Cheap Self-Awareness in Other People’s Misery

I saw at the end of a book review in The Guardian, a link to buy the book itself, along with the book’s price: £7.99. Immediately, unexpectedly, I found myself flooded with nostalgia.

When I first moved to Aberdeen to attend art school, I was 19 years old and devastatingly lonely; I was a shy person, completely lacking in confidence and convinced that the rest of the world wouldn’t want anything to do with me. I’d moved across the country to a city where I knew no-one and hadn’t built any new social structures yet, and I was lodging in the spare room of an alcoholic old woman who made me so uncomfortable that I locked my door as soon as I was home and tried to spend as little time as possible in her presence.

My safe space in those first months was the bookshop.

I’d love to tell you it was this quirky independent bookshop run by fascinating people with equally fascinating life stories, but that’s not true; it was part of the Waterstones chain, and everyone working there seemed somewhat bored by the job. But I loved it, nonetheless. On Saturdays, I’d spend hours in there, leafing through books I’d heard of and those I hadn’t, picking up random things based on if the cover caught my eye or if the title was strange and interesting. I remember the displays and the filled bookshelves with a sense of awe and excitement even now.

And this is why the review pushed all of this into my head: the books were under £10 for the most part — not the hardcovers, of course, they were a special occasion thing — and so seemed affordable and a reasonable cost of discovering new things. I bought so many books in that first year in Aberdeen, all because I was in love with the way that bookshop made me feel, and found out so much about my taste and myself in the process. It was a journey of small, affordable, self-discovery; just not the traditional one people experience in their first year of college.

“I Don’t Think I Lose A Print Sale By Selling in eBook”

My own guess, based on watching my sales profile over the years, is that print, eBook and audiobook do not inherently cannibalize each others’ sales — it seems to me that for each there is a class of reader that is “native” to each — that is, there is a group of readers who strongly prefers print over eBook or audio, another group who prefers eBook strongly to the other formats, and a third group (correlated, I imagine, with people who have long commutes) who strongly prefer audiobook. I don’t think I lose a print sale by selling in eBook, or an eBook sale by selling in audio — rather, that selling in each of these formats is allowing me to expand my overall audience. Once again, this is an argument for remaining actively involved in all of the formats rather than throwing one (or more) overboard and putting all my chips on a single format.

From here.

John Scalzi breaks down the sales of his last novel, Redshirts, across formats now that Tor has moved the title from hardcover to paperback in print form, and it’s the kind of thing that’s fascinating for someone like me, who’s unnaturally geeky about this kind of thing. The part about digital and audio and print not cannibalizing the other format’s sales is of particular interest to me, because I’m beginning to suspect that the negative sales velocity that digital brought to analog music and movies just doesn’t exist for either books or comics, perhaps because the latter two are more active pastimes and therefore have more engaged audiences with more specific interests and habits surrounding their preferred format.