Category Archives: Global Ebook News Round-Up

Wattpad’s Global Data Mine

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Are you making the best of Wattpad’s data tools?

Wattpad is, increasingly, a valuable tool to get actual sales, and I’ll be looking at some of Wattpad’s new sales-orientated features over coming weeks.

But for me Wattpad is most valuable for its global reach and its data.

Take the image above. Obviously this is an inert screenshot, but the original in my Wattpad data dashboard is interactive and a click on each of the highlighted countries will tell me what percentage of my readers are coming from each country.

Wattpad will also break down my readers by gender and by age group, and a lot more besides.

  • This map shows me that for this particular title some 25% of my Wattpad readership is in the US. More than I would have expected, but then this is an English-language title.
  • The UK accounts for 11% and Canada and Australia account for 3% each.

But what matters to me with Wattpad is reaching the rest of the world and, again bearing in mind this is an English-language title, the stats are both revealing and occasionally surprising.

  • In Europe I’m finding readers in Germany and Austria. Surprisingly no traction yet elsewhere in Europe.
  • 10% of my Wattpad readers for this title are in India. That’s very useful to know as I really hadn’t considered India a likely market for this particular book. And 2% in neighbouring Pakistan and 1.5% in Sri Lanka.

But then come the real surprises.

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Digital Libraries – Our Best Bet For International Reach

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I’ve covered the value of OverDrive and like digital library suppliers many times here, but it’s worth revisiting once more in mind OverDrive’s presence at the Beijing Book Fair last week.

From the OverDrive blog: (LINK)

“Over the last several years, OverDrive has made a significant investment to increase the amount of global content available for our library and school partners. We now offer 35,000+ Chinese titles from over 500 publishers in our online catalog, Marketplace, both in the U.S. and internationally. Additionally, Marketplace now features hundreds of thousands of titles from publishers in 63 countries and we add new titles each month in both Simplified and Traditional Chinese as well as Japanese, German, Spanish, Polish and many more languages. Titles include bestselling eBooks and audiobooks written in the native language as well as titles translated from English.”

But it’s not just about selling Chinese content in China. it’s about selling Chinese and other foreign language content globally.
From the Over Drive blog again, taking Chinese titles as an example,

“Libraries have responded by creating curated collections of community language content. Toronto Public Library, Los Angeles Public Library and Seattle Public Library all provide examples of digital collections featuring thousands of Chinese titles.”

This is where the true value of digital libraries for foreign-language content lies for us internationalist indies: accessing ex-pat and immigrant communities around the world that still want to read in their home language. Continue reading

James Patterson Book Shots, Sachet Marketing and the Perils of the Look Inside Feature.

DeadHeat

I follow James Patterson with interest – not so much for the reading as for the presentation and innovation.

Patterson didn’t get to be the world’s biggest-selling author – bigger than Rowling –by hiding his books away from public view and sticking to safe bet formats.

His latest Book Shots project – titles of approx. 150 pages written for the new world of mobile consumers – is designed to chase reluctant readers for whom a full length title of 300 or 500 pages is a daunting prospect.

Stories at the speed of life, as they are cleverly branded.

But he takes that one step further still with his Dead Heat Book Shot, which with perfect timing is set in the Rio 2016 Olympics and released to coincide. And this is a 150 page standard Book Shot delivered in four parts, of just 35-40 pages each, and in the UK retailing at just 49p (a full Book Shot retails at £1.99 GBP).

Whatever we may think of the actual writing, we have to admire the packaging, marketing and timing.

Yes, we can all find things to complain about in the storylines, but Patterson isn’t pretending to be Shakespeare.

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StoryDrive – Beijing. End May. Something To Look Forward To.

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China’s StoryDrive convention kicks off later this month. Not something we can easily attend, so enjoy the photo of the convention centre as a reminder that China is very much part of the digital age, and we should all be looking very closely at the opportunities unfolding in this amazing country.

I’m on limited net access this month (for the many new subscribers, I live in West Africa) so just a brief post here to point you towards Porter Anderson’s post over at Publishing Perspectives with a preview of StoryDrive. (LINK)

As Anderson describes it, StoryDrive “is a conference that focuses on storytelling across cultural and international borders, and the rights trade.”

For the many newcomers who may be thinking “why bother with China? It’s a closed community,” just to say I regard China, along with India, as the two most exciting prospects on the planet right now for savvy indie authors looking at the bigger picture.

It’s a common misconception that western authors can’t sell in China and no-one in China would be interested in western books anyway.

A widely held belief that has no basis in reality.

As long ago as 2014 my UK-based crime thriller that has absolutely nothing even remotely Chinese about it topped the ebook charts in China, including taking number one slot in the Kindle China store.

It can be done. It has been done.

China is a very real opportunity for adventurous indie authors, and not just for ebooks. China is way ahead of the transmedia game.

Do take time to check out Porter Anderson’s post and see why you should have StoryDrive Beijing 2016 on your Follow Closely agenda.

Oh, and watch out for StoryDrive Asia in Singapore in November.

A Global New Renaissance is unfolding. Writers today have opportunities quite unprecedented in human history.

Don’t let them pass you by.

The Global New Renaissance is real. It’s happening right now.

Be part of it.

Facebook Lite – Why It's Good For Indies, BRUSA, Amplifiable Content, And More.

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Facebook Lite Has 100 Million Monthly Active Users After Just Nine Months. Great News For Indie Authors Using Facebook Targetted Advertising To Grow Our Global Audience.

Most of us in the rich west use the internet with scant regard for how much data we consume. A typical plan with our ISP will be “unlimited”. We don’t have to worry about how “big” a site is, or avoid sites with video or fancy graphics because it will eat up our credit in a few minutes.

But in many parts of the world the only affordable way to by data is in sachets – x-megabytes at a time – and when it’s used up we need to go buy some more.

That was a big problem for me here in West Africa not so long ago, and while I now have “unlimited” access to a 4G network and can download what I like, it costs me more per month than most people here will earn in half a year.

Facebook Lite is an app that lets data-conscious internet users access Facebook without having to worry about how much data that attached image or is going to use up, because the Lite app adjusts content to minimise the data needed device by device.

It works great for 4G, 3G and even 2G networks.

The top countries where Facebook Lite is used are Brazil, India, Mexico, Indonesia and the Philippines. By happy coincidence all priority markets as recommended by me for internationalist indies looking to find new audiences.

Facebook Lite means it’s that much easier for authors to connect with people in those countries, and particularly worth bearing in mind for those of us using paid, targetted Facebook ads to reach new audiences. Facebook Lite countries obviously have better potential reach.

In India, for example, Facebook has 142 million active monthly users (69 million accessing FB daily!), but 133 million of that 142 million use the Facebook Lite app.

That’s a lot of people we could be letting know we have books available.

But a gentle reminder here that targetted global promotion needs to go hand in hand with targetted global distribution.

Last year I watched with mild amusement as one author ran targetted ads aimed at the Philippines to promote their ebook on Amazon and then complained bitterly that he’d seen no upturn in sales.

Mild amusement because I’d said to this author time and again that Amazon blocks downloads to the Philippines and most of Asia.

I’ll cover targetted global promotion in detail soon. Here just to note some observations on those top Facebook Lite countries, Brazil, India, Mexico, Indonesia and the Philippines.

Indonesia and the Philippines are both blocked by Amazon and Apple. Nook of course is only a player in the US now. Luckily Kobo and Google Play are available in all five of the top Facebook Lite countries. Kobo also has a partner store in the Philippines – National Book Store.

Brazil and Mexico are catered for by four of the Big 5 retailers, but be aware you’ll only get 35% from Amazon unless you are in Select. Brazil and Mexico both have Kobo partner stores as well as access to the Kobo store itself.

India, bizarrely, is both the largest market and the least well catered for, and here probably Amazon is indeed the best bet. No Nook or Apple, and Kobo and Google Play only have a token presence.

In each country there are domestic ebook stores available, but none are easily accessible, and are best left only to the most serious of internationalists.

Of course all these countries also sell print books, and in far, far,far greater volume than ebooks.

But again, no point in promoting a title unless it is actually available there.

Targetted global promo can get good results. Even better results if using cheap paid-promo like Facebook and twitter ads.

But targetted global promo, paid or free, is pointless if our titles are unavailable or unaffordable in the targetted country.

This post first appeared in The International Indie Author Facebook Group 10 March 2016 (LINK

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New Undersea Cable To Link Brazil And USA in 2018.

Submarine cables are the key to our international internet reach.

While futuristic social infrastructure projects like Google Loon (internet balloons) and Facebook Aquila (internet drones) are soon to join satellites in making the internet available globally, it is submarine cables that will continue to be the mainstay of our globile (global mobile) future.

Spain’s Telefónica is behind the new BRUSA (Brazil-USA if you’ve not yet had your morning coffee) cable, which is going to significantly improve not only existing 2G, 3G and 4G connectivity between the USA and Brazil but also give Brazil a firm foundation for the imminent arrival of 5G.

This in turn greatly accelerates interest in and take up of mobile devices for consuming digital goods.

This new cable link from Telefónica is in addition to its existing Pacific Caribbean Cable System (PCCS), a consortium submarine cable which links Florida, USA with the British Virgin Islands, Puerto Rico, Aruba, Curacao, Colombia, Panama and Ecuador, and the Unisur cable connecting Uruguay and Argentina, and the SAM-1 submarine cable system which forms a 25,000 km ring linking the USA, the Caribbean and Central and South America.

Latin America is already a lucrative market for our digital content, and is just going to get bigger and better as we wind down this decade, move into the era of 5G and the Internet of Things, and move inexorably towards 6G and the Internet of Everything.

The market for digital content is global. It’s driven by mobile.

5G will arrive whether we like it or not, and while it won’t destroy print, it will radically alter our prospects as digital content providers in the future.

Huge opportunities ahead. But also huge challenges.

We all have the option to look the other way and pretend the globile future isn’t happening. But it’s happening anyway.

I’m embracing the globile future.

How about you?

 

This post first appeared in The International Indie Author Facebook Group 10 March 2016 (LINK

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“Amplifiable Content” – A Digital Publishing Buzzword That Might Just Buzz.

When it comes to business buzzwords, they are usually great for comedy, but not much else.

But the term “amplifiable content”, which got the spotlight at DBW this week, is worth a second look.

The tagged report from BookBusiness notes,

“Although social media, in particular Facebook, is often at the top of publishers’ audience growth strategies, organic search is still the top traffic driver.”

That alone is worth pondering.

There’s a common belief in the indie world that the only way we can possibly sell a book is by marketing it to death, spamming everyone day in day out with promo and paying for advertising.

Well, promo certainly helps, of course. If done right. But spamming people isn’t doing it right, and the big question I would be asking is, if our book can’t build its own momentum, do we need maybe to revisit the book?

I’ve sold, to put it mildly, a fair few books over the past half decade. Yet I’ve never run a Bookbub ad, have maybe ratcheted up a dozen promo tweets and FB promo posts over the past year and generally do very, very little promo.

I prefer to just put titles out there and let them find their own way.

No question I’d have sold more if I was more active with marketing, and probably a ton more if I went for (and was lucky enough to secure) a Bookbub ad.

But organic growth is more meaningful than blip-driven growth in the long term.

I see some authors who buy a big ad, race up the charts, and a week later are back in the wilderness and need to do it all over again just to stand still.

That’s blip growth. Instant gratification, but like your average takeaway / carry out meal, you feel hungry again an hour later.

A big ad only pays off long term if backed by plenty of quality content available where the readers are.

If we have that, then organic growth kicks in and big ads and promo can become a supplement to our careers, not the only thing that keep us afloat.

When I hear authors, who have been on the circuit for several years, saying “we can’t sell books unless we promote them non-stop” and “the moment I stop tweeting and FB-ing my book my sales stop”, I can’t help but wonder what they are doing wrong.

Discoverability is a big issue for unknown, new writers just starting out, of course, or for an established author going incognito under a new pen-name, or kicking off in a new language.

But if we’ve been on the circuit for many years using the same name and the same branding and churning out the same books and we still have no organic momentum and are reliant on promo for our next sale then just maybe we need to take a step back and address the underlying problems.

To return to the DBW post, where SEO expert Rand Fishkin discusses “amplifiable content”:

“On average, Google drives 7X to 10X more traffic than Facebook does,” says Fishkin, adding that for ecommerce sites, search traffic is still the top referrer.

“Although publishers should invest time and energy in identifying valuable keywords, optimizing search snippets for articles, and building a network of links back to their original content,” says the DBW report paraphrasing Fishkin, “SEO success really comes down to understanding on a deeper level one’s audience and creating content that they will not only love, but will also share.”

That is, “amplifiable content”.

If we have to spam people just to get our next sale then we don’t have “amplifiable content”.

We don’t have organic growth.

And we don’t have a sustainable writing career.

This post first appeared in The International Indie Author Facebook Group 09 March 2016 (LINK)

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This Island Earth.

As I reported here at the start of the year, residents of Easter Island, the furthest flung inhabited island on the planet, may have trouble getting hold of print books, but they will, if we’ve made the effort to be available, have access to our ebooks.
 
A couple of days ago Easter Island’s LTE (4G for all practical purposes) network was activated, giver Easter Islanders even more reason to buy a smartphone that they could be reading our books on.
 
Also this week comes news that Kiribati is soon to get an advanced internet connection through the satellite service O3b Network, in conjunction with SpeedCast International.
 
Earlier this year 03b and Speedcast Int. began new operations in Papua New Guinea and on Christmas island.
 
Elsewhere in the Pacific O3b teamed with local telecoms to expand advanced internet reach to Palau and the Solomon Islands.
 
Back when the “ebook revolution” began in 2009 reach for indie authors was pretty much a one-country affair, and consumers needed a computer and an expensive e-reader to engage,
 
In the globile (global mobile) world of 2016 it’s hard to find anywhere on the planet we cannot reach, or anyone on the planet who does not have access to an affordable device that could be used to download our ebooks.
 
And not just our ebooks, but our audio, video and any other digital content we might care to make available.
 
But that’s down to us. The consumers are out there. The means to reach them is available to us all.
 
But if our titles aren’t available where they are… Our loss. They’ll just buy another author’s works instead.
This post first appeared in The International Indie Author Facebook Group 11 March 2016 (LINK)

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The International Indie Author.

Looking at the bigger picture.

 

 

 

2016: The Year So Far For Internationalist Indie Authors

2016 The Year So Far

2016 is simply racing by. Either my calendar is on amphetamines or February’s gone, April is looming, and we’re well on the slippery slope to 2017, with 2020 just around the corner.

A step nearer to the the first decade of 5G and the Internet of Things. A decade that, for publishing, is going to make the tumult of the 2010s seem rather tame by comparison.

I’ll be re-visiting the future as we go, because any of us planning on still being on the writing and publishing circuit in the 2020s needs to be preparing now for the challenges ahead.

But we also need to keep one eye on the present because, to paraphrase John Donne, no writer is an island, and events unfolding around us largely unnoticed now will determine all our futures.

So I’m kicking off March with a look back on how 2016 is shaping up so far for us internationalist indie authors looking at the bigger picture than next month’s pay-cheque. (A reminder there, for any new readers, that I write in British English!).

And a reminder too that I live and write in West Africa, and sometimes the distractions of Third World life play havoc with my blogging schedule.

This is my first blog post in over a month. But I do post far more frequently – pretty much every day, often several times a day – over at the International Indie Author Facebook Group. (LINK)

While blogs have a permanence and discoverability Facebook sorely lacks, Facebook Groups are great for interaction. It’s a telling point that the Facebook Group, with fewer members than there are followers of this blog, gets far more productive, daily engagement than the blog does.

So do pop along and sign up to the IIA Facebook Group and enjoy daily reflections on Going Global.

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Meantime, back to 2016 so far.

Amazon is lining up suppliers for a new music subscription service intended to go head to head with Apple’s music subscription option and to challenge the established music subscription players like Spotify.

Currently Amazon offers a limited music subscription service option free to Prime members, but this latest move – expected to materialise in the latter half of this year – indicates the mighty Zon has bigger ambitions than just keeping Prime members on board.

It begs the question, where does Amazon go from here with subscriptions? And more pertinently for us, ebook subscriptions?

I’ve long suggested Amazon will, when the time is right and the costs are down enough, make Kindle Unlimited available free to Prime members.

KU may have a million titles, but in real terms the choice is limited, just like the Prime music and video selections.

But whereas Prime members get the music and video free they are asked to pay full price for KU (aside from the one free title a month).

The logical next step would be to make KU available free to Prime members in its current format, and then re-launch KU proper as a “real” ebook subscription service, dropping the exclusivity condition.

Dropping the exclusivity condition for self-publishers for the extended KU could bring into the game the titles of the many indie authors who play the wider game and are therefore excluded from KU by Amazon’s current rules.

That would be a win for the revamped subscription service – lots of new content to attract paying subscribers – and also a further income stream for authors.

But also a win for Amazon’s wider game, undermining the subscription competition.

It may seem like there is no competition to KU, especially now Oyster is out of the game, but to the extent that’s true at all, it’s only true in the US and UK.

Internationally subscription services like Bookmate, 24Symbols and Mofibo are doing just fine, and in the “home markets” niche subscription services are also doing well, while a new global subscription service, Playster, may yet surprise us.

Given Google has soaked up the Oyster team and skills-base it seems likely Google Play will enter the ebook subscription scene at some stage, perhaps with an international service to compete with Bookmate, Playster and Scribd.

And then there’s Apple.

Pundits like to dismiss Apple as a hardware firm that dabbles in content-supply, but that’s self-evidently untrue. Apple has plenty of content ambitions or it wouldn’t have introduced a music subscription service or be fielding 50+ global ebook stores.

Yes, Apple will remain primarily focussed on hardware, just as Amazon remains primarily focussed on e-commerce but dabbles in hardware and building its own content creation. The two are not mutually exclusive.

Last year Apple entered the music subscription game – something Amazon is now preparing to respond to. And while there are no indications yet that Apple is sounding out big pub on launching an ebook subscription service, it‘s a safe bet that it’s on the way.

For Apple, it’s an extra income stream for very little effort as they already have some 50 global iBooks stores. And of course it would be an extra arrow in their quiver to attract buyers to their hardware, which is the whole point of Apple’s content ventures. For the many publishers who don’t have a problem with subscription services per se, but are studiously avoiding KU for obvious reasons, an Apple subscription service would be welcomed.

And in another slow puncture in the wheel of Apple- isn’t-interested-in-content it’s just been announced Apple’s first original TV series is being made.

Something to keep an eye on as this year unfolds.

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But music subscription is not the only content push Amazon is planning.

Currently Amazon is advertising for new technicians to take Audible to a whole new level. I’ll be covering this in detail in a dedicated post on audio shortly.

And yet another event on the Amazon horizon is the arrival of an Amazon used-ebook store.

At the moment it’s only an industry rumour, and there’s no real indication of how this might work, or what its impact might be.

My guess is an Amazon used-ebook store would, like KU, be aimed at the indie circuit. I’ll reflect on why in another post, as so much else to cover right now.

Video, for example.

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Amazon has been actively building its film and TV production arm and clearly has ambitions far beyond simply adding to the free content available for Prime members.

Video is big business. Not just in the US but globally.

Of course, film and TV have long been available worldwide. Nothing new there. But what is new is a) the scale and b) the delivery.

Here in West Africa freeview satellite dishes are everywhere, for those lucky enough to have electric. That’s the same across the world. But old-fashioned satellite broadcasts are a hang-over from the twentieth century, like analogue TVs.

As the Globile (global mobile)  New Renaissance unfolds, access to video – by which I mean mainstream film and TV, not just three-minute home-made footage of a playful kitten on Youtube – is moving to new heights, delivered by mobile broadband.

As the world goes globile (global mobile, don’t forget!) and internet speeds and reliability move to new levels, pretty much the entire globe is within reach of mainstream video, just as pretty much the entire world can now access our ebooks.

Netflix kicked off 2016 with an expansion into 130 new countries, including Pakistan, South Korea, Turkey and Russia, taking Netflix’s reach to 190 countries globally, and in twenty languages.

“In 2016 (Netflix) plans to release 31 new and returning original series, two dozen original feature films and documentaries, a wide range of stand-up comedy specials and 30 original kids series. Netflix will also work to make the rest of its content available worldwide, so it offers the same programming in each market.” (LINK)

So let’s be clear on this. Netflix will be showing classic film and TV from our western culture, making it available around the world to audiences eager to lap it up. And pay for the privilege.

Books are no different. We only have to look at the bestseller charts around the globe to see how translations of top-selling American and British books are being devoured by eager readers in countries are removed from the culture of the US and UK.

Don’t think you need to be a Stephen King or an E.L. James to sell well abroad. Indies can do it too. Those of us who have made the effort to reach out to global audiences have, both for our translations and English-language originals, found a positive reception. Number one on Kindle China, anyone?

But we don’t need to stop at books. Savvier indie authors will be looking at operations like Netflix and asking ourselves – “Can they use my content?”

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If the Netflix scenario were a one-off story, this would still be significant But it’s far from one-off.

A South Korean TV subscription player in January expanded across Asia, observing astutely, “Korean content travels well”.

Hard on the heels of HBO announcing (end 2015) plans to stream video in Spain later this year and the global expansion of Netflix in January, Spain’s Telefonica announced plans to create and broadcast eight to ten series a year, starting in 2017. While Spanish-language focused Telefonica also plans to team up with other major European studios for co-produced English-language works.

January also saw the news that UKTV is to launch a new flagship subscription service called ‘W’ (don’t ask!) laden with original shows.

Steve North, W’s general manager, said, “We have a treasure trove of compelling original commissions, our own crown jewels.”

The tagged report notes that “UKTV’s investment in original content has pulled in millions more viewers to its portfolio of channels”. (LINK)

These are just a few among numerous similar developments as the Global New Renaissance blossoms, allowing countless new players to not just distribute but to create original content.

Which means production studios around the globe are screaming out for new content that can bolster their catalogue. Not just the big Hollywood film and TV studios and their equivalent in other countries, but the upstarts like Amazon Studios, Netflix, HBO, etc and the perhaps less-well known but still big enough to pack a punch producers like UKTV.

No, we don’t need to be professional screenwriters to be excited by this.

Yes, we can stay as we are, fingers crossed, and dream. it’s always possible someone will stumble across our works and want to option them for a TV series or a film. It happens.

But savvy indie authors will be proactive, not trusting to luck.

As I’ll be exploring in detail sometime soon, there are a number of agents who specialize in licensing IP rights for other media. There are also a number of agencies operating IP databases where production teams go to search a database as an easy way to find good content that by definition is available for licensing.

And then of course we have the option to approach production studios ourselves with our titles and show why they would work in other media, or to partner with a third party to produce a script/storyboard/whatever that will get the attention of those production studios. Amazon has its own film storyboarding software available free to use!

Several big publishers are setting up units specifically to team with video-production studios to develop their book titles in other formats, and the only thing stopping indies getting in on the act is our own tendency to think of ourselves as “ebook authors”.

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Moving back to books, and potentially good news on the horizon for indies looking to reach Australia’s readers. Amazon is launching The Book Depository in Australia (LINK), possibly as a prelude to a wider Amazon AU store down the road to compliment the Kindle AU store.

The Book Depository sells print, so is not on the radar of most indies because of our unhealthy focus on ebooks even at “home”, let alone in markets in far flung lands like Australia.

Equally safe to say that for most indies the Australian ebook market is the Kindle AU store, although there are numerous other options to read ebook readers in Australia.

With ebooks accounting for about 7% of total book sales in Australia right now, and ebook take-up growing by 26% per year, it’s worth taking Australia seriously.

That means at the very least being available on Kobo AU, Google Play AU and Apple AU, while for the more ambitious among us there are plenty of other players.

Angus & Robertson, for example, which is supplied by Kobo.

While some smaller AU ebook retailers lost the battle for survival (JB Hi-Fi and Big W both called it a day) other players are holding their own.

Not least Booktopia.

Amazon’s The Book Depository is the biggest player in Australia for on-line print titles even before it sets up shop in situ, but the second largest on-line bookseller is Booktopia, which last year bought out Bookworld, previously owned by Penguin Random House.

Booktopia doesn’t give out ebook stats but it shipped ten million print books last year and expects that to increase now it’s absorbed Bookword’s customer base.

Booktopia expects to sell $80 million worth of print titles in 2016. Amazon, boosted by the Book Depository local-launch, is on target to sell $200 million of print titles.

How much of that $280 million Australian print market will indies be getting a share of?

Very little, no doubt.

As we all know, trad pub has an oh-so-unfair advantage because it can get books into bricks and mortar stores and we indies can’t. Or so the chant goes.

The reality, of course is that indies can, if we make the effort, get print books into bricks and mortar stores, at home and around the globe.

But that debate is academic here because that $280 million market being discussed is all on-line sales, not though bricks and mortar stores.

Very unhelpful for us looking for any excuse to take the path of least resistance. Great news for those of us who are serious about becoming international bestselling authors.

But let’s stay briefly with ebooks. For indies looking at Australia, aside from Kindle AU there is Apple AU, Google Play AU and Kobo AU, as well as the aforementioned Kobo partner store Angus & Robertson. Then there’s Booktopia’s ebook store and beyond that smaller but still significant players like QBD.

If our books aren’t in these stores then obviously Australian readers who frequent these stores will not be able to buy them. It’s that simple.

Being available is half the battle.

How to reach Australian ebook readers? Amazon, Apple and Kobo are easy enough to get into, of course. Google Play not so much, as neither Smashwords nor Draft2Digital distribute to Google Play. Luckily for us, both StreetLib and PublishDrive do.

To get into QBD we need to be in the Copia catalogue, and to get into Booktopia the Ingram catalogue is required.

Yeah, I know. It’s a cruel world. How dare they make life difficult for us over-worked, under-paid indies.

But here’s the thing. The retailers are responding to consumer demand. For some obscure and unfathomable reason consumers prefer to buy from stores that are convenient for them not for us.

Yes, it would be great if readers the world over were all thinking, “Those poor indie authors trying to do it all on their own… Why don’t we all buy from one store to make their lives easier and then they can spend more time writing and less time trying to maximise their distribution.”

But the reality is, our typical reader no more cares about us as authors of the books than we do about the screenplay writers who create the TV dramas and films we ourselves love to watch.

And let’s be honest with ourselves here. How many of us could even name, let alone care about, the writer or writers who wrote that TV drama we were enthralled by last night? Or the latest blockbuster film we watched at the cinema last week?

Exactly.

Bottom line is, it’s our choice. We can put consumers first or put ourselves first.

The path of least resistance is always there if we want to walk it.

But we wouldn’t be here reading this in the first place if that were the case, so take a deep breath and check out Ingram and Copia distribution if you haven’t already.

Australia, with urban populations separated by huge distances, is perfect online-store territory for both print and ebooks, and perfect long-term ebook territory now smartphones have replaced dedicated ereaders as the primary reading device.

Most Australians speak and read English meaning there’s no need for translations to reach this lucrative overseas market.

Yet indies seem largely indifferent to Australia’s charms. Even Australian authors seem to obsess more about the US market than building a fan-base at home. Which is crazy when a glance at any Australian bookseller – print or digital – shows the retailers obsessively promote home-grown Australian talent.

Whether Booktopia can hold its own when The Book Depository goes live in Australia remains to be seen, but the one certainty is the Australian book market – for English-language print, ebooks and audio alike – is worth taking seriously.

I am. How about you?

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Coming back to Amazon yet again, and Kindle Unlimited launched in China last month.

But don’t get too excited. Unless our ebooks are in the Kindle China store in the first place then we’ll not be there.

The good news, for those of us who are there, is that there is no exclusivity conditions so we can continue to reach reads on China’s many other and mostly bigger, ebook retailers while still getting the benefits of KU-China.

Kindle China is not part of the KDP set up, so there are none of the Kindle star names in KU-China to compete with.

◊ ◊ ◊

Finally for today, and staying with China:

More Than Half Of China’s Population Is Now Online!

Last summer I reported that India has more people online than the USA has people in it.

2016 kicked off with news that over half of China’s people are now connected to the internet.

688 million people (50.3% for fellow maths obsessives) are connected, and 620 million of those connect using mobile devices.

A reminder, if needed, that the world is going globile. That’s global mobile for anyone who’s not been keeping up.

And also for any newcomers, a mention that the Beijing-based aggregator Fiberead will translate, produce and distribute your titles in China at no up-front cost.

But let’s come back to going globile.

More Indians on the internet than the USA has people in it. Almost twice as many Chinese on the internet than the US has people in it.

Globile – global mobile – is enfranchising literally billions of people who previously had no access to books.

Now people almost everywhere on the planet have a device in their hands that can be used to read our ebooks. As I reported at the start of the year, even Easter Island, the remotest inhabited island in the world, has wi-fi.

The US is and will remain for a while yet the biggest book market in the world. But collectively the rest of the world will dwarf it many times over in coming years.

Already in 2015 India leapfrogged the UK to become the second biggest English language book market and the sixth largest book market overall.

Savvy indies will of course remain focussed on the US and UK markets that sustain us now. But we will also be sowing the seeds for future harvests in the now nascent markets.

Think about the next five years, not the next five weeks.

Go globile in 2016!

◊ ◊ ◊

For daily news and views on the global ebook scene, and some great debate, join The International Indie Author Facebook Group. (LINK)

 

 

 

◊ ◊ ◊

The Globile Future For Indie Authors Starts Here

globile

It’s almost time to say goodbye to 2015 and start the countdown to the end of this decade.

It may be 2016 in a week or so, but 2020 is just around the corner, and if we are serious about our writing careers we need to be thinking about where we will be in 2020, as the era of 5G and the Internet of Things becomes a reality. A global reality.

Personally I’ve got no time for crazy notions like New Year resolutions and Predictions of Things to Come.

If something is worth doing it’s worth doing now. No need to wait for a New Year to arrive to take the plunge.

As for predictions… The future’s not ours to see, but we can anticipate and prepare for the future by simply looking at the trends happening now.

When the latest Author Earnings report talked about the size of the US ebook market compared to the rest of the world it was pretty much spot on.

The US is by far the biggest ebook market by revenue and pretty much the largest by volume.

But a snapshot of how things are today is no guide to how things might be even next year, let alone in 2020.

2020 is going to be as different from 2015 as 2015 is from 2009 when the self-publishing “revolution” began.

E-readers – and specifically the Kindle – changed the ways Americans read. No question. But globile – that is, global mobile – has changed the way the world reads, and not just reads, but consumes TV, film music, radio, games, audio… you name it.

The Global New Renaissance that sounded so fantastical when I first started talking about it back in 2011, is now a reality.

We have unparalleled reach, not just as authors, but as content-providers across media, that was quite inconceivable even ten years ago, and pretty improbable just five years ago.

So bear with me today as I present some recent news stories that demonstrate just how much and how fast the world is changing, offering us unprecedented opportunities in 2016 and beyond.

◊ ◊ ◊

Bricks & Mortar Bookstores Sales Rose 6.9% in October.

It’s a strange old world.

More than five years after the ebook pioneers declared print to be redundant and the Borders closure to be conclusive proof that bookstores were dead in the water, print adamantly refuses to tow the line.

In October print sales in bricks and mortar stores across the US inconsiderately rose 6.9% compared to October 2014, following an equally inconsiderate year on year rise of 6.7% in September.

Given the time of year it’s beyond improbable that we are going to see any change to that pattern for November and December.

Which begs the question, what is happening out there?

It’s a fact that the biggest rise in ebook sales, seemingly at the expense of print, came in the era of dedicated e-reading devices.

E-readers are still available, and far cheaper than before, and so now are gazillions of smartphones, meaning people have a means to read ebooks whether they have an e-reader or not.

Ebooks are (mostly) cheap, there are literally millions to choose from, and there are any number of subscription services where you can read for next to nothing, and God knows how many free ebooks available such that we need never pay to read a book ever again.

We ought to be shifting tons more ebooks and seeing print spiral into oblivion.

But it just ain’t happening.

That’s not to say ebooks are fading away. Ebooks are here to stay. But for the foreseeable future so is print.

And as we hurtle into 2016 we should all be looking very carefully at our print options.

Revamping all my print titles has been a priority for me for 2016 simply because I’ve not had decent enough internet to do it properly until the last few months (for any newcomers, I live in West Africa), but the latest figures emerging add to the urgency of the task.

It’s easy for indie authors to relegate print to a secondary consideration because of the issues getting access to bricks and mortar stores, but the difficulties are nowhere near as big as we’d like to think (it’s always far easier to avoid a hurdle than try to jump it cleanly and move forward) if we do some homework and embrace more than just the obvious first port of call for POD that is Creatspace.

Not that there’s anything wrong with CreateSpace, but if we aspire to sales in bricks and mortar stores, at home and globally, we need to have more than one POD operator in our toolbox.

And the bricks and mortar stores excuse anyway does not stand up to close scrutiny. for the simple reason that so many print sales actually take place online.

It’s important to remember that it wasn’t ebooks that put Borders out of the game. It was the online sales of print titles.

Yet most indie authors treat print as an afterthought. We are, collectively, ebook authors, some of whom dabble in other formats.

Our loss.

Print has somehow survived the past five years of turmoil in the US, and will yet survive the next five years.

And globally… Print is still king and as internationalist authors we will all be missing major opportunities ahead if we ignore print as the Global New Renaissance unfolds.

Because smartphones aren’t just a place to read our ebooks. They are also a shop window to the global bookstores selling our print titles.

And it’s an amusing thought that smartphones, which ought to be sounding the death knell of print, are actually helping global print sales, by increasing discoverability among global print readers.

◊ ◊ ◊

Audiobooks Outselling Print by 4-1

This Marketwatch story (LINK) should be taken as anecdotal, in that only a handful of authors are seeing this phenomena right now – but indicative of the future.

As I’ve been saying since 2011, audio-books will form an important part of the Global New Renaissance as digital enables listeners anywhere to embrace our titles.

These reports of authors giving up their day-jobs on the strength of audio may be few and far between, but this is going to happen more and more.
The problem, as ever, is distribution, with very few outlets available for global a-book sales. But that’s already changing, and over the next few years will change all the more.

ACX is the obvious and probably easiest option for indies to go the audio route, and a good place to start, but it’s not the only option.

As indie authors we have somehow managed to sort our own production of ebooks. So it’s certainly within our capacity to make similar arrangements for audio and keep more control of our work.

Now I’m finally fully internet-enabled here in West Africa a-books are a top priority for me for 2016, and I’ll be exploring further the possibilities for both production and distribution of audio in a series of posts in the new year.

◊ ◊ ◊

Mickey Mouse Goes To Beijing.

If we were still having any doubts about whether China might be interested in our western culture, Alibaba laid that crazy notion to rest with the announcement that Disney’s content will be streaming to China next year, and included in the deal will be a year’s subscription to Disney Life, which has Disney ebooks as part of its package. (LINK)

This comes hard on the heels of a report in Publishers Weekly saying “The Chinese market is hungry for U.S. children’s book content, ”

More on that report and other exciting prospects unfolding in China, in a future post.

But first, let’s get to grips with just how big the China market is going to be.

◊ ◊ ◊

China To Hit A Half Billion 4G Users By End 2016.

China Mobile is leading a crusade in China to double the number of 4G users in the country over the next twelve months, with 500 million people expected to be 4G connected in China by this time next year. (LINK)

It’s not clear how many of those will be upgrading from 3G rather than new users, but safe to assume China’s total internet engagement will be well over a billion people.

China remains one of the most exciting places on the planet for indie authors. And as the barriers to global engagement with China continue to tumble it can only get more and more exciting as we head into 2016.

As the deal with Alibaba and Disney Life (see above) clearly shows, China is hungry for western culture.

Western publishers know that. They are piling in both English-language titles and translations, and seeing great results.

Indies too. Regular readers will know a few western indies have done rather well in China, even (no names mentioned) hitting #1 in the Kindle China store in 2014, and many more have hit the top ten this year.

2016 holds untold possibilities and hard-to-exaggerate opportunities for indie authors willing to take fair Cathay seriously.

China isn’t easy to get into. But nor is it a closed shop.

China should be on the radar of all internationalist indie authors in 2016.

◊ ◊ ◊

The Future Of The Big 5 Is Multi-Media. How About For Us Indies?

HarperCollins continues to embrace the digital Global New Renaissance, having just teamed up with the video production company Insurrection Media to option and develop books in sci-fi, drama and comedy for both digital video and linear television series. (LINK)

They will “jointly identify key titles that are most compelling and suitable for video series and then co-develop and produce shows to be owned and distributed by Insurrection in the U.S. and overseas on a multitude of over-the-top and linear video platforms.”

Just one more way in which trad pub, far from being destroyed by digital as we were assured would happen back in the early days of the “self-publishing revolution”, is in fact embracing digital to add value to its operations.

And for most indies this will just widen the gap between successful trad pub authors and successful indie authors.

While indie authors’ works can and do get optioned for other media productions (earlier this year David Gaughran reported one of his books getting optioned for film – LINK), instances of this happening are few and far between, not least because generally only the most successful and high profile indies are going to get noticed in the first place.

Meanwhile it’s well worth us looking at our existing titles and pondering what other media they might work well in, and also looking at our future production with multi-media built in as we write.

Back when I was writing for TV the constraints were dreadful. To keep down costs concepts had to be “int” (indoor, so studio produced, not expensive outdoor shoots) with as few speaking cast as possible (speaking actors cost more than walk-ons), etc, etc. The list of what to avoid was a book in itself. Modern production is a world apart.

The only real issue for adaptations to mainstream video now is momentum and timing (does the story carry forward evenly and will it break down into twenty/fifty minute segments or will it cram into a 90-120 minute film production.

For those of us writing series, and especially novella length, it would take little adjustment to write more visually with a video adaptation in mind.
In the Philippines Wattpad leads the way, with Wattpad TV going out four nights a week with video adaptation of Wattpad titles. Aimed at a Filipino audience, of course, but only a matter of time before this becomes a feature in countless countries.

Amazon is already moving in this direction with its own studios, and the logical next step for the Amazon is to adapt its imprint titles to video.

The US ebook market is going to get tougher and tougher next year, making diversity both at home and abroad, in content, content distribution and content format, absolutely essential if we are to keep moving forward.

The opportunities ahead are incredible. But only if we can not just step outside of, but take great strides away from, the “I’m a one-market ebook writer” box that characterises most indie authors today.

As for staying in the comfort zone of being a one-market ebook author, check out the next story to see just why I think that’s a bad strategy.

◊ ◊ ◊

Reality Check: Glut Of Scripted TV Content Troubles Hollywood.

So says this Wall Street Journal piece. (LINK)

Needless to say the Reality Check bit is mine.

Market fragmentation is something I’ve long been warning of, and we see it across all media. Music, TV, film, books, etc.

Put simply, as more and more content producers enter the fray with a means to distribute, so the competition for eyeballs, ears and consumers’ cash becomes more and more fierce.

We saw this clearly with television in bygone days as multi-channel broadcasting became the norm. The average number of viewers for a TV programme today is a fraction of what it was thirty years ago when viewers had very little choice about what to watch.

We saw it with music as it became easier for smaller bands to get noticed, specialist radio stations and record labels proliferated, and production was digitalised.

And we see it with books. Readers have more and more books to choose from and more opportunities to discover new material.

But at the end of the day there are only so many viewers, listeners and readers to absorb this tsunami of new content being flung at us from all directions catering for every imaginable niche in any format we want.

Nowadays corporate film, TV, music and book producers clearly understand this, and they all look to global reach to keep their businesses viable.

Whether it’s the latest Hollywood blockbuster, the latest Marvel TV show, the latest Taylor Swift album or the latest Lee Child Jack Reacher novel, it’s a given these will be available worldwide to a global audience ion multiple formats and will rake in a ton of cash by being so.

Indie authors, not so much.

And while it’s true there are practical limitations to our global reach, the single biggest obstacle to indie success in the international markets is our own collective unwillingness to engage.

Our loss.

As globile internet takes hold we have unparalleled opportunities to reach audiences in places and formats totally off-limits even five years ago.

Or we can carry on partying like its 2009 and wonder why its getting harder and harder to get anywhere.

Go globile in 2016!

◊ ◊ ◊

From Russia With Love.

Over in the Russian Federation telco Rostelecom has extended its fibre coverage to 30 million households, with plans for further advances in 2016.

While not a priority engagement right now, everyone should have Russia on their radar.

Google Play is there, and of course Bookmate. Both accessible through StreetLib.

I’ve just signed up my two translator-partners for the Russian language and one for Ukrainian, and I’m looking forward to seeing my titles available to Russian, Ukrainian and CIS readers in 2016.

Currently Russian is not supported in Amazon’s KDP account, but there have been indications Amazon is planning a Kindle RU store. But don;t wait until that happens to start your Russian-language catalogue.

◊ ◊ ◊

 

Vodafone India Begins its 4G Roll-Out.

The Global New Renaissance is driven by globile – that is, global mobile.
It’s very much a leap-frog affair as 3G smartphones encourage people to buy smartphones which then justify 4G expansion which encourage even more people to get smartphones.

Vodafone India has just begun its 4G roll-out across India, (LINK) which will accelerate the take-up of smartphones across the country.

Literally half the world now own a smartphone. Over three billion people.

A reminder, if needed, that every single smartphone in the world is a potential home for our ebooks, audiobooks and other digital offerings.

◊ ◊ ◊

Instagram Is Already Bigger Than Twitter. Pinterest Won’t Be Far Behind.

Two new acquisitions by Pinterest strongly suggest the direction Pinterest is heading. As a major e-commerce player. (LINK)

The first five years of the “ebook revolution” have been dominated by one country, one retailer and two social media platforms.

The next five years are going to be dramatically different.

Not that the US, Amazon and Facebook and twitter won’t continue to play pivotal roles.

But the new world of globile publishing that is now solidifying is very different from what has gone before.

Availability everywhere needs to be combined with discoverability everywhere and buyability everywhere.

A diverse distribution strategy needs to go hand in hand with a diverse social media strategy over the next five years if we are to reach the hundreds of millions of potential readers who do not think Facebook and twitter are the be-all-and-end-all of social media existence.

◊ ◊ ◊

Google Steps Up Its Plans To Bring All Indians Online. Indie Authors, Stake Your Claims Now For the Goldrush Coming Soon!

This week Google announced plans to launch a program to train two million new Android developers over the next three years, partnering with more than 30 universities in India.

Google India already one of the biggest Google operations outside the US and is second only to the U.S. in total number of mobile search queries. (LINK)

I reported here back in September how Google planned to get wi-fi to 400 train stations in India, and this week Mumbai Central became the first to go live.

There will be 100 wif-fi train stations connecting 10m million train commuters by this time next year.

I also reported on the wonderful Google Saathi initiative involving Google teams touring the remote Indian countryside by bicycle and teaching rural women how to use their smartphones.

The Saathi project has now reached one thousand villages, and the plan is to reach 300,000 villages over the next three years.

These are just a few among countless initiatives from Google (like youtube offline) that are bringing more and more Indians to the internet each day.

And speaking of youtube, if you ever needed proof that we are witnessing a Global New Renaissance, just check out Youtube Space Mumbai, which also opened this week. (LINK)

“Today’s announcements are just our latest steps in our journey to bring all Indians online and make the Internet more relevant and useful for their needs,” Caesar Sengupta, Google’s VP for Chrome & Android said.

India this summer reached the point where the country has more Indians online than the USA has people. 350 million internet users. Most of them using smartphones that could be carrying our ebooks and audiobooks.

But here’s where it gets really exciting.

As Sengupta notes, “There are still nearly a billion people in India who don’t have access to the Internet.”

Not for much longer!

Any indie authors still not taking India seriously as we wind up 2015 should nip off to Starbucks and down a few treble-espressos.

India is already the second largest English-language book market on the planet (yes, bigger than the UK) and the sixth largest book market overall.
And it can only get bigger and bigger.

Given the hurdles to getting into China right now (it’s possible, but not easy) India remains my number one prospect for the next five years.
Don’t wait for the bandwagons to start rolling.

Stake your claim now for the India goldrush to come.

◊ ◊ ◊

Simon & Schuster Report “Significant Growth” In UK in 2015.

Reading the indie blogs recently you could be forgiven for thinking corporate publishing is on its knees once again. Every time a minor downturn in sales/revenue happens we seem to revel in the impending demise of the Big 5.

But of course sales and revenues roller-coast all the time depending on seasonal fluctuations, and of course one-off breakouts. And the Big 5, contrary to popular opinion in some indie circles, are not wholly reliant on the US marketplace for their continued existence.

This week Simon & Schuster are revelling in their global progress. Carolyn Reidy, CEO at S&S, notes,

“All the S&S international arms “turned in outstanding performances this year… with (our) Canadian arm growing faster than the Canadian industry. Australia has also outperformed the industry, gaining market share, strengthening (our) local publishing program, adding new distribution clients and making bestsellers from both US and UK titles. India, meanwhile, will launch its own local publishing program in 2016.”

Reidy adds,

“…the company’s direct to consumer marketing was ‘seeing terrific results’, with visits to its website up by more than 50%.”

On audio:

““We are positioned to capitalize on the fast- growing digital audio format which is transforming the audio business,”

Simon & Schuster and the other corporate publishers understand publishing is not a one-retailer, one-country, one-format affair.

Corporate publishing is enjoying the Global New Renaissance.

I’m loving it!

How about you?

◊ ◊ ◊

That about winds it up for now. There won’t be much industry news between now and the new year, so this may or may not be the last post of 2015, depending on what happens out there.

But as ever you can keep up on news snippets over at The International Indie Author Facebook Group.

But a final thought as I wish you all a merry Christmas and a happy New Year.

I live in a Muslim country in West Africa. Islam has its own calendar and their own new year. So does China and lots of other countries. Their new year does not coincide with ours.

But here in The Gambia, as around the world, Christmas will be celebrated in some way, and the New Year welcomed in as December 31st 2015 becomes January 1st 2016, whatever the local calendar says.

We live in one world where. whatever our differences, we all share a common need to be entertained.

As 2016 rolls in we, as content providers, have more potential reach, across more media, through more formats, in more languages, and to more people, than anyone has ever had at any time in history.

And the Global New Renaissance is only just beginning.

Don’t let it pass you by. Think about the next five years, not the next five weeks.

For daily news and discussion about the global indie publishing scene join this lively Facebook Group.

Catching Up On The Global Publishing Scene. November 2015 Update.

google-mobile-asia

 

Asia’s Emerging Ebook Markets.

When it comes to global ebooks sales we all need to think “globile”. That is, global mobile.

Much of the world have simply skipped the entire desktop PC and dumb-phone era and gone from no internet access to 3G and 4G smartphones, pretty much overnight.

With every single smartphone a device that could be carrying our ebooks the potential for authors and publishers is hard to exaggerate. But where to focus one’s strategic planning?

That graphic from Google at the top of this post may help decide.

For those unfamiliar with the international two-letter country coding:

  • AU is Australia
  • ID Indonesia,
  • TW Taiwan,
  • SG Singapore
  • HK Hong Kong
  • JP Japan
  • KR South Korea.

Right now Korea is the tops and India and Indonesia are way down the list in terms of smartphone penetration. But it’s these two countries that are among my top priorities.

Not just because they are fast growing (India will likely be the second largest smartphone market next year) but because Indians and Indonesia, coming late to the internet world, are far more reliant on smartphones in their everyday lives than we in the rich west who use smartphones mainly as an add-on to our existing desktops, laptops, e-readers, dumbphones, landline phones, etc.

And given India is the nation that reads the most, and the sixth largest book market on the planet even before smartphones fully impact, it’s not hard to see why even the more cautious commentators are now joining me in predicting India will be the next ebook gold-rush.

# # #

Africa Watch 1: Egyptian Book Store Chain Sets Up In UK.

In a sure sign of how the Global New Renaissance is taking hold, the Egyptian bookstore chain ALEF has opened a store in… London.

Read the linked post on Publishing Perspectives for the full story. (LINK)

Here just to extract the most pertinent point:

“We believed that people in Egypt don’t read because they don’t have access to books, and we turned out to be right…”

In fact ALEF is doing “booming business” in Egypt and the new London store is just the first step of their international expansion, selling not just Arabic-language books but Arabic books translated into English.

Yes, there are issues of (comparatively) low literacy levels in many countries across Africa, the Middle East and elsewhere. But the idea that people in these countries therefore don’t read is just ludicrous. The problem is, always, about availability and affordability.

And for indie authors and trad pub publishers alike the new “globile” markets where everyone and their dog has a smartphone in their hand, mean that we can, increasingly, reach readers hitherto completely beyond reach.

As we hurtle into 2016 the possibilities – and opportunities – ahead are unprecedented.

Don’t let them pass you by.

Go Globile in 2016 and build a truly international readership for your brand.

# # #

33% Of French Commuters Prefer Ebooks

It will come as no surprise to learn that French train commuters, just like commuters in many countries, while away the journey reading.

The French railway operator SNCF estimate 75% of passengers read books on their journey. (LINK)

What may come as a surprise is that 33% of them e-read – either on dedicated e-readers or on smartphones.

SNCF responded by offering their own ebook subscription service with 100,000 French-language titles. Check out the SNCF store here. (LINK)

It’s not clear who is supplying SNCF, but that’s neither here nor there.

What is key for us as indie authors is the direction digital reading in France is taking.

Ebooks, may still be a tiny fraction of the overall French book market, but early days.

Hard to imagine though it is, just a few years ago the US and UK were nascent markets with only a handful of people reading ebooks.

And in those early years it was very easy for a handful of savvy, forward-thinking indie authors to be very big fish in a very small pond.

This is the true beauty of the global nascent markets right now. There are open goals out there. Major opportunities to be big fish in small ponds now and to grow into even bigger fish as those ponds grow.

Already this year we’ve seen western indies top the charts in China. We’ve seen India leapfrog the UK as the second-largest English-language book market. In Germany indie authors have been dominating the ebook charts for some while.

Across Asia, Latin America and eastern Europe the book markets – and especially the ebook markets – are seeing a new vitality as the Global New Renaissance takes hold.

No, none of these markets (except China) can compare to the US market today. But that’s to miss the point.

And more importantly to miss the opportunity.

Because many of these so-called nascent markets – China, India, Germany, Latin America, Indonesia, etc – are already as big, or bigger (much bigger in the case of China) than the US market was back in 2009-2010.

And back in 2009-2010 savvy indie authors like Amanda Hocking and John Locke were gigantic fish in a very small pond. Million-sellers at a time when hardly anyone in the US even knew ebooks existed.

When looking at the emerging global markets available to us now, don’t think “nascent – not worth bothering with”.

Think OPPORTUNITY!

# # #

Children’s Book Sales “Booming” In China.

The Shanghai Children’s Book Fair took place earlier this month, and reports emerging (LINK) show a very vibrant children’s publishing sector with keen interest in titles from the wider world.

Hardly surprising given there are 370 million under-eighteens in China right now – more than the entire population of the USA. And that number could grow rapidly with the new two-child policy.

Incredible opportunities emerging in China across all genres, not just children’s books.

So far Fiberead remain the easy option for accessing this massive market, but I’m watching carefully for more direct opportunities alongside.

China is potentially the most lucrative of all the markets – the China market alone will dwarf the US market very soon – and it will rapidly expand over the next five years. But access is always going to be awkward. Not impossible, by any means, but not without its challenges.

Awkward it may be, but China should definitely be on the watch-list for any author serious about global reach.

# # #

New Distribution Channel’s For Audio Books.

While Amazon’s ACX is effectively the only show in town for indie audio, we should never rush to put all our eggs in one basket, because alternatives will be along soon enough.

  • Xin-Xii recently started distributing indie audio to German retailer.
  • Now, say hello to Author’s Republic (LINK), courtesy of AudioBooks(dot)com. (LINK)

I’ll investigate this further, but so far it looks like we now have a real alternative to ACX for distribution, although we’ll still need to get our audiobooks made first, which means ACX still has the advantage.

Author’s Republic does have some sort of iOS tool for making our own, but ACX clearly holds all the aces in this respect.

The Author’s Republic will distribute not only to Audiobooks(fdot)com but also to:

  • Audible
  • iTunes
  • Amazon
  • Barnes & Noble
  • Scribd
  • Downpour
  • tunein

as well as library providers such as

  • Findaway
  • Overdrive.

And presumably they will expand further on that as we head into 2016.

Perhaps more importantly, this will be the first of many. A matter of time now before other retailers open up audiobook self-pub portals themselves or ebook aggregators follow Xin-Xii’s lead and start distributing audiobooks.

Those locked into exclusivity with ACX for their audiobooks may be getting slightly better royalties (although Author’s Republic will supposedly be paying a competitive 35%) but could be missing out on reach, especially with Author’s Republic ‘s access to key outlets like OverDrive and Findaway which ACX will deny you.

And don’t forget good old-fashioned CDs. CDBaby can your audiobooks widely distributed for the majority of audiobook listeners that have not yet embraced digital.

Beyond that, another reason to avoid exclusivity is radio. Global radio is an exciting opportunity for indie authors converting their works to audio. More on that in another post.

# # #

Africa Watch 2: One Billion Reasons To Take A Second Look At Africa.

For authors and publishers, Africa remains the Dark Continent (which BTW meant and means “unknown”, not something derogatory) for book sales and discovery.

But for me it’s THE most exciting of the long-term prospects for indie authors, and one I’m following closely, although little chance of any significant sales there in the very near future.

But a new report confirms my anecdotal observations that Africa is embracing smartphones and 3G-4G mobile internet just like everywhere else on the planet.

Mobile subscriptions across Africa are expected to pass the one billion mark in 2016. (LINK)

That’s one helluva lot of people with devices that could have our ebooks on.

Contrary to popular opinion Africans love to read. Their problem is access to affordable books.

For authors, reaching African readers is the big challenge.

  • There is not a single Apple iBooks store anywhere on the continent.
  • Amazon blocks downloads to most of the continent and surcharges the rest, including South Africa.
  • Even Google Play, from whom you’d expect better, are only in South Africa so far.
  • Kobo is sort of available, but there is only a localized Kobo store in South Africa, and you need a bank card to use Kobo, so that makes it pretty irrelevant to most Africans.

Right now, South Africa aside, the African continent is not a friendly place for authors. But make no mistake – that’s an issue of distribution and accessibility, not a cultural indifference to books, ebooks and reading.

And there are a few bright spots on the horizon, as I’ll be reporting soon in an in-depth analysis of the state of play across my favourite continent. Meanwhile, check out further posts on Africa below.

I’m very excited by the emerging prospects for authors here in Africa. When I talk about the Global New Renaissance unfolding I really do mean Global, and I intend to be selling across many countries in Africa before this decade is over.

I’m a six-continent content-provider.

How about you?

# # #

$10 Smartphones At Wal-Mart.

With The Next Generation social media like Instagram and Pinterest, and messaging apps like Viber and WeChat getting hotter and hotter by the day, it’s a real PITA that you need a smartphone to participate. Even though many, like Viber, have desk-top access, you still need a smartphone number to sign up in the first place.

And some people, quite understandably, do not want the expense of a new phone, a monthly payment plan, etc just to join Instagram or Viber.

For those in America it seems salvation is at hand. Over at The Digital Reader Nate Hoffelder reports that Wal-Mart now offering a smartphone for just ten bucks, and on a Pay As You Go plan so no crazy monthly payments for a phone you may rarely use. (LINK)

Perfect to buy, along with a separate sim card and phone number, and use exclusively for social media like Instagram and messaging apps like Viber, Facebook Messenger, WeChat, etc.

As per previous posts, Instagram is now bigger than twitter. Messaging apps are reaching close to two billion people. An updated post on messaging apps this coming week.

Don’t get stuck in the past for the sake of ten bucks. Move with the times.

# # #

Africa Watch 3: Nigeria.

When it comes to global ebook sales Africa remains the last frontier as western ebook retailers continue to ignore this vast and exciting nascent market.

After all, Africa is still in the stone-age when it comes to digital, right? There’s no internet there, so no-one knows what smartphones are.

And as well know, nobody in Africa reads.

The latter point, however widely believed, is of course so laughable as not to bear further consideration.

But let’s take another look at the first point – that Africa is has yet to realise the internet even exists.

Leaving aside the above report, that Africa will have over one billion mobile subscribers in 2016, ponder this report on what Ericsson is up to in Nigeria.

Subscription video on demand.

Ericsson’s NuVu will launch in early 2016 offering some 3,000 local and international TV and films to eager Nigerian subscribers eager to use their smartphones for entertainment. (LINK)

Ericsson is working with leading international distributors to acquire content ranging from Hollywood to Nollywood (Nigeria has a thriving film industry).

How long before a dedicated Nigerian ebook subscription service pops up? Well, it certainly won’t be KU – Amazon has zero interest in Africa. But it will happen.

And just as Nigerians love Hollywood films so they do and will love western books (Nigeria is the largest English-speaking nation on the continent) – IF they are allowed access to them, and IF they are affordable.

Nigeria presents a great opportunity to start building a pan-African readership beyond the usual suspect, South Africa.

More on how soon. Here just to remind everyone that, as always, we should keep the third tier nascent markets like Africa firmly in mind when looking at the next five years.

No, absolutely no point anyone rearranging their schedule to prioritise Africa right now, but do keep Africa on your radar, and do lay the foundations there now for future development.

Nigeria, Kenya, Ghana and Tanzania are close to the tipping point where smartphones will become the main everyday access point to the internet for millions of English speakers. And there are plenty of other English-speaking nations in Africa not far behind. Malawi, Botswana, Zimbabwe, Liberia, Sierra Leone, etc. And even here in tiny The Gambia (yeah, The Gambia is one of only two countries in the world where the definite article is officially part of the country’s name).

And of course this is not some uniquely Anglophone phenomenon. French-speaking Cote d’Ivoire and Senegal, to name but two, are right up there in the globile (global mobile) stakes too.

Watch out for more reports on Africa below, and an in-depth report on Africa soon. The way things are shaping up here may well surprise you!

# # #

British Comedian Russell Howard’s Pending 2017 Global Tour.

No, not a book tour, but this isn’t as off-topic as it may at first seem.

Russell Howard is a British stand-up comedian who rose to fame in the UK on the back of the early days of the digital TV transition, when cheapskate TV productions flooded the myriad new broadcasting channels then emerging.

From being a largely unknown British comedian doing bottom-of-the-barrel shows for late-night TV micro-audiences Howard has, thanks to digital reach, built up a worldwide audience, in English, that goes far beyond the English language countries.

Yes, the tour is focussed on the UK, USA, Australia and New Zealand, but also Finland, Iceland, Sweden and Norway, and of course his wider reach through digital extends globally.

Howard already knows where his paying audience will be in 2017.

The key throughout all this is digital. Digital reach is global, and that goes every bit as much for books as it does for stand-up comic TV shows.

Yet many of us indie authors still treat ebooks as simply cheap versions of print books, to farm out to the same home-market audience as print books, and then to wonder why it’s such hard work actually finding an audience.

Far from thinking about 2017 many of us indies don’t even have 2016 on our radar, even though it’s weeks away.

I’ve no idea how much Russell Howard actually understands or cares about all this, or how much his success is down to having a great manager and Howard is just sitting back and enjoying the ride.

But I do know most of us indie authors don’t have managers to think outside the box for us and spot the opportunities unfolding as the Global New Renaissance gets under way.

That’s down to us.

We have unprecedented opportunities to expand our reach and our modes of delivery.

We have unprecedented opportunities to step out of our ebook novelist boxes and become global content-providers across formats, across multi-media and across multiple nations far beyond the usual suspects.

Don’t look on 2016 as just a new year.

Look on 2016 as a new opportunity to break new ground and reach new audiences quite unthinkable back in 2009-1010 when the “ebook revolution” began.

Don’t let these unfolding opportunities pass us by.

Think about the next five years, not the next five weeks.

# # #

Africa Watch 4: Google Play Is Rolling Out Youtube Offline Across Nigeria, Ghana, Kenya and South Africa.

No, it’s not ebook stores, but the direction is clear. Google is focussed on the wealthiest English-speaking countries in Africa.

So far Google Play only has one ebook store on the continent – in South Africa.

It’s a safe bet that, some time soon, Nigeria, Ghana and Kenya will follow suit.

Google Play already has more global ebook stores than any other retailer. Some sixty or so. We can expect that to increase next year.

Currently the Google Play Books self-pub portal is closed to newcomers – although existing clients can still upload direct.

For the rest of us will need to use an aggregator.

Sadly neither Smashwords nor Draft2Digital supply Google Play Books.

Luckily both StreetLib and PublishDrive do, and can get your titles on Google Play within 24 hours.

NB: Other aggregators like Ebook Partnership also supply Google Play Books, but they have up-front fees. StreetLib and PublishDrive are pay-as-you-sell aggregators.

Google Play is a tiny player in the US, and if that’s where you are focussed, don’t expect too much action. But elsewhere around the world Google Play can and should be a key part of your global strategy.

But do be aware that Google Play pretty much automatically discounts our titles to make them more appealing to its customers. Which is great, except…

This will inevitably put you in conflict with Amazon’s price parity clause which dictates you cannot sell cheaper on another retailer than on Amazon.

So to avoid being punished by Amazon for Google Play trying to offer customers a better deal, you’ll need to price higher on Google Play when you first list.

But don’t let that put you off. Google Play is an invaluable place to be if you plan on going global.

# # #

Africa Watch 5: ACE Soon To Reach South Africa.

Okay, so quite a lot on Africa here today, but that’s just an indication of how Africa is fast gearing up to become a significant part of the global publishing scene.

Still not convinced? Consider this news just in.

Phase 2 of the ACE (Africa Coast Europe) project is about to begin. (LINK)

Now that may mean absolutely nothing to most readers, so let me offer some background as to just why this is so significant.

I’m writing this from The Gambia, West Africa. One of the poorest nations on the planet.

Five years ago, when Kindle UK launched, I had to partner with someone in the UK just to get my books uploaded, because there was, for all practical purposes, no internet here. Just a ridiculously expensive connection in the hotels, at dial-up speed.

Today I’m on a 4G connection quite unimaginable just a few years ago.

All thanks to ACE, a submarine cable which connects France and Portugal with :

  • Canary Islands (Spain)
  • Mauritania
  • Senegal
  • Gambia
  • Guinea Conakry
  • Sierra Leone
  • Liberia
  • Cote d’Ivoire
  • Benin
  • Ghana
  • Nigeria
  • Equatorial Guinea
  • Gabon
  • Sao Tome & Principe

In addition two landlocked countries in the middle of the Sahara Desert, Mali and Niger, are connected via a terrestrial extension.

Hundreds of millions of people have suddenly, in the past few years, gained access to the internet in West Africa, completely by-passing the desktop and dial-up telephone line era, and are now enjoying 3G and 4G internet on smartphones.

As Phase 2 of ACE rolls out the submarine cable will extend all the way down the west coast of Africa, bringing European-standard internet to:

  • Namibia
  • Angola
  • Democratic Republic of Congo
  • Congo-Brazzaville
  • South Africa
  • as well as an extension to Cameroon

reaching almost a quarter billion people.

As reported above, the number of mobile subscribers in Africa is already expected to exceed one billion in 2016.

And that’s before Phase 2 of the ACE rolls out.

Unless you’ve actually been to a seriously Third World country it’s hard to imagine just how transformational the internet can be in terms of education, health and economic development. Or how much it can transform entertainment.

Ebook sales are probably the last thing the ACE team are thinking about as they roll out Phase 2, but indie authors looking at the global picture should be in no doubt about the new opportunities unfolding.

The global digital reading scene in 2020 is going to be far bigger than anything we can envisage right now.

I’ve said before and will say again – the global ebook markets will collectively dwarf the US market many times over in the coming years.

If you doubt that, just consider the projection for 2016. Over one billion mobile subscribers in Africa as soon as next year. That’s over one billion subscribers in Africa using a globile device that could be holding our ebooks.

That’s a billion people almost all of whom are completely off the radar of the big western ebook retailers right now.

That’s a great excuse for just ignoring Africa. But if we’re serious about becoming global bestselling authors then we can’t afford to ignore any prospective market. Least of all one with the potential of Africa.

Think about the next five years. Not the next five weeks.

# # #

NB These posts have appeared previously over the past week or two on The International Indie Author Facebook Group.(LINK)

 

 

The India Book Market Is Now Bigger Than The UK. The "Exploding New International Market Opportunities."

Nielsen’s latest report on the Indian Book Market confirms what I’ve been predicting for the past few years. India has leapfrogged the UK in the global book market stakes and is now the sixth largest in the world and the second largest English-language market.

With ebook take-up in India ready to bloom over the next couple of years watch out for India leaping up that World Book Markets chart.

A reminder. India now has more people online than the US has citizens.

 @ @ @

Staying with India, I still haven’t got any satisfactory Hindi translations sorted, but regulars will know the indigenous Indian languages (there are 22 official languages in India) are a top priority for me as we head into 2016.

This latest report on Quartz (LINK)

is only about Amazon’s Hindi sales, but a safe bet we are seeing the same enthusiasm for local-language titles in other retailers.

Some retailers specialise in local languages and the key mobile app operators Rockstand and Newshunt are very keen to have them available.

Google’s South Asia VP recently said that the next 100,000,000 internet users in India will be local-language, not English.

Whatever language a person chooses (or is brought up to use) in India, I want them reading my books.

India, along with China and Indnesia, are among the most exciting prospects on the planet right now for internationalist indie authors.

Exciting times ahead!

@ @ @

How exciting? Try this.

Rakuten-owned OverDrive said this week, “We are very bullish about the exploding new international market opportunities for publishers,” as they added 300,000 titles to their catalogue and increased their reach to 50 countries, with over 500 new outlets globally. (LINK)

Music to my ears.

@ @ @

Meanwhile Ingram is also stepping up its global game.

Ingram has expanded the roster of international digital printing and distribution partners in their Global Connect program.
They will work with China National Publications Import & Export (CNPIEC) in China; Repro India in India; and Rotomail in Italy.

Sorry – lost the link, but it was reported on Publishers :Lunch.

@ @ @

StreetLib adds Scribd to its distribution hub.

On this occasion Smashwords and Draft2Digital were ahead of the game, but now Scribd is an option in the StreetLib dashboard. They also have Bookmate and 24Symbols on board, which Smashwords and Draft2Digital have not.

Scribd is a US-based but crucially internationally-available subscription service.

If a reader downloads your book and reads 20% you’ll get 60% of list price from StreetLib. That’s 1.80 for a 2.99 list price, and 0.59 for a 0.99 list price.

Even for short stories and children’s books.

@ @ @

With Oyster set to close in the new year, Smashwords is set to lose yet another partner store, hard on the heels of its ill-advised and utterly ridiculous pull-out from Flipkart.

But the pending Oyster closure has been a gift to the ebook subscription nay-sayers, who have been having fun explaining how the model was doomed to failure from day one.

Regulars will know I’m a big fan of the subscription model, and see a bright future for it.

That said, there’s no question Oyster failed, of course.

But let’s bear in mind that is started out with just an iOS app, so was only being used by Apple device owners. By the time it got around to expanding to Android Amazon had entered the game with Kindle Unlimited, yet instead of expanding globally Oyster remained obsessed with the US market.

So does Oyster’s imminent closure mean the subscription model is unviable?

Not a bit of it.

Russia’s Bookmate is doing rather well. So is Germany’s Skoobe, Spain’s 24Symbols, and a host of other global subscription services that aren’t US-focused. Skoobe has been going since 2012, 24Symbols since 2011.

There’s a great post on Skoobe over on Publishers Weekly. (LINK)

@ @ @

Selling Foreign Rights In France Is Easier Than You Think!

So said Publishing Perspectives this past week. (LINK)

There’s a popular misconception in the wider world (and especially in the Anglophone world) that France is somehow insular and elitist when it comes to literature, and not worth bothering with.

Which is kinda sad if true, as France is the fifth largest publishing nation in the world. Bigger than the UK, and second in Europe only to Germany.

Yes, they do speak French, which is extremely inconsiderate of them, so the big question for us indies is, is it worth pursuing French translations?

You just know I’m gonna say yes, so I’ll strengthen my answer by noting my flagship title Sugar & Spice sold 50,000 hardcovers in France. Not quite mega-star sales, of course, but If that isn’t worthwhile I don’t know what is.

 Anne-Solange Noble in the afore-linked post points out that the French editorial market is actually “extremely curious and open to the outside world…”

I’ve got three French translators on board right now, and while the short-term focus is on ebooks I’m looking out for another French publisher that can get me into the lucrative bricks and mortar stores in France and Belgium, not to mention Canada, and for ebooks my focus is on the nascent  digital market in France and Belgium and the embryonic digital market in the wider Francophone world.

French is the sixth most widely spoken language in the world, with well over 200 million speakers, not least here in West Africa where, despite popular misconceptions that Africans don’t read and that the internet only exists in the rich west, books are highly sought-after and free-reading sites like Wattpad are very popular.

I’m investing time and energy in finding partners to reach the Francophone world, and strongly recommend you do too.

 Would I recommend paying up-front for a translation into French?

Not if you only intend to sell ebooks. The French ebook market is just beginning to shift. My ebook sales, for a proven bestseller in print, are disappointing to say the least.

But it’s early days. My digital titles in France right now are slowly gaining traction and are I’m looking at the future, not fretting about tomorrow’s lunch.

Ebooks are a great place to start in France. Take a look at Babelcube as a great place to find translation partners.

 But don’t blinker yourself to the wider possibilities.

As I’ll be exploring in an in-depth post soon, indie authors really need to think of themselves as *content providers* pushing valuable intellectual properties, not just *ebook authors* pushing mobi and epub files, if they want to make serious headway globally as we head into the second half of this decade.

Think about the next five years, not the next five weeks.

For daily news and discussion about the global indie publishing scene join this lively Facebook Group.

 

Mexico is Publishing’s New El Dorado, Draft2Digital to Distribute to 24Symbols, and other Hot Tips for Internationalist Indie Authors.

There’s so much happening on the global scene right now it’s hard to keep on top of things. And that’s before the Frankfurt Book Fair kicks off.

To keep you up to speed, here’s another batch of short posts on how the global markets are shaping up.

@ @ @

Regulars will know how excited I am about the Spanish-language prospects right now. With a half billion Spanish speakers around the world this is a huge market to tap into, and because of the concentration of Spanish speakers in Spain and Latin America it’s also a relatively easy market to tap into.

Two Spanish literary agents have just this past week launched a new venture called The Spanish Bookstage. (LINK)

The more observant will have spotted that’s in English, and so is the site – a reminder as ever that we Anglophone authors have a built in advantage in tackling the global markets even when the markets are in another language.

I’m a big fan of Babelcube – it’s a great way to find translator-partners. But… And it’s a big but… By going through Babelcube you hand over the distribution rights for that language to Babelcube and, at this stage in their game, that can be a frustrating experience, as Babelcube’s distribution leaves much to be desired.

Which is why, while I use translator-aggregators like Babelcube and Fiberead, I also seek translator-partnership arrangements independently. Not least for when opportunities like The Spanish Bookstage come along.

“The new platform,” says Publishing Perspectives (LINK) “comes at a time when the Spanish publishing industry (both in Spain and Latin America) is gaining stronger visibility in the global marketplace.”

While this is the first major platform dedicated to Spanish-language titles, there are plenty of similar operators which savvy indies should be keeping a close eye on that cover the global markets generally. I’ll be taking a close look at some of them as we wind up this year.

@ @ @

Publishing Perspectives is always a good bet for global publishing insights, and especially so this month with the Frankfurt Book Fair almost upon us.

In an article on Publishing Perspectives few days ago Özkan Özdem offered some very useful insights into the exciting Turkish market. (LINK)

Again, regulars will know Turkey is high on my list of priorities, so I found this post very instructive. You may too.

@ @ @

Moving on to that headline. Mexico is publishing’s new El Dorado?

Well, so says Diana Hernández Aldana from Turner Libros, a major Spanish-language publisher. (LINK)

Aldana expresses surprise at “the size of the markets in Mexico and Latin America and at their growth.”

@ @ @

Over at The Digital Reader Nate reports that 3M is out of the library distribution business. (LINK)

From Nate’s post:

3M’s library division has been bought by Bibliotheca, a company that describes itself as “the largest global company dedicated to the development, deployment, and support of self-service library solutions”.

Nate assures us the 3M library distribution will continue without interruption, just under another name. Which hopefully means there will be no interruption to Babelcube’s distribution to what is currently called 3M.

3M supply mainly the US library system, and had ventured into Canada. There was talk of an international network along the lines of OverDrive, but that came to nothing. It remains to be seen what will happen globally.

Meantime be sure to be in OverDrive’s library catalogues. OverDrive have extensive international distribution and with Rakuten now owning them it’s likely they will be expanding further as we hit 2016.

OverDrive library access for your titles can be gained through the pay-as-you-sell aggregators Smashwords or StreetLib . as well as many pay-up-front services.

@ @ @

Staying with StreetLib, a reminder that StreetLib now gets you into the key Latin American ebook retailer Bajalibros, which has stores across the region, including Brazil.

“In recent years,” opens Publishing Perspectives in a post on opportunities in Brazil (LINK) “while European book markets have remained almost flat or have even declined, the emerging countries are seeing a new chapter of the global business of books emerge in terms of exposure, opportunities and sales.”

Hardly news to regulars here, of course. Brazil has long been on my priority list.

Apparently only 25% of Brazilians have read a book in the past three months.

Plenty of reasons for that. Not least Brazilians being too busy playing on those beautiful beaches, or exploring the Amazon. Or, far more likely, that books have been a) unaffordable and b) unavailable.

But that is changing fast. Very fast.

And anyway, before we dismiss that 25% as too small to bother with, let’s bear in mind that 25% of Brazil’s 200 million population is 50 million.

Liana Suppressa, an Italian rights agent who specializes in children’s and YA titles, says that in Brazil there is a very strong enthusiasm and openness of publishers and of readers towards international authors,” adding, in Brazil “there’s a growing interest for middle grade and YA titles, both fantasy and contemporary realistic stories.”

Savvy internationalist authors will be looking to partner with Brazilian publishers to get a share of some of that growing enthusiasm, and of course making their own luck by going direct with their digital titles. Amazon, Apple, Kobo and Google Play are in Brazil,.

And not forgetting POD.

Babelcube is a great place to find (with some effort sifting through) some very competent Portuguese translators for both Brazil and mainland Portugal.

And longer term there are prospects for Portuguese translations in countries like Mozambique and Angola. As I’ll be exploring in a dedicated post shortly, Africa is an exciting emerging prospect.

@ @ @

Speaking of Africa…

As I’ve reported many times, one reason I’m so excited by the global opportunities unfolding is because of the way some cyber-companies are investing in global internet reach.

I summarised the wonderful work of Google (Internet Saathi, Loon, etc) and Facebook’s Aquila project over on the Anne R. Allen blog last month (LINK), and also mentioned satellites.

Both Google and Facebook are investing in satellites, and this post over at VentureBeat this week adds further details of what Facebook have planned for us. (LINK)

Facebook have just partnered with Eutelstat Communications to deploy geostationary satellites  that will cover vast expanses of sub-Saharan Africa, starting in 2016.

The five ton Amos-6 satellites, built in Israel, will orbit above Africa (in sync with the Earth’s orbit) and facilitate broadband internet reception across the region, linking to African ISPs and direct to consumers. Crucially working with standard off-the-shelf devices like regular smartphones and tablets. No specialist equipment needed.

@ @ @

Next, some words from trad-pub industry commentator Mike Shatzkin.

Shatzkin’s posts often get picked up by the indie blogosphere with the intent of ridiculing everything trad pub is doing. Usually with scant regard to the reality that trad pub is doing rather well.

This post from Shatkin covered backlist and export. (LINK)

That’s global sales, to us folk for whom international is a frame of mind, not just an ambition. Of course the indie blogs seized upon Shatkin’s thoughts on backlist and totally ignored his thoughts on export.

Shatzkin reports on an Ingram-hosted conference recently where one US publisher, Diversion Books, had launched its own ebook store app for its romance titles.

Shatzkin reports that Diversion are now seeing almost half – 49% – of English-language sales coming from outside the US, and perhaps most significantly of, 43% of sales coming from outside the US, UK and Canada.

A safe bet that 43% is not all from Australia and New Zealand, and very likely India is playing a significant role. But even so, a substantial portion of those “export” sales will be coming from other markets around the world.

Why?

Because they are being made available and buyable.

As I’ve said so many times here, trad pub (big and small) is raking in the cash from the global New Renaissance while most indies are still partying like its 2009, fighting each other for a share of the ever more competitive US market.

Indies can already get very profitable global reach from the mainstream retailers, but there are still vast tracts of the world off-limits by going this route.

Diversion’s ebook store app is one way in which small publishers – and indies –can reach a far bigger audience. And earn more from each transaction. And have access to the customer data.

Direct to consumer sales are something all indies with a decent-sized portfolio need to be looking at as we enter the second half of this decade.

I’ll be exploring this more as we head into 2016.

@ @ @

Finally, let’s end with the second half of that headline somewhere above.

Yes, Draft2Digital is about to announce a distribution deal with the Spanish subscription service 24Symbols.

24Symbols is a subscription service in Europe that has been happily managing to survive with the subscription model since 2011.

Draft2Digital currently supplies the US subscription services Scribd and Oyster (Oyster will be closing early next year), tas well as the European ebook operator Tolino, the global Page Foundry (Inktera and Versent ebook stores) and the usual suspects Apple, Kobo and Nook.

As best I can see, the new addition will make D2D the only English-language aggregator getting indie titles into 24Symbols (if anyone knows another, do let me know). UPDATE, With great embarrassment I have to admit I somehow missed the fact that StreetLib already supplies 24Symbols. Sorry guys! So Draft2Digital will not be the first or the only.  🙂

And with Smashwords having recently dumped Flipkart, the addition of 24Symbols will make D2D a first-option for ever more indies frustrated by Smashwords’ antiquated system.

I’ll be running a comparison of the main pay-as-you-sell English-language aggregators shortly, looking at the pros and cons of each.

@ @ @

We have unprecedented opportunities before us as the second half of the second decade of the twenty-first century unfolds.

Don’t let them pass you by.

Think about the next five years, not the next five weeks.

For daily news and discussion about the global indie publishing scene join this lively Facebook Group.

The International Indie Author Facebook Group