The heart of independent publishing is the ebook, and while print-on-demand paper books are nice to sell, most successful indie careers are defined by their ebook sales.
How do you publish an ebook?
How do you avoid the mistakes that a lot of authors make?
I spoke with ebook publishing expert Mark Coker, who founded Smashwords in 2008 to make ebook publishing fast, free, and easy. Today, Smashwords is the world’s largest distributor of indie books, and they have published and distributed over half a million ebooks.
What is the status of the ebook in today’s market?
Thomas Umstattd: Are ebooks still a thing, aren’t they? Like totally 2015. It’s 2020 now.
Mark Coker: Ebooks are still a thing, but we’ve certainly seen ebook sales growth plateau for most authors.
Thomas: Although that’s actually a misnomer. We were just digging into the numbers on Novel Marketing. If you listen to the traditional publishers, they report that ebook sales are flat or down, but the total market sales are up because the ebook growth is coming to the indies.
Mark: Agreed. Total market sales are up, but authors who were publishing five or six years ago are struggling to maintain the same sales numbers.
Thomas: That makes sense because many more authors are entering the market. If there were ten authors publishing in your sub-subgenre, now there are 20. The pie is being sliced into more pieces. Even though the pie is getting bigger, you have to fight harder for your slice to grow.
Mark: Additionally, indie author participants are getting smarter, so the competition is increasing.
Is ebook publishing different for Christian authors?
Thomas: Is ebook publishing different for Christian authors, or is it the same regardless of what kind of book you’re writing?
Mark: From my perspective, it’s pretty much the same for Christian authors as it is for any other author. We’re all facing the same challenges. There’s a glut of high-quality, low-cost ebooks flooding the marketplace. On top of that, the sheer number of publishing options and so-called experts offering advice can be overwhelming. Often, their guidance is contradictory, which only adds to the confusion. It’s a tough time, especially for first-time authors who are just now considering self-publishing. Figuring out where to begin and what the right path is can feel incredibly difficult.
Should authors publish wide or go exclusively with Amazon?
Thomas: One of the biggest decisions that every indie author has to make is whether to go wide or to go exclusive with Amazon. You have very strong opinions about this. From your perspective, should authors go wide or exclusive with Amazon’s KDP select program?
Mark: Let me preface this for listeners who may not know me or aren’t familiar with Smashwords. We’re an ebook distributor, and we operate a retail store at Smashwords.com. You could say we’re a competitor to Amazon, but that wasn’t the original goal. When I started Smashwords, the intent was to supply Amazon and other retailers, not compete with them.
In December 2011, when Amazon launched KDP Select, which is their program requiring at least three months of exclusivity, I warned authors this was a dangerous shift. By making their books exclusive to Amazon, they were starving other retailers of the inventory and customers they needed to survive. I cautioned that authors risked becoming tenant farmers, working Amazon’s land instead of their own. I even pointed to the Irish potato famine as a historical warning.
Unfortunately, most of those early warnings have come true. In some ways, it’s been worse than expected. It’s been hard to watch what’s happened to the industry and to so many authors caught in this system.
Ten or twelve years ago, the biggest challenge for self-published authors was distribution. Without ebooks, it was nearly impossible to succeed in print without bookstore access. No surprise that most print self-published authors failed and that self-publishing carried a stigma.
Ebooks changed that. They opened new doors. But now, it seems indie authors have simply traded one gatekeeper for another.
Thomas: The main advantage of going exclusive with Amazon is that you can make more money and gain access to Amazon’s exclusive marketing tools. You can run free book promotions and earn a higher royalty on books priced within certain ranges.
However, the downside is that Amazon has full control over your income. All your revenue is coming from a single source. There’s no denying the potential to earn more by going exclusive. It can be lucrative.
But if you get on Amazon’s bad side and they shut you down, that big number can drop to zero overnight.
That’s why authors take different paths. Someone like Joanna Penn is known for going wide, and her books are available everywhere. Others, like Chris Fox, choose to stay exclusive with Amazon.
Mark: I’ve always been a proponent of going wide. Some authors have found great success with wide distribution, building diversified portfolios so that if one retailer’s sales dip, they still make up for it elsewhere.
The danger of exclusivity is putting all your eggs in one basket. If Amazon changes its algorithm overnight, you could wake up to find your sales have dried up.
With KDP Select, Amazon took things a step further by deciding which books get access to their best merchandising and visibility tools and which don’t. By reserving those powerful tools for exclusive books, they’ve made it nearly impossible for wide authors to compete on a level playing field.
How does Smashwords help authors get their books in audio format?
Thomas: Amazon’s goal is to win and put all their competitors out of business, so they put a lot of pressure on authors to go exclusive with them, not just with ebooks but audiobooks. There’s a lot of incentive to go exclusive with Audible. If you go through the program, I think you’re required to be exclusive with Audible for seven years. How are you helping indie authors get their books out on audio?
Mark: A couple of years ago, we partnered with Findaway Voices. Findaway is looking to create a strong alternative to the Audible ecosystem. Prior to about two years ago, Audible was the exclusive supplier of audiobooks on iTunes, and then that exclusivity ended. Now, Apple is trying to build its audiobook sales by building a thriving ecosystem outside Audible. Findaway is one of their partners, and Smashwords is pleased to work with Findaway to make it easy for our authors to produce audiobooks.
Thomas: Generally, it’s never a good thing in business when one company controls an entire market. Free markets work best when there’s competition; competition keeps companies honest. Without it, companies are tempted to take a bigger slice of the pie while delivering worse and worse service.
A good historical example is the rise of electricity in the early 20th century. Gas companies had monopolies on heating and treated their customers so poorly that people were desperate for an alternative, even an expensive, dangerous new technology like electricity. They just wanted freedom from the abusive gas companies. There’s nothing new under the sun. The same thing happens today with internet providers. People are eager for Google Fiber because they’re fed up with how their cable company treats them.
The same risk applies with Amazon. As an author or publisher, you must understand that Amazon doesn’t care about you. They care about their customer, which is the reader. They will put as much pressure on you as needed to give that reader a better experience and a lower price.
Yes, you probably want your readers to be happy too, but you’re also trying to earn a living. And Amazon doesn’t care if you make a living. They only care if their customers are satisfied.
Mark: Isn’t that unfortunate? Because it is possible to care for the writer and the customer while running a profitable business.
Thomas: It’s not that Amazon doesn’t do anything for authors. I know plenty of indie authors who are exclusive to Amazon and are making small fortunes. So it’s not like Amazon is squeezing authors in every possible way.
That’s what makes this such a vibrant debate. The authors who are exclusive say, “Hey, I’m making good money.” But the authors who go wide respond, “Yeah, but what if Amazon cuts that off tomorrow?” That kind of dependence can be risky.
Mark: Amazon’s business model is built on commoditizing everything it sells. They want the products on their platform to be undifferentiated from one another. But as a writer, the last thing you want is for your book to become a commodity.
Many writers might think, “That could never happen. My book is a unique creation from my imagination.” That’s true, to a point. However, the pleasure of reading and the knowledge gained can be commoditized. If a retailer can gather a large enough catalog of quality books that consistently deliver those experiences, then yes, even reading can be commoditized. And that’s exactly what Amazon is doing.
Unlike manufacturers of mousetraps, writers can’t outsource their work to China or India. It’s just you, the author.
With Kindle Unlimited, which is powered by authors enrolled in KDP Select, we’re seeing books dumped onto the market at below-market prices, even below production cost. That’s a troubling sign for the future of publishing, especially indie publishing. When a single retailer is actively working to strip the profit out of publishing, it should be a serious wake-up call.
Thomas: That’s why many traditionally published companies are not fighting for much of the ebook pie. Their total revenue mostly comes from paper books, and they often price their ebooks high to make paper books appealing to readers because they’re afraid of yielding power to Amazon.
Should indie authors make their books available through local library systems around the country?
Thomas: We talked about going wide by making ebooks available on Kobo, Nook, and other online bookstores, but there’s an even wider wide that allows libraries to give away your book.
Mark: We love libraries and have always been strong supporters of library ebooks. In fact, we were the first to open OverDrive, the largest distributor of library ebooks, to self-published authors. Since then, we’ve expanded to other library platforms like Axis 360 and CloudLibrary.
When you publish a book through Smashwords, you have the option to distribute it to these libraries. You can even set custom pricing specifically for them. If you want to charge libraries less, you can. If you prefer to charge them more, you can do that too.
Thomas: There are a lot of advantages to having your books available in libraries. For one, libraries typically pay top dollar for ebooks. Plus, it gets your book in front of more readers.
As you mentioned, a key part of standing out is differentiating yourself, and the ultimate way to do that is by building a strong brand. You want readers to look for your-name books, not just any book in your genre. One way to build that kind of recognition is through buzz, and libraries can help with that. When library patrons are reading your book, it adds to the momentum and helps spread the word.
Mark: Libraries are engines of discovery. They’re a great opportunity for readers to discover writers they’ve never heard of. They can check out the book without risk. Often, library patrons will discover their new favorite author at the library and then go on to purchase the books at retail.
How does Smashwords help authors publish ebooks?
Thomas: Many writers are on the fence, trying to decide between going indie or traditional. They’re wondering how to turn a Word document into an ebook they could sell on Amazon or Kobo. What does that process look like?
Mark: At Smashwords, all you need is a Microsoft Word document formatted to the specifications of the Smashwords Style Guide. Our style guide is a free download that teaches you professional best practices for designing and formatting your ebook. When you upload your Microsoft Word document to Smashwords, our system automatically converts it into multiple ebook file types such as Epub, mobi for Kindle, PDF, and some other less important types.
What are some elements of a good ebook?
Thomas: What separates a successful ebook from one that immediately feels low quality? We’ve all seen ebooks that scream “self-published.” On the other hand, there are many indie ebooks that readers can’t distinguish from traditionally published ones, and they have no idea who the publisher is.
Mark: Design matters for your ebook. There’s a misconception that an ebook is just text, but it’s not. There’s a lot of opportunity to incorporate attractive design elements that make your self-published ebook more accessible, desirable, and enjoyable for readers.
One important feature I recommend is adding navigation. Unlike print books, ebooks allow for a digital table of contents with hyperlinks. Readers can click and instantly jump to a specific section.
If you’re writing nonfiction, you can go even further by creating a sophisticated, hyperlinked index that connects readers directly to relevant sections throughout your book.
All of this is possible when you follow the Smashwords Style Guide.
Thomas: Vellum (Mac only) is a beautiful tool that helps you format your ebook much more effectively than Word.
That said, one advantage of using Word and following the Smashwords style guide is that it teaches you how to use Word properly. Most people only use about three features in Word: spell check, bold, and font size. That’s a limited way to use such a powerful tool.
For example, you shouldn’t be manually changing the font size on a word-by-word basis; you should be using styles. I haven’t gone through your style guide myself, but I imagine it teaches best practices that improve your ebook formatting and benefit your writing in general.
Mark: It does. For the first 15 years of my previous career, I used Microsoft Word and manually added bold and italics. I had no idea what styles were. Microsoft Word is like a multi-headed hydra. It’s a beast, and there’s a learning curve to using it well.
When I sat down to write the Smashwords Style Guide, I was just like most writers. I was familiar with Word but didn’t know how to use it properly. So I learned along the way and put everything I discovered into the guide with step-by-step instructions, lots of pictures, and a focus on simplicity.
People tell me it’s helped them learn to use Word in ways they never realized were possible.
Vellum is another excellent tool. It allows you to add design elements to your book that are not easy to add in Word. Word is a good do-it-yourself tool, and it’s generally free if you already own it. But Vellum is also a great tool, especially if you want to add more sophisticated elements to the book.
Thomas: You don’t have to be a Smashwords user to read the Style Guide. If you just want to get better at Microsoft Word, it’s worth your time. You’ll be doing yourself a favor for life because you can never fully escape Word.
Many authors draft in Scrivener and format in Vellum, but they still end up using Word when working with editors. Some may use Google Docs or other tools, but in general, Word is unavoidable.
What are some mistakes authors make when publishing ebooks?
Mark: When it comes to formatting, it’s important to understand that ebooks work best as reflowable formats. Reflowability lets text adjust to different screen sizes and reader preferences like font size.
A common mistake first-time authors make is trying to make their ebook look like their print book. But print books are in fixed format, where the designer controls everything, including font size, spacing, and layout.
Indie authors need to let go of that control and allow readers to adjust font size, color, background, and spacing. That flexibility makes the reading experience more enjoyable and accessible.
Thomas: Reflowability matters because one of the largest groups using ebooks is older readers who need large print. There’s a myth that young people are the main ebook audience, but that’s not true. In fact, teens are the least likely to read ebooks because they don’t usually own $80 ereaders. If they have that money, they’re not spending it on a Kindle or Kobo.
As people age and need larger text, ebooks become a great solution. Most print books aren’t available in large print, but with a reflowable ebook, you can simply increase the font size on your device and instantly turn any book into a large print edition. Most traditionally published ebooks already offer this.
In many ways, ebooks function like web pages. They both use HTML markup. HTML markup can be intimidating for authors, which is why we recommend tools like Vellum, where you don’t need to learn any code.
What are some trends you’re noticing in book publishing?
Mark: At the end of each year, I publish a Smashwords Year in Review along with a set of publishing predictions. In recent years, those posts have gotten a bit darker, reflecting some of the troubling trends we’re seeing.
One of the biggest trends is that Amazon has won the first decade of ebook publishing. They’ve effectively neutered most of their competitors and captured 70–80% of the market. Other retailers have struggled to keep up, leading to massive consolidation around a single sales outlet.
This consolidation has changed author behavior. If you spend time with writers or attend conferences, you’ll notice the same questions come up over and over:
- How do I please Amazon’s algorithm?
- How do I increase visibility?
- How do I make the most of KDP Select?
- How do I advertise on or off Amazon?
These questions, while understandable, often feel like a moth asking, “How can I fly faster toward the flame?”
What kinds of genres are doing well in 2020?
Mark: Every year, genre fiction consistently performs well in the ebook market across all categories. Romance, in particular, continues to thrive and captures the lion’s share of ebook sales.
At the same time, we’ve seen traditional publishers scaling back their romance lines, publishing fewer titles, and offering lower advances. In many ways, they’re stepping back and ceding that space to indie authors.
What we’re seeing in romance now is likely a preview of what’s to come in other genre fiction categories. It’s becoming increasingly difficult for traditional publishers to compete with indie authors.
How do cultural and current events affect publishing?
Thomas: There are good reasons why it’s becoming harder for traditional publishers to compete, though many people still find that hard to believe. One major factor is trends. Trends play a big role in driving book sales, especially in genre fiction. And these trends often emerge outside of the publishing world through movies, current events, or cultural shifts.
For example, in 2020, with all the fear surrounding the coronavirus, it wouldn’t be surprising if books about disease outbreaks suddenly became popular. A pandemic-themed book could become a hot topic overnight.
But traditional publishers can’t respond fast enough. There’s no way they could get a pandemic novel out quickly while the topic is still front-page news. Maybe the virus gets contained, maybe it fades away, or maybe it becomes something much bigger. No one knows. But by the time a traditional publisher reacts, the moment may have passed.
Indie authors, on the other hand, can move quickly. Some can write a book in two to three months. Then, they can publish through Smashwords or other platforms and have the book live on Amazon within a week.
That kind of speed is something traditional publishers just can’t match.
Mark: At Smashwords, it’s only a matter of hours from the time you upload your book to the time it can appear listed at the major retailers. We only distribute a small number of books to Amazon. Most of our distribution goes to Apple, Barnes and Noble, Kobo, and the public libraries.
Indie authors have the ability to react faster to market conditions. They can listen to their readers, and if there’s a new trend, they can jump on it quickly. Traditional publishers, on the other hand, have a lead time that can run up to a year and a half.
Thomas: Long lead times aren’t a big issue for most books. A year-and-a-half lead time is perfectly fine if you’re writing in a well-established genre and have a strong brand. However, when it comes to responding to micro-trends, traditional publishers often give up.
If traditional publishers want to be more agile, they should study agile project management from the software world. They’ve built systems that allow for fast, adaptive responses in rapidly changing environments, which publishing increasingly needs.
Software development faces a similar challenge. It takes time to build software, and the landscape is constantly shifting. Yet agile project management, adapted from lean manufacturing and pioneered by companies like Toyota, has made software teams more responsive and efficient.
I’d love to help any publishing company go through an agile transformation. I’ve helped companies in various industries do this, and I believe it’s the future. The first publisher to fully embrace agile project management, especially in genre fiction, will have a massive advantage.
What is your opinion on writing to market?
Mark: Most writers shouldn’t try to write to market. It’s so hard to do well. For an ebook to succeed and to generate word of mouth and real sales, it has to be super awesome. It needs to take the reader to extreme heights of enjoyment, and that usually only happens when you’re writing what you love.
Unless you’re in that rare fraction of a percent who can write anything, I believe most writers should focus on what they’re passionate about. The publishing journey is full of challenges, and you’ll often face more reasons to quit than to keep going.
But if you’re writing from passion, and if each word nourishes your soul, then you’re the kind of writer who will keep going long after the fast-money crowd has burned out and moved on.
What final tips or encouragement do you have for authors?
Mark: Believe in yourself. You have something important to share with the world, and it’s a wonderful time to share it. You can begin writing a book today and know, with 100% assurance, that your book will see the light of day. It’s going to touch readers. That’s exciting. So, believe in yourself. Honor your readers. Understand that as a self-published author, you need to act and think like a professional publisher. If you honor professional publishing best practices, then your odds of satisfying readers and building a lasting, robust career increase.
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