I just received email notification that the third episode of That Other Word, the podcast from American University of Paris’s Center for Writers and Translators and the Center for the Art of Translation is now online.
This particular episode features a discussion between Daniel Medin and Scott Esposito about W.G. Sebald’s Across the Land and the Water: Selected Poems 1964-2001 and Robert Walser’s The Walk, and includes a special interview with Three Percent hero Benjamin Moser.
On a related note, Ed Nawotka of Publishing Perspectives was praising the latest Monocle podcast on the Twitter or the Facebook the other day for it’s excellent series on visiting bookstores around the world. This particular episode features reports on stores in Tunis, Buenos Aires, and Barcelona . . .
So while you’re waiting for me and Kaija to break down this year’s Eurovision Song Contest (subject of the new Three Percent podcast, which will be available Friday), you can listen to both of these. Probably not as profane/filled with hysteria and crazy Euro “songs,” but interesting nevertheless . . .
As we announced last week, for the rest of June, all nine of our ebooks will be available for $4.99/title—a pretty good bargain, especially since they’ll go back to the standard $9.99 on July 1st . . .
You can find info about all our available ebooks by clicking here here. (In case anyone’s interested, the best-selling ones from the last week are: The Golden Calf followed by The Pets, and then Guadalajara and Death in Spring.)
After making our pricing announcement, Ed Nawotka of Publishing Perspectives asked me to write a piece explaining our decision, some stuff about ebook pricing in general, and my problems with the $.99 ebook.
Here’s a link to Why Selling Ebooks at 99 Cents Destroys Minds, which includes this:
But what’s really at the top of the e-book best-seller lists? As of this very moment (10:10 pm on Wednesday, June 8th), here are the top five and their prices: A Little Death in Dixie by Lisa Turner, $0.99; My Horizontal Life by Chelsea Handler, $1.99; The Hunger Games by Suzanne Collins, $5.00; Summer Secrets by Barbara Freethy, $4.99; and The Help by Kathryn Stockett, $9.99.
So aside from The Help, which is the 9th bestselling book in paperback, the top five are all $5 or less. And aside from The Help, none of these books are in the top 10 for Literary Fiction paperback sales. So what does this mean?
At BEA, Keith Gessen introduced me to the works of John Locke (probably not the one you’re thinking of), a best-selling Kindle author whose books are all sold for $0.99. He made over a hundred thousand of dollars in royalties last year — far exceeding the wildest dreams of most every mid-list (if John Locke is even midlist) author in the country. Having read the opening of one of his “Donovan Creed” novels, I can assure you that he’s not selling all these books due to his talent. No offense intended, but let’s be real about this — it leads to a much more interesting conundrum.
And goes on from there . . .
Ed wrote the daily “conversation piece” for Publishing Perspectives, which he entitled Can Affordable Literature Ever Compete with ‘Palatable Plonk?’
As discussed in today’s feature story, you can now buy any number of e-books for 99 cents or less on Amazon. Few would mistake what’s being sold so cheaply as high literature, but one has to acknowledge that it takes skill to craft something that a large audience of people will enjoy.
In the wine business, the fact that you can now buy drinkable box wine in your local gas station/supermarket has indeed expanded the audience for wine. The hope is that drinkers, as their palette becomes sophisticated, will move up the price scale to sample more challenging fare. [. . .]
Can the same be said for the book business? Certainly just think of fiction as red wine, and non-fiction as white, each goes with a mood, setting, circumstance.
Ultimately, the question is not whether inexpensively priced literature entice new readers and serve as a gateway for readers to discover new writers, but can it ever compete, at lower prices, with the John Locke’s and Amanda Hocking’s of the world? And, at the end of the day, does it matter so long as everyone’s needs get met?
In my opinion, the answer is no, not when — to go back to the wine analogy — the cheap stuff can get you just as drunk. Of course, you also have to remember that with the cheap stuff, once the buzz wears off the hangover is often much worse — and you’ll have an even harder time facing yourself in the harsh light of day.
Be sure to check out the comments—that’s where the real fun comes in . . .
At 30, the Mexican writer Valeria Luiselli is already gathering her rosebuds. Faces in the Crowd, her poised debut novel, was published by Coffee House Press, along with her Brodsky-infused essay collection, Sidewalks. The essays stand as a theoretical map. . .
Fantomas Versus the Multinational Vampires: An Attainable Utopia (narrated by Julio Cortázar) is, not disappointingly, as wild a book as its title suggests. It is a half-novella half-graphic novel story about . . . what, exactly? A European tribunal, Latin. . .
Marie NDiaye has created a tiny, psychological masterpiece with her Self-Portrait in Green. In it she explores how our private fears and insecurities can distort what we believe to be real and can cause us to sabotage our intimate relationships.. . .
Reading a genre book—whether fantasy, science fiction, crime, thriller, etc.—which begins to seem excessively, stereotypically bad, I have to make sure to ask myself: is this parodying the flaws of the genre? Usually, this questioning takes its time coming. In. . .
The Sicilian Mafia has always been a rich subject for sensational crime fiction. The Godfather, Goodfellas, and The Sopranos worked the mob’s bloody corpses and family feuds to both entertainment and artistic value. Giuseppe di Piazza’s debut novel attempts this,. . .
Antoine Volodine’s vast project (40 plus novels) of what he calls the post-exotic remains mostly untranslated, so for many of us, understanding it remains touched with mystery, whispers from those “who know,” and guesswork. That’s not to say that, were. . .
It hasn’t quite neared the pitch of the waiting-in-line-at-midnight Harry Potter days, but in small bookstores and reading circles of New York City, an aura has attended the novelist Elena Ferrante and her works. One part curiosity (Who is she?),. . .