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Curious about Kindle sales numbers?

Monday, June 15, 2009


Curious about Kindle sales numbers?

If so, there has been plenty to chew on in the last few days.

Let’s just establish up front that, in the long run, the most important Kindle sales numbers involve calculations of how many Kindle books — or any other e-books, for that matter — are being purchased and downloaded. Those are the numbers that are going to make a difference to authors, publishers, readers, and booksellers of every variety. For instance, it may be a good thing for Sony that the company has sold XXXX units of its ereaders in Japan, say, or globally. But until I see evidence that publishers and authors are experiencing significant sales of their ebooks to Sony device owners, those hardware unit sales numbers won’t have traction for me.

On the subject of U.S. ebook sales, let me suggest the following very interesting and informative posts and links….

Joe Konrath’s A Newbie’s Guide to Publishing: You may already be familiar with Joe Konrath (or his alter-ego-de-plume Jack Kilborn) via Kindle Nation Daily, but in addition to being a fine author of suspense and horror fiction Joe is engaged very actively in experimenting with and thinking and writing about the world of book publishing from an author’s perspective here in 2009. Joe has shared more information about actual Kindle edition sale and royalties, overall ebook downloads, and his approach to marketing and promotion than any other author writing today, and there’s plenty to learn from what he has to say in his posts Ebooks and Free Books and Amazon Kindle, Oh My; Helping Each Other and Amazon Kindle Numbers.

Morris Rosenthal on Kindle Sales Rankings: On another front, the guy who has done more than any other commentator to parse Amazon Sales Rankings and their meaning over the past decade, author and indie publisher Morris Rosenthal of Foner Books, has turned his attention very useful to the meaning of Kindle Store Sales Rankings in a recent post entitled How Many Kindle eBooks Are Selling Based On Amazon Sales Ranking. Although I believe Morris is off by about 600,000 in speculating that there are about 600,000 Kindles currently in use, his overall calculations and research are very well-founded and they strongly suggest that Joe Konrath and I will soon be joined by hundreds — and eventually thousands — of other authors for whom revenue from Kindle sales alone begins to provide something like a livable income. Morris also makes a fascinating argument that, among those of Amazon’s top bestselling titles that are available both in print and Kindle editions, there is now a 1:1 ration in sales units between the two. When seen in an overall context wherein this ratio moves strongly in favor of print editions as sales numbers decline out the long tail, this model seems generally consistent with Amazon’s recent (and, at the time, stunning) announcement that, looking back over an unspecified historic period, Kindle editions sales had accounted for somewhere between 26 and 35 per cent of all sales when both print and Kindle editions were available. If you want to be present and accounted for as the ebook revolution continues to unfold, I highly recommend you follow Morris’ posts.

Indie Authors and the Kindle Bestseller Lists. Even among bloggers who write about all things Kindle, there is occasional some confusion about, well, all things Kindle. Among those who commented on the above posts by Joe Konrath, one blogger focused on what Joe’s success might mean for self-published authors. (Joe, by the way, is not a self-published author, although he is certainly one who is taking the bull by the horns and restructuring the traditional hierarchical relationship between authors and publishers). Trying to focus in on whether “self-published” authors could earn “a decent living” publishing for the Kindle, the author of the iReaderReview blog asked his readers “Do you think by 2011 self-published authors will be able to hit the Top 25 [in the Kindle Store sales rankings]?”

Not to crow, but it’s worth mentioning here that my self-published guide to the Kindle 1 spent 17 consecutive weeks in the #1 position in the Kindle Store during the Spring and Summer of 2008 before going to paperback in late August, and my Complete User’s Guide To the Amazing Amazon Kindle 2 spent some time in the top 15 when it came out earlier this year. There have, along the way, been other self-published titles in the Kindle top 25, and they have not only been books about the Kindle. But while it will continue to be interesting to plot the progress of individual titles, I suspect the more interesting sea changes will be those involving the kind of publishing perestroika that I write about in my Beyond the Literary-Industrial Complex: How Authors and Publishers Are Using the Amazon Kindle and Other New Technologies to Unleash a 21-Century Indie Movement of Readers and Writers, including its chapter “Rebel Distribution and Amazon’s Marketplace of the Mind: You Need a Publisher Like a Fish Needs a Bicycle.” As these sea changes evolve, the “self-published” label will cease to exist in any meaningful way except inasmuch as it means “smart,” and will be replaced a kinder, gentler sense of “indie author” and “indie publisher” that is embraced by readers, by authors who previously had chosen traditional publishing routes, and, of course, by the DIY renegades among us.

Curious about Kindle sales numbers?


Curious about Kindle sales numbers?

If so, there has been plenty to chew on in the last few days.

Let’s just establish up front that, in the long run, the most important Kindle sales numbers involve calculations of how many Kindle books — or any other e-books, for that matter — are being purchased and downloaded. Those are the numbers that are going to make a difference to authors, publishers, readers, and booksellers of every variety. For instance, it may be a good thing for Sony that the company has sold XXXX units of its ereaders in Japan, say, or globally. But until I see evidence that publishers and authors are experiencing significant sales of their ebooks to Sony device owners, those hardware unit sales numbers won’t have traction for me.

On the subject of U.S. ebook sales, let me suggest the following very interesting and informative posts and links….

Joe Konrath’s A Newbie’s Guide to Publishing: You may already be familiar with Joe Konrath (or his alter-ego-de-plume Jack Kilborn) via Kindle Nation Daily, but in addition to being a fine author of suspense and horror fiction Joe is engaged very actively in experimenting with and thinking and writing about the world of book publishing from an author’s perspective here in 2009. Joe has shared more information about actual Kindle edition sale and royalties, overall ebook downloads, and his approach to marketing and promotion than any other author writing today, and there’s plenty to learn from what he has to say in his posts Ebooks and Free Books and Amazon Kindle, Oh My; Helping Each Other and Amazon Kindle Numbers.

Morris Rosenthal on Kindle Sales Rankings: On another front, the guy who has done more than any other commentator to parse Amazon Sales Rankings and their meaning over the past decade, author and indie publisher Morris Rosenthal of Foner Books, has turned his attention very useful to the meaning of Kindle Store Sales Rankings in a recent post entitled How Many Kindle eBooks Are Selling Based On Amazon Sales Ranking. Although I believe Morris is off by about 600,000 in speculating that there are about 600,000 Kindles currently in use, his overall calculations and research are very well-founded and they strongly suggest that Joe Konrath and I will soon be joined by hundreds — and eventually thousands — of other authors for whom revenue from Kindle sales alone begins to provide something like a livable income. Morris also makes a fascinating argument that, among those of Amazon’s top bestselling titles that are available both in print and Kindle editions, there is now a 1:1 ration in sales units between the two. When seen in an overall context wherein this ratio moves strongly in favor of print editions as sales numbers decline out the long tail, this model seems generally consistent with Amazon’s recent (and, at the time, stunning) announcement that, looking back over an unspecified historic period, Kindle editions sales had accounted for somewhere between 26 and 35 per cent of all sales when both print and Kindle editions were available. If you want to be present and accounted for as the ebook revolution continues to unfold, I highly recommend you follow Morris’ posts.

Indie Authors and the Kindle Bestseller Lists. Even among bloggers who write about all things Kindle, there is occasional some confusion about, well, all things Kindle. Among those who commented on the above posts by Joe Konrath, one blogger focused on what Joe’s success might mean for self-published authors. (Joe, by the way, is not a self-published author, although he is certainly one who is taking the bull by the horns and restructuring the traditional hierarchical relationship between authors and publishers). Trying to focus in on whether “self-published” authors could earn “a decent living” publishing for the Kindle, the author of the iReaderReview blog asked his readers “Do you think by 2011 self-published authors will be able to hit the Top 25 [in the Kindle Store sales rankings]?”

Not to crow, but it’s worth mentioning here that my self-published guide to the Kindle 1 spent 17 consecutive weeks in the #1 position in the Kindle Store during the Spring and Summer of 2008 before going to paperback in late August, and my Complete User’s Guide To the Amazing Amazon Kindle 2 spent some time in the top 15 when it came out earlier this year. There have, along the way, been other self-published titles in the Kindle top 25, and they have not only been books about the Kindle. But while it will continue to be interesting to plot the progress of individual titles, I suspect the more interesting sea changes will be those involving the kind of publishing perestroika that I write about in my Beyond the Literary-Industrial Complex: How Authors and Publishers Are Using the Amazon Kindle and Other New Technologies to Unleash a 21-Century Indie Movement of Readers and Writers, including its chapter “Rebel Distribution and Amazon’s Marketplace of the Mind: You Need a Publisher Like a Fish Needs a Bicycle.” As these sea changes evolve, the “self-published” label will cease to exist in any meaningful way except inasmuch as it means “smart,” and will be replaced a kinder, gentler sense of “indie author” and “indie publisher” that is embraced by readers, by authors who previously had chosen traditional publishing routes, and, of course, by the DIY renegades among us.

Publishing Perestroika in the Age of the Kindle: You Need a Publisher Like a Fish Needs a Bicycle


Curious about Kindle sales numbers?

If so, there has been plenty to chew on in the last few days.

Let’s just establish up front that, in the long run, the most important Kindle sales numbers involve calculations of how many Kindle books — or any other e-books, for that matter — are being purchased and downloaded. Those are the numbers that are going to make a difference to authors, publishers, readers, and booksellers of every variety. For instance, it may be a good thing for Sony that the company has sold XXXX units of its ereaders in Japan, say, or globally. But until I see evidence that publishers and authors are experiencing significant sales of their ebooks to Sony device owners, those hardware unit sales numbers won’t have traction for me.

On the subject of U.S. ebook sales, let me suggest the following very interesting and informative posts and links….

Joe Konrath’s A Newbie’s Guide to Publishing: You may already be familiar with Joe Konrath (or his alter-ego-de-plume Jack Kilborn) via Kindle Nation Daily, but in addition to being a fine author of suspense and horror fiction Joe is engaged very actively in experimenting with and thinking and writing about the world of book publishing from an author’s perspective here in 2009. Joe has shared more information about actual Kindle edition sale and royalties, overall ebook downloads, and his approach to marketing and promotion than any other author writing today, and there’s plenty to learn from what he has to say in his posts Ebooks and Free Books and Amazon Kindle, Oh My; Helping Each Other and Amazon Kindle Numbers.

Morris Rosenthal on Kindle Sales Rankings: On another front, the guy who has done more than any other commentator to parse Amazon Sales Rankings and their meaning over the past decade, author and indie publisher Morris Rosenthal of Foner Books, has turned his attention very useful to the meaning of Kindle Store Sales Rankings in a recent post entitled How Many Kindle eBooks Are Selling Based On Amazon Sales Ranking. Although I believe Morris is off by about 600,000 in speculating that there are about 600,000 Kindles currently in use, his overall calculations and research are very well-founded and they strongly suggest that Joe Konrath and I will soon be joined by hundreds — and eventually thousands — of other authors for whom revenue from Kindle sales alone begins to provide something like a livable income. Morris also makes a fascinating argument that, among those of Amazon’s top bestselling titles that are available both in print and Kindle editions, there is now a 1:1 ration in sales units between the two. When seen in an overall context wherein this ratio moves strongly in favor of print editions as sales numbers decline out the long tail, this model seems generally consistent with Amazon’s recent (and, at the time, stunning) announcement that, looking back over an unspecified historic period, Kindle editions sales had accounted for somewhere between 26 and 35 per cent of all sales when both print and Kindle editions were available. If you want to be present and accounted for as the ebook revolution continues to unfold, I highly recommend you follow Morris’ posts.

Indie Authors and the Kindle Bestseller Lists. Even among bloggers who write about all things Kindle, there is occasional some confusion about, well, all things Kindle. Among those who commented on the above posts by Joe Konrath, one blogger focused on what Joe’s success might mean for self-published authors. (Joe, by the way, is not a self-published author, although he is certainly one who is taking the bull by the horns and restructuring the traditional hierarchical relationship between authors and publishers). Trying to focus in on whether “self-published” authors could earn “a decent living” publishing for the Kindle, the author of the iReaderReview blog asked his readers “Do you think by 2011 self-published authors will be able to hit the Top 25 [in the Kindle Store sales rankings]?”

Not to crow, but it’s worth mentioning here that my self-published guide to the Kindle 1 spent 17 consecutive weeks in the #1 position in the Kindle Store during the Spring and Summer of 2008 before going to paperback in late August, and my Complete User’s Guide To the Amazing Amazon Kindle 2 spent some time in the top 15 when it came out earlier this year. There have, along the way, been other self-published titles in the Kindle top 25, and they have not only been books about the Kindle. But while it will continue to be interesting to plot the progress of individual titles, I suspect the more interesting sea changes will be those involving the kind of publishing perestroika that I write about in my Beyond the Literary-Industrial Complex: How Authors and Publishers Are Using the Amazon Kindle and Other New Technologies to Unleash a 21-Century Indie Movement of Readers and Writers, including its chapter “Rebel Distribution and Amazon’s Marketplace of the Mind: You Need a Publisher Like a Fish Needs a Bicycle.” As these sea changes evolve, the “self-published” label will cease to exist in any meaningful way except inasmuch as it means “smart,” and will be replaced a kinder, gentler sense of “indie author” and “indie publisher” that is embraced by readers, by authors who previously had chosen traditional publishing routes, and, of course, by the DIY renegades among us.

It’s the Real Thing: A Meditation on Immortality and Commerce

It’s the Real Thing

A Meditation on Immortality and Commerce

We play at it. We work at it.

It makes us laugh or weep.

It reveals to us

Something divine deep within us,

And something diabolical.

It is sex,

And it is what we build in the absence of sex.

It is beauty,

And it is in the creations that we imagine

As we run in sheer terror from our demons.

It is built upon physics and fart jokes.

It is spoken and written and painted and sung,

And that is just the tip of the ice sculpture.

It is in the sweet smell of morning bakeries,

the tangy tumult of teargassed rebels,

the rhythmic challenges of bass-thumping football paraders.

It is in what we proclaim and what we hide,

In what we share and what we charge for.

Is it still there, we wonder,

When, as we begin to create,

We sometimes allow ourselves the risky freedom

Of using our creations

To seduce,

To intimidate,

To mystify,

To pay for groceries,

To promote ourselves?

There, when we sense

Fuzzy boundaries between our creative energies

And our economic lives,

Our natural self-preserving careerism,

It all becomes so confusing.

After all, we are not only creators

But critics as well.

We are audience too:

We read,

We listen,

We meditate.

We see ourselves

Not only in the brightest mirrors

And stillest waters

But also in the terrifying imponderables

Of Rachmaninoff

And Dostoyevsky

And Van Gogh

And Danielle Steel.

We are audience,

We are organisms,

We have taken drug-addled journeys beyond,

On which we have seen past the seams

That seem to organize the universe,

Water from stone,

Being from sky,

Puppy from Citgo sign,

Sonnet from soccershot from tonguebath,

Sand from breath,

Shadow from nipple.

Our ability to act and to create in the present moment

Is betrayed by our tendency

To be neurotic

About anything related to the questions

Of who and where we will be tomorrow,

Of who will carry our lines

(Our soliloquies and our DNA)

One hundred years from now,

Of how much loot we will take with us

Or pass on.

Trained to think

That our own physical lives are finite,

We speculate about our souls,

But we hedge our spiritual bets

With obsessions about what we might create

That might live, in some sense, another day:

Live to be seen,

To be heard,

To be read,

To be discussed,

Or even to be bought and sold.

Jealously guarding our energies,

And our projected reputations,

We look all around us,

And especially within ourselves,

To judge what in our culture is worthy

Of our time and our reflection.

We are biased

In favor of anything that we create ourselves,

Of anything that comes from a friend

Or lover

Or family member,

Anything that has been created by a member of our tribe,

Our neighborhood,

Our college class,

Anything that seems to be about us,

Or someone that we know,

Or would like to know.

Will we settle for vicarious immortality:

The immortality of a fellow traveler?

We know what we like

We resist what we are told that we should like,

But we don’t want to miss out on anything cool,

Anything that might give us pleasure,

Anything that might lead

To a pleasant sexual connection,

Anything that we believe

We should be the first one in our group

To tell the others about.

Some days we rise in the morning

And wish that the world were limited

To our neighborhood:

That the only players

Were the garage band down the street

And the folksinger on the subway platform.

Then we log on

And connect

With a billion other provincials.

But time and again

We break through the barriers of parochialism and prejudice

And we find the most wondrous works of art,

The most compelling visual and textual and sensual meditations

On our nature,

On our plight,

On something mutually recognizable

In our common capacity for hallucination.

These moments of epiphany drive us

To play, to create,

To hunt down something archetypal

That we acknowledge but cannot quite remember in our past,

To set ourselves aflame

With the intensity of our intentions and our nightmares.

Out of all this comes drivel and dreck,

But also something more,

Something hopeful,

Something that once in a great while

We sense is the real thing.

How do we find the real thing?

How do we know when we have found it?

How do we know when we have made it?

There is no handbook for this moment,

Any more than there is a handbook for love.

(And yet there are so many for love!

Are they all impostors?)

Indeed it is a lot like love,

Or a lot like lust:

Who cares what the difference is,

Or if there is a difference?

Don’t we know it when we know it?

Can’t the quest for love or art,

In its purist moments,

Be polymorphously perverse,

Free of any hierarchy or compulsion to rate,

Yet still and all fixed only on what is beautiful,

On what is beautifully grotesque,

On what may give rise to beauty?

Looking for love,

Do we confine ourselves

To top ten lists of others’ favorites,

Or are we hotly vulnerable

To the taboo thrill

Of looking in all the wrong places?

The answer need not even be spoken,

Neither with love nor lust nor art,

Neither with what others create

Nor with what we make ourselves.

What we love,

What stirs us

To our highest and lowest moments,

Whether it involves

Sound or sight or words or ideas

Or the touch of another body,

Whether it is ornamented and accessorized

Or narrative or naked

Or humorous or monstrous,

Is nobody else’s call.

Can the entire process

Be reduced and distilled

To the synesthesia

That has been engineered in our genes

By generations of aromatic aphrodisiacs,

Cool, syncopated movie trailer themes,

And gender-transcendent, bare-bellied,

Masturbation-miming rockers?

We will love where they lead us,

What they make us think or feel,

Who they make us into,

Who they bring into our bedrooms:

What are you wearing?

What are you reading?

What’s on your night table next to the Chivas?

Wanna screw?

Maybe you will when I tell you my last book read!

Are you you, or “The Brand Called You?”

Is that a swoosh on your manuscript

Or are you just happy to see me?

We are the Indie Nation:

You and me and Bukowski and Eggers and Robert Redford.

I’ll tag your novel if you’ll buzz about my poem,

And Google will send us both a micro-payment.

Stephen Windwalker

Scribd Beta DIY Launch for eBook Authors and Publishers Looks Viable


San Francisco-based startup Scribd has just launched the beta version of a potentially exciting new opportunity for authors, publishers, and readers. I hesitated before including the DIY label in the subject line because it may be misleading, given that Scribd has done some business with major publishers such as Random House, according to today’s New York Times piece, “Scribd Invites Writers to Upload Their Work and Name Their Price.” But Scribd’s roots are all about document-sharing and a Youtube-like DIY approach for those who understand that uploading is the new downloading.

Scribd stands out among innovators in the arena of connecting digital text authors and publishers with digital readers, because (1) it offers some compelling reasons for faith that it could actually work; and (2) it is not Amazon.

By “actually work,” I mean that it could actually lead to significant sales and exposure for ebook authors and other content providers. By “not Amazon,” I am getting at the notion that, if it proves viable, Scribd could actually provide authors and publishers with an effective counterbalance in a marketplace where Amazon currently threatens to establish such hegemony that the rest of us could end up feeling as if any effort to influence pricing, royalties, sales, and important issues such as Digital Rights Management (DRM) and copyright is utterly ineffectual.

Scribd will allow authors and publishers to upload their content, establish their own approach to DRM, and keep 80 per cent of the proceeds from content sales. That’s not a bad start, and these claims from the Scribd site go even further:

  • “Tens of millions of people visit Scribd every month; your work could be discovered by the world.
  • Every document on Scribd gets frequently indexed by Google, which means better audience targeting for your work.
  • Your documents will be viewed the way it was meant to be – with its unique fonts, graphics, and other details.
  • Check out detailed stats on viewers, ratings, downloads, and more.
  • Take your document anywhere; just copy the embed code and insert it into a blog or website.”

The site also provides user-friendly uploading tools for Mac as well as PC users.

Naturally, I’ll want to have my cake and eat it too: to upload content to Scribd and to be able to read it on my Kindle. No doubt there will be a number of ways to do this, and we’ll be posting more about them in the future.