to return
This is true, and getting returns right is very difficult. I don't know what our actual return rate is, but we're always trying to keep it low. FWIW, the guys operating the shredders make minimum wage. Processing is not the huge cost-- it's taking unsold books back and having to recalculate our earnings.
I think that you're greatly mistaken; e-books is perhaps the biggest opportunity for publishers that has come along in decades
I completely agree with you here. By "risky" I mean: it takes a lot of startup capital to move into e-books. In order to make money, the process has to be efficient. If we make a mistake, we end up wasting a lot of money. And, I know Slashdotters hate to hear this, but, if people are sharing our books via Bittorrent, that can have a huge negative effect on our bottom line. How much? We don't know yet, because this industry is new. Digital versions are easy to copy; if we don't get the incentives right, people pirate our books instead of buying them. That may be great for you, but it ain't good for a publisher.