Authors, traditionally published and self-published, need to adapt to stay viable, says Merilyn Simonds, former chief of The Writers’ Union of Canada.
The US ISBN agency, Bowker, reports a 21-percent jump in self-published ISBNs—not titles—from 2014 to 2015, another indication of quickly rising interest in indie publishing.
Asked ahead of Frankfurt’s The Markets, Rotterdam’s Peter Paul van Bekkum says mobile, direct sales, and self-publishing are the publishing developments to watch in The Netherlands.
Matthias Matting’s fourth annual survey of self-publishing in Germany reveals further refinements in the way indie authors publish their books.
As part of Nielsen’s inaugural Romance Book Summit at the Romance Writers of America conference, a panel of publishers talk about globalization, sales, and diversity challenges.
Watching for a day when ‘generosity flows in both directions,’ ALLi’s leadership assesses new development—and division—in the indie-publishing sector.
The high view of self-publishing, in Jon Fine’s words, is peopled with ‘increasingly sophisticated’ authors supported by ‘increasingly sophisticated consultants’—a movement growing into its own alongside ‘the curatorial mark’ of trade publishing.
Ashton Applewhite and Bob Stein list 37 vendors and counting, in producing Applewhite’s ‘This Chair Rocks.’ That’s how you roll, they say, when you take the indie route—and mean to get it right.
Just as “a settling down rather than a reversal” of digital publishing arrives in the UK, this market—one of seven to be featured at Frankfurt Book Fair’s conference on October 18—faces the question of a European Union membership referendum.
The new quarterly report from Data Guy and Hugh Howey’s Author Earnings spots ‘more than 4,600 authors earning $25,000 or above from their sales on Amazon.com.’