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May 27, 2009 8:54 AM PDT

Why e-books aren't cheaper

by Gordon Haff
  • 12 comments

We've all heard the rant. With e-books, there's no paper, printing, transportation, and so forth. So why should an e-book still cost $9.99 (typical for Kindle) or even more?

The idea of e-books being cheaper makes a lot of intuitive sense. If everything you physically hold in your hand and everything it took to deliver that physical good to your hand can be converted to a few megabytes worth of electrons, surely the cost of the book must be dramatically lower than a typical hardcover--and the price should reflect that fact.

The problem is that the costs aren't nearly as much lower as you might believe. Here's one breakdown from Money magazine for a hardcover bestseller by way of Scott Laming of BookFinder.com Journal:

Based on a list price of $27.95

$3.55 - Pre-production - This amount covers editors, graphic designers, and the like
$2.83 - Printing - Ink, glue, paper, etc
$2.00 - Marketing - Book tour, NYT Book Review ad, printing and shipping galleys to journalists
$2.80 - Wholesaler - The take of the middlemen who handle distribution for publishers
$4.19 - Author Royalties - A bestseller like (John) Grisham will net about 15% in royalties, lesser known authors get less. Also the author will be paying a slice of this pie piece to his agent, publicist, etc.

This leaves $12.58, Money magazine calls this the profit margin for the retailer, however, when was the last time you saw a bestselling novel sold at its cover price.

One way to look at this is to look at the percentage of the list price that printing represents. That's 10 percent--plus at least a chunk of the wholesaler line item. So let's call it 20 percent in all.

But, as noted, given that books generally sell at a discount off list, I find it more intuitive to look at this the other way. Start at zero and add cost and profit line items. In the example, the typical volume retailer is often making far less than the $12.58 figure would suggest. A 40 percent discount brings it down to only $1.11; hardcover bestsellers are a sort of loss-leader for retailers.

Pre-production. Other things being the same, there's no reason this goes down with an e-book. Arguably it's a bit lower if something is sold solely as an e-book--perhaps a bit less design work and proofing related specifically to the physical nature of a book--but it's actually likely a bit higher if we're talking about having both physical and digital versions--as would be the typical case today.

Now some, such as blogger Aaronchua, argue that this just shows that traditional publishers "have not changed their operating structure to leverage on the new economics brought on by the Web."

However, as noted in discussion of the prior piece, these functions are not just costly overhead. "After the book's in the publishing house, it is usually reviewed by like up to 5 editors who give their opinion before it's handed over to one editor who they believe is the best for it. You then get an editor, who through multiple revisions helps the author get the book to a better standard and quite often to more closely resemble the author's original idea."

Now, perhaps the whole process is too heavyweight. But how many of us have read a book and thought to ourselves that "it really needed an editor." Most of us, I'd say. You can skimp here but the results often show it.

Marketing. Again, there's no inherent reason why the dollar amount changes. Many aspects of the marketing process probably change if we posit an all-digital world. But social media and other forms of viral promotion are not a panacea that magically replaces book tours, professional publicity work, and so forth. Sure, you don't need to do any of this but you don't need to sell many books either.

Profits. Let's be generous and cap the costs there. In practice, there are going to be some costs related to digital delivery that someone is going to have to shoulder along the line, but ignore that.

If we're going to sell the book for $9.99 net of any discounts, that leaves us with $4.44 to split between the retailer and the author. Compare that to $4.19 for the author in the printed book example and something between about $1 and $10 for the retailer. So a $9.99 e-book in this example leaves less money after costs than the hardcover does.

This may be made up by higher volumes to some degree. However, as Tim O'Reilly noted in a 2007 post:

I think that the idea that there's sufficient unmet demand to justify radical price cuts is totally wrongheaded. Unlike music, which is quickly consumed (a song takes 3 to 4 minutes to listen to, and price elasticity does have an impact on whether you try a new song or listen to an old one again), many types of books require a substantial time commitment, and having more books available more cheaply doesn't mean any more books read. Regular readers already often have huge piles of unread books, as we end up buying more than we have time for. Time, not price, is the limiting factor.

The economics of selling back-catalogs may also be different. Pre-production costs are, almost by definition, fixed. They're incurred before the first book can go out the door. Marketing is also primarily a fixed advance cost. (Although the size of budgets will be tuned to expected sales--unknown authors with no track record shouldn't expect massive advertising and publicity campaigns.)

So once those costs have been incurred--and hopefully recouped--in more or less the usual way through the first couple of years of a book's life, it may make sense to offer a discounted digital edition given that it doesn't incur the cost overhead associated with lower volume "long tail" sales.

(In principle, you could argue that the same logic applies to the pricing of digital editions at any time in a book's lifecycle. However, in practice, a $5 e-book of a new release would cannibalize the more profitable print edition.)

I know this post went into a lot of detail, but when you're talking about business models and pricing, it is important to actually run the numbers. One can dispute fundamental assumptions behind those numbers of course, but at least they give a starting point.

In this case, they show that--if you want the same level of professional preparation and promotion associated with a typical printed book--the $9.99 e-book price that a lot of people grumble about is probably pretty near the floor.

March 2, 2009 5:35 AM PST

Initial reactions to my Kindle 2

by Gordon Haff
  • 16 comments

Toward the end of last year, I more or less decided that I wanted to get myself a Kindle, but I wanted to hold off for the next generation. So when Amazon announced the Kindle 2 in February, I put my order in right away.

(Credit: David Carnoy/CNET)

I've now had it for a few days and have had a chance to play around with it a fair bit. Here are some early thoughts.

Yes, it's expensive. $359--and typically add to that at least $29 for a case. Although there are many free books available (more on this in a bit), and new releases are generally cheaper on the Kindle than in hardcover, it's a good bet that you're not going to save enough on book purchases to come close to paying for the device--especially if you buy a lot of books used (as I do) or get them from the library. This is a premium-price convenience device.

It's the convenience that the Kindle 2 offers that convinced me to buy one. I travel a lot, and the idea of having a library in the form factor of a single paperback is immensely appealing to me. Frankly, I probably would not have purchased a Kindle, if I didn't spend so much time traveling by air with as little luggage as I can get away with.

Plenty of others, including CNET Reviews' David Carnoy, have reviewed the device itself, and I agree with what seems to be the general consensus: the Kindle 2 is easy on the eyes, and the controls seem to work reasonably well.

For reading books, it is a qualitatively different experience from reading on a laptop or a phone. It's not that you can't read on those other devices--in fact, I do it all the time--but the Kindle's e-paper display and long battery life make it far better suited for reading books.

That said, I do believe that we're still in a relatively early stage of this device's evolution. There may or may not be any truth to these specific rumors from Fast Company. (After all, we heard various inaccurate Kindle 2 "leaks" and predictions throughout much of last year.)

... Read More
June 6, 2008 7:53 AM PDT

Paying for free content

by Gordon Haff
  • 6 comments

Earlier this week, I noted that book publishers and authors had, so far, been largely protected from the mass copying that has helped to undermine the music recording industry's profits. The reason is simple. You can't copy dead-tree books for minimal effort and cost the way you can CDs or MP3s. But, with e-books finally seemingly establishing a bona fide foothold with Amazon's Kindle, that's going to start changing.

New York Times Op-Ed columnist Paul Krugman notes this trend in "Bits, Bands and Books" together with a corollary that Esther Dyson predicted in 1994:

”that the ease with which digital content can be copied and disseminated would eventually force businesses to sell the results of creative activity cheaply, or even give it away. Whatever the product--software, books, music, movies — the cost of creation would have to be recouped indirectly: businesses would have to--distribute intellectual property free in order to sell services and relationships.”

This, of course, is what a lot of folks--whether as a way to justify music piracy or otherwise--have been saying for years about the business model for music. It's (supposedly) OK if you can't sell a lot of CDs (or iTunes downloads) any longer. Krugman notes that, according to a recent Rolling Stone article: "Downloads are steadily undermining record sales--but today's rock bands, the magazine reports, are finding other sources of income. Even if record sales are modest, bands can convert airplay and YouTube views into financial success indirectly, making money through 'publishing, touring, merchandising and licensing'."

I'm a bit skeptical that selling tchotchkes, tickets, and "extras" in one form or another is really a practical substitute for selling the music itself in the general case. But let's leave that go for the time being. It's been endlessly debated and isn't going to be resolved here. What seems to me even more problematic is the suggestion that there has to be viable alternative models for creative content that becomes de facto free in the general case. For example, Krugman goes on to write:

Indeed, if e-books become the norm, the publishing industry as we know it may wither away. Books may end up serving mainly as promotional material for authors’ other activities, such as live readings with paid admission. Well, if it was good enough for Charles Dickens, I guess it’s good enough for me.

And here, I'm deeply, deeply skeptical. At least with music, there are a variety of revenue-generating activities that are a natural outgrowth of the primary creative product. Most musicians do live performances in any case. The only question is how much money they can make by doing so.

But writers? Sure, some well-known authors make engaging speakers. Geoffrey Moore (author of Crossing the Chasm and Dealing with Darwin) is one I've heard fairly recently. J.K. Rowling just spoke at Harvard's commencement. But just because someone is a writer--even a best-selling one--doesn't make them a good speaker. Indeed, some of the best writers are reclusive and would shudder at the thought of having to make a living by public speaking.

Yes, business models are changing. And all of us will have to adapt in various ways. But let's not kid ourselves that advertising, live performances, or magic money trees are going to automagically pay the bills for creative content that we want to consume but don't want to pay for.

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About The Pervasive Data Center

This blog takes a deep (and often skeptical) look at trends big and small in the world of enterprise servers, data centers, and "Yotta-scale" computing. This means also taking into account the myriad of software, networks, and devices that are driving change in (or being driven by) these back-end systems. Stories posted to this blog may also appear on Illuminata's site.

Gordon Haff is a principal IT adviser for Illuminata of Nashua, N.H. Before becoming an IT industry analyst, Gordon held a variety of product-marketing positions at Data General, spanning more than a decade. He's programmed for DOS, Windows, and Linux; builds his own PCs; and holds engineering degrees from MIT and Dartmouth, with an MBA from Cornell. He is a member of the CNET Blog Network and is not an employee of CNET. Disclosure.

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