Latest news with #KindleDirectPublishing
Mint
3 days ago
- Business
- Mint
How to share your Kindle e-books with a reading buddy
Let me be clear at the outset: This isn't a 'How to jailbreak your Kindle' manual. Nor is it a paean to Amazon. As someone whose working life has revolved around editing and reviewing books, I am all too aware of the problematic business model followed by the global behemoth when it comes to selling books, among other things. This piece is, rather, a PSA of sorts, for those who aren't aware of a less-visible feature in Kindle devices that allows users to share their library with others. Given Amazon's tendency to bury such options deep inside its ecosystem, it is likely that this hack may be news to many readers. If you want to legally share your library with another user, you can use the Amazon Household platform, and it works pretty much like Amazon Prime's family plan. Before I come to the nuts and bolts of the process, some statutory warnings and plain facts. For those who aren't already in the know, Amazon holds a near monopoly in the book-selling business, one of the segments with which the venture started. Currently, the company owns about 50% of the physical and 80% of the digital book market share. Amazon's e-commerce model, which is based on aggressive discounting and superfast delivery, even while incurring losses, has endangered brick-and-mortar bookshops around the world. While Kindle Direct Publishing (KDP), the company's self-publishing platform, has made book publishing more egalitarian, it has also led to a drastic erosion of quality. The terms and conditions for putting out work on KDP are stringent—especially if a writer opts out of KDP's preferred pricing model, which leads to a steep reduction in royalty share. When it comes to audio-books, the royalty shares are higher in Amazon's favour. By default, Audible, the company's audio-books platform, takes a 60% cut from all books available exclusively on it. If a writer decides to opt out of the exclusivity deal, the share could go as high as 75%. A few years ago, best-selling fantasy writer Brandon Sanderson got into a pickle with Amazon over audiobook royalty shares for a series he had self-published. Amazon, apparently, conceded somewhat to his terms, though it's not clear how it tangibly changed the overall royalty structure for newbies and lesser known writers. Most shocking to a reader would be the fact that you don't own any of the books you buy on Kindle. As the fine print says, you aren't buying the book itself—as you would with a physical book you may purchase from a bookshop—but simply paying for a license to read it. Amazon can, at any stage, remove a book from your library if you violate its terms and conditions or the company is forced by other exigencies. In 2009, it deleted an e-book version of George Orwell's iconic novel, 1984, from Kindle devices, simply because the publisher who sold that edition didn't have the right to do so. In a series of informative videos, YouTuber Jared Henderson has been highlighting such misdemeanours by Amazon, including the fact that the company can change a cover of a book you purchased. Henderson saw this happen when a TV series based on Robert Jordan's fantasy series, The Wheel of Time, came out. Without seeking his consent, Amazon swapped the cover of his old Kindle edition with the new one. In a further tightening of the leash, Amazon recently decided to prevent users from downloading copies of the books they purchase and store them locally. This feature gave the option to users to strip the Digital Management Rights (DRM) from these files and share with others—much like you would lend out a physical copy of a book you've paid good money for to others, should you wish to. The silver lining in all this is that you can now at least lend your library to one adult and four kids in your family. You could either send an email invitation to the person you want to share your library with by following the steps described on the Amazon Household page. Or else, you can log into your Amazon account, go to Accounts & Lists, Shopping Programs & Rentals under it, and find Amazon Household there. Depending on the way you configure the Amazon Household account, you can share other digital content from your Prime library—games, shows, and movies—too. This is the closest you can come to sharing your digital library of books with your reading buddy—even if they are in another city—for now. Until Amazon decides to change its mind again.
Yahoo
01-05-2025
- Business
- Yahoo
Are ChatGPT-written children's books an easy side hustle?
(NewsNation) — Social media users claim they've made thousands on self-publishing platforms by writing and illustrating children's books using ChatGPT and AI images. The books are mostly for sale in a digital ebook format. Ebook sales are expected to grow to more than $15 billion by 2027, making up 17% of global book sales. But this literary shortcut may not be a sure-shot way to big rewards. Is meme coin crypto the key to get rich quick or another scam? Children's books are 'an effortless way to use AI to make over $10,000 a month,' one content creator said, gaining more than 36,000 likes on TikTok. The creator said, 'AI will do the writing for us.' Another influencer claimed profits of $500 a day from children's books that only required a few prompts to ChatGPT. Influencers say all you have to do is come up with an idea, give ChatGPT prompts to write the book, use an AI picture tool like Midjourney to illustrate the book and then post to a host website like Amazon's Kindle Direct Publishing or Etsy. The plan is billed as zero or low cost because ChatGPT does all the work. Creating content like children's books using ChatGPT is pretty straightforward, but making money off of it is an entirely different beast, John Warren, Program Director of publishing at George Washington University, said. The book will still need to be marketed and stand out so people actually buy it, and with so much competition that won't be easy, he said. When something is easy to produce, a lot of users will enter the market, increasing competition and decreasing prices, Andrey Simonov, a professor at Columbia University's Business School, said. Making fast money on vending machines: Is it that easy? 'I just don't believe it,' Ian Lamont, founder of i30 Media Corporation and Lean Media consulting, told NewsNation. 'If you were making that much money, you don't want to tell other people how to do it, because then there'll be more competition for your own for your own books.' 'The reality is, it's very difficult to make money on Amazon or any other platform because even though the barriers to entry are low, quality will eventually matter,' he also said. Children's books seem to be easier to generate for ChatGPT than other types of fiction, Lamont said. 'I don't think we're seeing many fiction books yet because ChatGPT is just not capable of writing good fiction, with the exception of maybe writing some very simple children's stories,' he said. For some of the influencers advertising this plan, the real business appears to be teaching others how to sell ebooks and other digital products with their own how-to guide, experts say. These guides may come at minimal cost or even as a free download, but once you give up your email address, you will then be 'relentlessly spammed' to sign up for a master class or a special creators group, which can cost hundreds or even up to $1,500 per month to join, Lamont said. There is a rapidly growing industry of people teaching others how to make money using AI content. 'If I am a creator who put this video online, you could ask, why would I tell everyone? Why wouldn't I keep making money?' Simonov said. 'And of course, they are doing it because what they want is for this to go viral.' If these videos become popular and attract a lot of attention, more people will watch them and they will gain revenue, subscribers and followers, he said. One content creator who tests out passive income pitches on social media said he did not earn a single penny six months after posting a children's book. 'What they leave out when it comes to this side hustle is that you have to pay to promote that book,' the creator said in his videos, adding that websites have thousands of books for buyers to choose from. 'You're not just going to get that book posted and then show up first on the search results when someone searches for a kids' book. You're going to really need to play that SEO game or actually pay for advertising.' 'That doesn't mean it's an impossible side hustle. You just need to know the work that it's going to take to put in.' ChatGPT can help you save money on your bills The ecosphere of AI-generated digital products is still the 'wild west' Warren said. Laws still need to catch up as they had to with other fast-moving technology, he said, adding that part of the problem is the inability to know for sure which sources ChatGPT extracted from. Lamont said it's largely an 'honor system' and can easily be circumvented. Amazon has a policy requiring creators to flag AI-generated content. In a statement to NewsNation, Amazon spokesperson Tim Gillman said the company is 'constantly evaluating developments that impact that experience, which includes the rapid evolution and expansion of generative AI tools.' Gillman said the company has 'content guidelines governing which books can be listed for sale' and 'proactive and reactive methods that help us detect content that violates our guidelines, whether AI-generated or not. We continue to enhance our protections against non-compliant content, and our process and guidelines will keep evolving as we see changes in AI-driven publishing.' The company said its Kindle Direct Publishing platform has lowered volume limits on new submissions from publishers and has rolled out Identity Verification for authors and publishers who now may be prompted to verify their identity using their government-issued identification. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Observer
23-04-2025
- Business
- Observer
The enduring power of print in a digital age
A recent report by Canon, titled 'Think Books: Imagine the Next Chapter in Printing and Publishing', reveals that over the past two decades, the world of publishing has experienced dramatic shifts that have deeply affected authors, publishers, distributors and readers alike. These shifts began in 1994 when Amazon introduced technology-based reading models that disrupted traditional sales frameworks, accelerating in 2007 with the launch of the Kindle e-reader. Although digital publishing was not as widespread at the time, this period laid the groundwork for today's fast-evolving publishing landscape. The Economist described it then as 'a powerful, long-lasting and adaptable technology.' Canon notes that the global book industry, valued at $151 billion, is three times the size of the music industry and exceeds the European film industry by 15 per cent, highlighting its economic strength despite market fluctuations. Surprisingly, the Canon report affirms that printed books have proven 'far more resilient than expected,' even after the rise of digital publishing. While Amazon pioneered this digital revolution - allowing authors to publish and sell via Kindle Direct Publishing - and companies like Microsoft introduced digital reading software, the print book has not disappeared. Rather, it has fluctuated in popularity, sustained by publishers and expanded through digital platforms that market and deliver physical books at competitive prices. Today, the relationship between printed and digital books is complex. With the rise of self-publishing and concerns around intellectual property rights and digital security, one key question emerges: How can digital platforms preserve the communicative and emotional dimensions traditionally linked to printed books? To explore whether digital media is widening the gap in access to printed books, the OECD conducted a survey among university students. The results were revealing: students who read printed books reported greater enjoyment than their peers, and reading levels between print and digital formats were similar. Even digital-preferring readers still owned sizable personal libraries. Though digital access has expanded reading across socio-economic backgrounds, printed books remain more emotionally engaging and reader-friendly. The OECD study also found that students who balance digital and print reading perform better on international reading assessments such as PISA and enjoy reading more overall. This demonstrates the enduring value of print in learning and enjoyment, even as the digital market continues to grow. According to the Global Book Market Size and Trends report, the book industry was valued at $150.99 billion in 2024 and is projected to grow at a compound annual rate of 4.2 per cent between 2025 and 2030. Growth is being driven by increased consumer spending, rising literacy interest and innovations like audiobooks and interactive content. Significantly, access to printed books remains a key growth factor. Despite the rise of digital and visual formats, printed books still dominate with an 84.12-per cent share of global revenue in 2024. This is attributed to growing concerns among parents and consumers about excessive screen time. Print is perceived as more reliable, less harmful to eyesight and easier to navigate - qualities that digital formats, vulnerable to piracy and data loss, often struggle to match. The continued popularity of international book fairs further confirms the staying power of print. These fairs - bustling with publishers, authors and readers - offer vibrant spaces for cultural exchange and intellectual engagement. They demonstrate that the book market remains an evolving, living space of dialogue. The upcoming Muscat International Book Fair, set to open on April 24, is a testament to this resilience. With 674 publishers from 35 countries participating and over 52,205 printed books published between 2024–2025, the fair reflects a strong and growing demand for physical books - even amid the expansion of digital platforms. Celebrating the printed book is not about dismissing the digital. Both formats enrich the reading experience in their own ways. The printed book remains a trusted companion - tactile, lasting and intimate - while the digital book offers unmatched access and innovation. What matters most is that the culture of reading endures. The Muscat International Book Fair offers more than just the opportunity to buy books. It's a space to meet authors and publishers, engage in vibrant discussions and explore emerging ideas. As a cultural event with social and economic impact, it continues to affirm the value and future of the book industry - on paper, and beyond. (Translated by Badr al Dhafari and the original version of this article was published in Arabic in the print edition of Oman newspaper on April 19)
The Guardian
21-03-2025
- Entertainment
- The Guardian
‘More are published than could ever succeed': are there too many books?
The complaint that there are too many books is not a new one. 'My son, be warned by them: of making many books there is no end,' reads one line in Ecclesiastes, written at least 2,000 years before the invention of the printing press. Now the bestselling author Bill Bryson has added his voice to the millennia-old chorus. There are 200,000 books published annually in the UK alone, 'more books than you could possibly read,' the writer of Notes from a Small Island told the Times. He is not sure that the growth in self-publishing, in particular, is 'a healthy development'. He said he gets sent 'a lot of self-published books, and most of the time it is just some anonymous person's life, and it is of no interest.' Bryson is not wrong that self-publishing has contributed significantly to book slop mountain. More than 2.6 million books were self-published in 2023 – many of which are uploaded to the dominant platform, Amazon's Kindle Direct Publishing – and they can't all be masterpieces. Nevertheless, the idea that self-publishing is the preserve of hopeless hobbyists producing books no one wants to read is at least a decade out of date. The romance author Colleen Hoover built her audience through self-publishing and has now sold around 20m books. Sarah J Maas, the world's bestselling author in 2024, started publishing her 'romantasy' fiction on when she was 16. Freida McFadden, the hugely successful psychological thriller writer, claims to make 60% of her income via KDP and has continued to self-publish even as mainstream publishers seek her out. 'There has been this suspicion of self-published authors from the beginning,' says Kathryn Taussig of Storm, one of a new breed of digital-first publishers that are capitalising on what she describes as a 'revolution' in self-publishing. 'There is a perception that the quality is lacking. But you only have to look at the bestseller charts.' Indeed, self-publishing has allowed authors to provide precisely the sort of books that people want to read, argues Natalie Butlin, creative insights director at Bookouture, the UK's leading digital publisher (which is now a part of Hachette). 'There are self-published authors who are making millions but you wouldn't have heard of them,' she says. The model has been particularly successful in catering to fans of genres that have been overlooked by mainstream publishers (for example, LGBTQ+ romances and romantasy) or trends that are deemed to have passed (such as psychological thrillers, or dystopian young adult fiction). Multimillion-sellers are outliers, of course – but then again, so is Bryson within the world of traditional publishing. Butlin thinks the real benefit of self-publishing is that it allows writers to make comfortable incomes at the middle of the market. A 2023 survey of 2,000 self-published authors by the Alliance of Independent Authors found that almost half exceeded $20,000 in revenue and 28% earned more than $50,000 – far more than the vast majority of traditionally published authors. 'If you can write a book that people want to read and you package it well, you can make £25-30,000 per book,' says Butlin. 'It's really not an unreasonable expectation.' Meanwhile, traditionally published authors will receive an advance payment, usually paid in instalments: on signing the contract, after submitting the final manuscript, and on publication. Advance amounts vary a lot depending on the author, but typically a debut author can expect to receive between £5,000 and £10,000 in total. After that, many authors 'never see any money again', Butlin says – royalties are only paid after the advance amount has been made back through book sales. The self-publishing model is of course only possible thanks to digital technology. Most self-publishing concerns ebooks (print-on-demand services are relatively niche) and the real engine is Kindle Unlimited, Amazon's subscription service, which allows readers to download 20 titles at a time for £9.49 per month, paying authors based on the number of pages read – a model that shares features with YouTube's minutes-watched revenue system. The most successful self-published authors have become highly savvy in their pursuit of pages-read, says Taussig – in many cases employing precisely the same freelance editors, cover artists, and formatting tools as traditional publishers. But their real advantage, she says, is the 'feedback loop' they can enter into with their readers. 'These writers are really listening to what their readers are saying almost in real time. They think about which characters their readers respond to and how to include them more. It's a two-way street in a way that traditional publishing isn't. It's why they've been so successful. And they get to keep so much more of the money they've made.' The other side of that coin is plummeting author revenues in the traditional industry. The Authors' Licensing and Collecting Society reported in 2022 that the median income of full-time authors had fallen by around 60% since 2006, to just £7,000 a year. Ross Raisin, an acclaimed British novelist, recently described the deflating experience of publishing his fourth novel, A Hunger, to positive reviews – only to be told by a major high street book chain that they 'didn't have space' for it on their shelves. Indeed, it could be argued that it's the 'big five' mainstream publishers – Penguin Random House, Hachette, HarperCollins, Simon & Schuster and Macmillan – who are more guilty of overproduction. Butlin began her career as a literary agent but became disillusioned that publishing wasn't learning the lessons from the music industry, which had been completely disrupted by digital technology. She felt that self-publishing offered more opportunities. 'Traditional publishers spend most of their marketing budget on the books that have received the largest advances and almost nothing on the books that don't – so most books don't really get a chance,' she says. 'You can make a relatively sensible guess on what will sell but it's still essentially gambling.' Publishers will end up with a few enormous hits that cover the losses, but what it means is that many authors end up feeling like it's their fault when their books don't sell. James McConnachie, editor of the Author, the journal run by the Society of Authors, the UK's largest writer's body, paints a similar picture. 'Far more books are published than could ever succeed,' he says. 'This is chiefly a natural result of readers being unpredictable. No one can publish only bestsellers, so the publishing industry is inevitably wedded to a model of overproduction. Too many publishers buy lots of books and publish them relatively cheaply, underinvesting in editing or marketing while outsourcing much of the risk to authors.' Sign up to Bookmarks Discover new books and learn more about your favourite authors with our expert reviews, interviews and news stories. Literary delights delivered direct to you after newsletter promotion The trouble is, the model sort of works for the publishers, says McConnachie. 'The industry is not broken,' he says, pointing to the extremely healthy profits of the big five publishers. 'But the model does rely on the imbalance between the author and publisher share. That's one reason for the growth in self-publishing. It can feel like you get a fairer share, especially when advances and royalty rates are so low, and traditional authors are doing much of the marketing anyway.' Still, self-publishing is far from a cure-all. It thrives in commercial fiction but literary fiction and children's fiction – which rely more on physical books and critical acclaim – have yet to find a niche. It's good at providing what readers want but not what might challenge them – there are also plenty of poorly edited, algorithm-chasing titles designed to exploit fleeting trends on KDP. Though it's not as if traditional publishers aren't guilty of churning out seasonal, trend-driven books either: we have HarperCollins to thank for The Pumpkin Spice Café series. More seriously, no one I speak to has a convincing answer about what happens when Amazon does what tech platforms invariably do, which is squeeze its customers for more money. McConnachie feels that the industry is already rife with unfairness. 'It's a bit like being a YouTuber. Everyone thinks they are going to be one of the few who makes a lot of money. In truth, the vast majority just feed the machine while the channel – Amazon, in this case – makes a fortune out of exploiting the long tail.' For now, though, it hardly seems like a terrible thing that there are different ways for authors to make money. 'It's making traditional publishing work harder,' says Isobel Akenhead, publishing director at independent press Boldwood Books. 'They can't be complacent because they're no longer the gatekeepers. They're not just competing with other publishers. They're competing with authors who don't necessarily need them any more. I think it's a brilliant thing. There are more diverse voices, more working-class writers, more people who wouldn't pass the publishing gates, finding readers.' There are always going to be people who think there are too many books – but it's not as if anyone is forcing anyone to read them.
