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Suw Charman-Anderson

Suw Charman-Anderson

Suw Charman-Anderson is a social software consultant and writer who specialises in the use of blogs and wikis behind the firewall. With a background in journalism, publishing and web design, Suw is now one of the UK’s best known bloggers, frequently speaking at conferences and seminars.

Her personal blog is Chocolate and Vodka, and yes, she’s married to Kevin.

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Kevin Anderson

Kevin Anderson

Kevin Anderson is a freelance journalist and digital strategist with more than a decade of experience with the BBC and the Guardian. He has been a digital journalist since 1996 with experience in radio, television, print and the web. As a journalist, he uses blogs, social networks, Web 2.0 tools and mobile technology to break news, to engage with audiences and tell the story behind the headlines in multiple media and on multiple platforms.

From 2009-2010, he was the digital research editor at The Guardian where he focused on evaluating and adapting digital innovations to support The Guardian’s world-class journalism. He joined The Guardian in September 2006 as their first blogs editor after 8 years with the BBC working across the web, television and radio. He joined the BBC in 1998 to become their first online journalist outside of the UK, working as the Washington correspondent for BBCNews.com.

And, yes, he’s married to Suw.

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Monday, February 12th, 2007

Open publishing - Why do people publish books for free, and what about audiobooks?

Posted by Suw Charman-Anderson

When I think of ‘open publishing’, the first thing I think about is people like Lawrence Lessig, Cory Doctorow and Tom Reynolds who have all persuaded their publisher to allow them to release electronic versions of their books at the same time as the physical dead-tree version. (More on those three later.) In all cases, this seems to have been to the benefit of the book, but to give your book away at the same time as you put it up for sale is a bit of a leap of faith. Why would you take that risk? It’s far from being a proven economic or promotional strategy.

I think Chris Saad gets to the heart of this very quickly, when he asks, Am I being heard? He says there is:

A fundamental human need that I think podcasting, blogging and all forms of social/citizen journalism speaks to… the need to be heard. People just want to feel connected and understood.

At a very basic level, Larry, Cory and Tom share in common with me, you, and pretty much everyone else a desire to be heard, to be read, to have the things that we’ve laboured over appreciated.

Chris Anderson, editor of Wired and author of The Long Tail, also confesses that he just wants to be heard (although he doesn’t seem to have published an ebook version of his book):

I know I shouldn’t say this, but I’m actually delighted to see that my book has been pirated and is available on Bittorrent. (Presumably this is the audio book version, even though it claims to be an “ebook”, which I wasn’t aware existed. UPDATE. One file is the pirated audiobook, the “ebook” is actually this ChangeThis pdf of the original Wired article, which was already freely available).

My publishers want to make money, and I like them so I usually do what it takes to keep them happy, but in truth I just want to be read/listened to by the largest number of people. Leave it to me to figure out how to convert that reputational currency into cash–just get me in front of the biggest audience and I’ll do the rest. My agent doesn’t want to hear this, but I’d rather take a smaller up-front advance or lower royalties in exchange for more liberty in distributing free versions, because I think I’ll actually be better off in the end.

Anderson, however, tangles up a few threads in his piece, the first is a discussion of equivalence: ebooks are assumed not to be equivalent to books; digital audiobooks are assumed to be equivalent to CDs.

Reading an ebook isn’t currently a great experience. Specialised ebook readers are expensive, and most people don’t like reading on-screen, so the ebook is seen as not equivalent for a paper book, i.e. people are more likely to go and buy the paper version if they like the ebook. Thus it is beneficial to release a free ebook so that you can reach as wide an audience as possible, as you stand a good chance of converting ebook downloads to paper book sales.

Conversely, it doesn’t really matter whether you have an unlawfully downloaded copy of an audiobook, or the real thing, whether bought as a download or as a CD, because either way you are probably going to listen to it on your iPod, computer or other MP3 playing device. The assumption is that giving away ebooks encourages sales of paper books, but giving away audiobooks, or allowing unauthorised downloads, will cannibalise the sales of the legitimate ebook. This is exactly the same logic as used by the RIAA and BPI for suing file-sharers, and the rest of the music industry for attempting to slap DRM onto everything in sight. It’s a very compelling and sensible looking argument, but it’s based on unproven assumptions behind the motivations of the downloader/buyer.

We don’t have much real evidence to go on when looking at the cannibalisation of audiobooks by P2P versions. I’m not aware of any studies that focus on audiobooks. But certainly within the music industry the picture is not as clear as it at first seems. Felix Oberholzer and Koleman Strumpf compared real download data and real sales data (pdf) and found that downloading does not have a statistically significant impact on music sales, except in the context of the most popular songs, when it was shown to improve sales slightly. Could it be that the same might be true of an audiobook?

The other issues is the assumption, again promulgated by the RIAA and BPI, that every download of an unauthorised file, whatever it be, is equivalent to a lost sale. In fact, there are many different motivations and outcomes: Some people are nearly sure they want to buy the item but want to try it first, some people are curious and don’t know if they would buy but can be convinced, some people were never going to buy it anyway (so no lost sale as there was no intention to buy), and some people really are lost sales - they would have bought it but they downloaded it instead.

The question is not if some sales are lost, but if more sales overall are gained because of the free version? Providing a free version does not necessarily cannibalise sales overall, but instead acts as a promotional tool encouraging them.

Counterintuitively, there was a study last year that showed that people who downloaded the most MP3s also bought the most music. Sadly, I can’t lay my hands on a link right now but I’ll try to find it. Perhaps, as the audiobook market develops, this could hold true for audiobooks too.

Finally, there is an intimate relationship between a book and its audiobook version, and I don’t think that we really understand how users relate to both together or each separately. What makes a book compelling, and what makes an audiobook compelling are two different things, and my reasons for buying each different. I’m absolutely certain to be buying Neil Gaiman’s next book, whatever it is and whenever it comes out, because I’m a fan and I love his stuff. I trust him, as a writer, to produce work that I enjoy. I would be unlikely, however, to buy an audio version of one of Neil’s books if it was read by Some Random Voiceover Guy, because for me there’s no incentive to do so (I don’t frequently listen to audiobooks). But an audiobook actually read by Neil, or by Lenny Henry, is a different kettle of fish because I already have an emotional involvement with the author as a fan of his, and with Lenny Henry by virtue of the fact that I saw him and Neil reading one of Neil’s books at an event I went to a while back. My motivation for buying that would not be a desire for any old audiobook version, but a desire specifically for Neil’s or Lenny’s audiobook version.

So when Anderson says that he can’t see the case for producing legitimate free audiobooks, he’s treating them as if they are wholly separate from the paper book or ebook, and as 100% equivalent, and I don’t think that we can say that with any certainty.

What really happens if you both sell and give away an ebook? What really happens if you both sell and give away music? Didn’t seem to hurt the Arctic Monkeys, after all. But until someone somewhere does a rigorous and balanced study to find out, we’re stuck with a bunch of poorly formed assumptions and music industry propaganda.

Right now, I’m left with more questions than answers. The publishing industry, though, is being pushed into experimentation in a way that the music and movie industries are not. Authors are forcing publishers to do things that might seem counterintuitive, and we’re slowly starting to figure out, through trial and error, what all this means. Still lots to find out, though, about this open publishing idea.

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8 Responses to “Open publishing - Why do people publish books for free, and what about audiobooks?”

  1. sharon wortman farnham Says:

    i am also a author who has made very little money but I think we all have this dream mine is to help children with problems . I believe that love is the strongest force in the whole world that loving other people is the most important thing we do while we are alive and that love is in every coutry in the world and is handed down thru the generations . I want children to believe that they can grow up to make a difference in the world and in their families . I wrote International Book Of Love A Dolls Like Us Book By Sharon Wortman

  2. Tom Reynolds Says:

    Ask me in a month time and I’ll tell you how much money I’ve made from my book - might be handy data for you.

    In around 18 months I’ll have American numbers as well.

  3. Suw Says:

    That would be really handy, Tom. Authors and publishers are notoriously closed-mouthed about such things, and it does mean that we lack solid data, which is a shame. I was trying to find out how much an average author earnt the other day, but it’s nigh-on impossible. I don’t think that sort of secrecy does anyone any good, personally, but maybe that’s just me.

  4. Anonymous Says:

    I listen to audiobooks a lot (just old fashioned novels mainly) because it’s much easier to listen than read in bed.

    I agree that the voice of the reader matters a great deal - not necessarily the authors voice in my case, but a voice that matches the narrative well and isn’t too self-conscious.

    Audio books seem to have been originally designed for people who didn’t read too well - but with ipods etc, I can see there could be a bigger demand in the next few years.

    But I haven’t found that listening to an audio reading of a novel makes me want to buy the print version - it’s a different kind of experience. I guess that for non-fiction it could be different.

  5. Suw Says:

    Anonymous: Different people by audiobooks for different reasons, and yes, I think they were originally for people who were vision impaired, but I think they’re maturing almost into a genre of their own. Some books just don’t work in audio format, and others are fantastic - it’s not just about who’s reading it.

  6. Robert keating Says:

    This is very interesting article mp3 downloads. udio books seem to have been originally designed for people who didn’t read too well - but with ipods etc, I can see there could be a bigger demand in the next few years. mp3downloads

  7. toni Says:

    Hi Suw, A while ago I read a book called “freakonomics” and it’s about a different way of placing value on what we offer, and a lot more beside that. Have you heard of Jane Sibbery, (she’s changed her name I think, but she has a method of selling her music based on the ideas of freakonomics.
    http://www.sheeba.ca/store/index.php?cPath=21
    I’ve heard of some authors doing the same thing and I also attempted it with a comic book I write.

  8. Suw Says:

    Toni, I’ve not yet read Freakonomics, although it’s on my list. That Jane Sibery site is really interesting - I wonder how well it does for her. Might have to get in touch and ask!