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Would you prefer higher margins with the paperback or with the ebook?
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My paperback sales as a percentage of total sales, have declined continuously over the past year or so. I don't even bother promoting paperbacks now.
Agato wrote: "So are you cutting margins on the digital product to make it more palatable or are you going to have the same or even higher margins in comparison to your physical book?How do you approach the digital market?
It seems even more competitive than the paper's one."
it isn't paper vs. digital. it's whatever the going rate is in your market genre/sub-genre for paperback and for ebooks. look at amazon's (or smashwords or B&N--but as amazon holds about 70% of ebook marketshare, it pretty much sets the bar--) top 100 in the (sub-)genre in which your book competes and then set your price accordingly. you can also look at authorearnings.com for the overall ebook price points that give the best ROI--but bear in mind, it's your (sub-)genre that sets the expectations of your buyers.
I gain like 4 dollars with one copy of my paperback. Price is set at 15.90.Should I sell the ebook at 6.49 gaining the same 4 dollars on it or 5.99 to make it more 'sellable', but gaining less money?
I don't really understand the ebook market, sometimes it seems that only famous authors sell ebooks at a fair price, because they are trained by 'fame', otherwise people are unwilling to spend 6 to 10 dollars on a not famous digital book (no paper, no ownership, these are the most used excuses, etc.).
Better to lower margins then on the digital book?
I get a better return on my ebooks so most of my sales concentration is online.
I price my print and e-books based on what *I* would pay for them, not based on what I'd like to earn from them (if I did that, each book would be priced at $100 or more!). In my case, most of my targeted readers are RVers (caravaners, is maybe the term across the pond?), and the divide seems pretty even between those who prefer print and those who prefer their e-readers, so I publish in both formats.
RVers are notoriously fond of a good deal, so I price my paperback at just under $10 and the e-versions at $2.99. When I recently cut the price of the first in my mystery series, I dropped the print by 25% (sounds better than 20% with just a little bit of change in the real-money difference) and the e-book to $1.99. I still make a bit of money with them, and hopefully gain readers for the newer (and higher priced) book from those reading the bargain-priced older one.
So for me it boils down to who your customers are and what they're willing to spend. How solid is your following and how much does it still need to grow?
Let's face it -- not many people are going to dish out $25 for a book by someone they don't know, especially if they're "buying blind" online.
I take my publisher's advice regarding the price of a paper version and a digital version. The publisher keeps track of price fluctuation in the US and advises all of the authors on a continuing basis. The prices of my digital book versions are lower than the paper price due to production costs. I do participate in digital book promotions and see sales spikes. However, the sales of my paper book versions sell too. In the US readers choose one or the other and sometimes (like me) both versions.
Thanks for the replies.Mine is a niche book, a poetry one. I don't aim to big sales, nor to build a following like miss Ellen, but certainly I want my book to 'survive' in the world (and that it's the task of the paperback). Selling it at a very low price would devalue it and it's something I want to avoid, even if I will sell less books.
But ebook definitely has no value, with those DRMs they are just time bombs, and in Italy they are very 'underrated' (people here aren't that much interested on things they can't really own, and the same don't want to invest much money on it). That's why it's difficult to choose a price for it.
I think I will push on the 5.99 price. Still high for a product so feeble but still low for a niche product like that type of a book.
I think I'll still protect it from 'devaluation'. I hope it at least.
Agato, you make a very good point. From country to country a readers choice differs. If I were buying poetry, which I have, the printed paper version would be more valuable to me because I love to see the word choices on the paper and do not want to leave that precious sentence format up to the vagaries of digital interpretation.If you are indeed in Italy, let me commend you on your English. Few Americans have a mastery of any language other than English. Your written communication is wonderful.
Yes, paper can last for centuries eventually, I think every artist should focus on it. Especially those who aren't going to make a living with it. It's more likely that a piece of us will survive on a piece of paper than on digital data.Thanks for your kind words. I can't sustain a conversation but I'm glad people understand me without problems when writing. I should thank videogames for it, hehe.
Great response. In preparation for a trip to Italy in 2011, for months ahead of our trip, I listened to an audio tape while trying to learn Italian for travelers. About the only thing I really learned was how to identify the colors of cars, and how to ask for a table for two. Oh, and "gelato". I already knew how to say "pasta" and "pizza". And, greetings! Those were easy. I can say the Italian words, but that doesn't mean an Italian person can understand me.
Italian can be a bit difficult because has a somewhat complex grammar with too many rules and words are much articulated (it's easy to pronounce 'steel', lesser to pronounce 'acciaio') and can sound weird spoken by non-italians people, but it's a true joy to hear and an italian poem has so much richness in sound and elegance that's really a shame that so many people can't 'taste' it (french is overrated in that sense in my opinion, strong inflection, it gives out a sense of a smaller world).Apart the grammar it's hard to learn it with 47.000 commonly used words (english has a bigger lexicon but just 14.000 commonly used words so it's easier for us to settle with it).
Anyway, unlike in France people here is a bit more used to speak english (it seems that french people hates english), you should not have problems with it. But certainly by learning it you should open new boundaries and appreciate some elegance in the form and sound of writing.
An example from a poem of mine:
Petali rossi,
alito di vento che via te li porti.
Giardino spoglio...
velato dalle lagrime di chi ti compiange,
di chi ancora ti bisogna.
Tenue speranza che lasci nudo il corpo,
freddo e immobile.
Quieto lago d'inverno,
traversato da alcuno.
Ricordo fuggevole dell'Uomo.
Più non sei.
In english would sound like this:
Red petals,
breath of wind that gradually takes them.
Garden bare ...
veiled by the tears of those who pities you,
of those who still need you.
Faint hope that leaves the naked body,
cold and motionless.
Quiet lake in winter,
crossed by anyone.
Fleeting memories of Man.
You are not (anymore).
In english subtetlies disappear, don't sound good, there is no music: 'fuggevole', 'd'inverno', 'tenue', 'immobile', 'più non sei'.
That's why I think I will not like to translates poems, they do belong to a specific language, be it english or italian, they would not 'sound' otherwise.
I would like to learn this language more for reading italian literature than for speaking with people.
In Spanish and Hawaiian, as in Italian, all vowels are pronounced. Of course some vowel sounds are different depending on the language and the words themselves. Even though I can pronounce all of the words in these three languages, I cannot do it quickly, nor without an American accent. In California, although we do not have strong accents like residents of southern states, Texas and New York, for example, we do not sound like native speakers of foreign languages. My daughter-in-law is Japanese and I cannot pronounce her name to her satisfaction so I don't say it at all. I like your poem. May I correct one word? "pities" should be "pity".
Thank you Sarah.I don't know if it's the right term, it should mean 'feel sorry for (you)'. Anyway in many poems the form is key; a word that's musical and elegant when translated lose its musicality and eventually end up as cacophonous like with 'più non sei' -> 'you are not'.
Maybe with a deep knowledge of the language you can patch it better (english has a true big lexicon to work with) but it can't be the same. That can be the case for english poems translated to italian too, obviously.
If I'm proud about anything in Italy it's the language more than the paintings and the sculptures. And maybe every artistic achievement, be it on a canvas or on a stone, start from the language.
English too is heavily accented, both in american and 'proper' english. The first seem to me a close ambient with muffled sound, the second an open one with a bright, articulated sound.
I do like the second more, it seems brighter, though it can be more tiring to listen because of that for non anglophones.
"Pity" is the right word regardless of its tense. You are right about American English. I tutor a young woman in Madrid who is studying for her Masters degree in Engineering. She must take spoken exam in English, and we have talked several times about how inflection (or accented as you remark) in a spoken English word can change its meaning. Meaning or definition is so complicated. I once tried to write a letter to my son's Japanese grandmother. I used the Japanese version of their written language that uses the Phoenician alphabet. Even using my Japanese dictionary I made an embarrassing mistake when I used the word "love" to tell her of my affection for her as another grandmother. The word I chose meant "love" alright, but instead of "friendship" the word meant "sexual". I will never write another letter in a language I do not know well. Good luck with your poetry in whatever language you use to translate it. Italian is lyrical and lends itself to poetry, I'll grant you that.
Don't give up, it's normal to do some errors when writing with an unknown language, people do expect some errors but generally appreciate the effort. With experience there will be less of them.Thank you, I wish you the same for your writing. ;)
Getting back to pricing issue, I decided I'd rather have my book read than to make a bunch of money per book. I priced my ebooks at $2.99, but I have one in a new genre that is struggling and I put that one at 99¢. I'm writing more books in that genre and once I get recognition there, I will reconsider the pricing issue, but the ebook will not go above $2.99. Speaking for myself, I have authors I love, whose books I want to own, but I will NOT spend a ton of money no matter how much I like the author. I have a book right now by an author I collect, a HUGELY popular author, widely renowned, but I won't buy it because I refuse to spend more than $7.99 for an ebook no matter who writes it or how good it is. That's what libraries are for. I checked out an ebook I'd been waiting for, loved it, but I know it's coming out in paperback at the end of the year. (I hope the digital edition price will be revised then.) I'm on the ebook waiting list again for the library, but I have made it a matter of principle that no matter how much I want that book, I refuse to give in. As far as my paperback editions, Createspace gives a minimum price where they can break even. I price my books as close to that as I can, knowing that it is above my $7.99 price. I console myself with the knowledge that the book is 6x9, larger than the standard paperback size.
If people want me to buy their book, paper or digital, they will price it where I feel comfortable spending the money. Otherwise, it's the library for me!
Ah, Mary, a woman after my own heart!I have to admit that there are a couple of mainstream authors (Modesitt, J.D. Robb/In Death Series) that I'm so eager to have the next book as soon as it comes out hardcover, that I'm willing to pay the price-gouging USD 12.99-14.99.
Other than that, I may take the pricing issue a bit farther (further???) than you.
A long time ago I typed out a full page of text from several mass market paperbacks and found that on average there are 300 words to a page. And over the last 60+ years of reading I've come to realize that most mainstream paperbacks are about 300 pages.
So, using the current USD 7.99 for paperbacks I've come up with a formula to decide whether I'm getting enough bang for my buck with an ebook price.
The number of pages divided by the price multiplied by 7.99. If the result is over 300, then it's a reasonable price. For example, a 240 page book at USD 4.99: 240/4.99 = 48.1 x 7.99 = 384. So if I buy this book it's the equivalent of paying USD 7.99 for a 384 page book.
On the other hand, if someone is asking USD 1.99 for a 50-page novella, that's the mathematical equivalent of asking me to pay USD 11.94 for a 300 page paperback. I don't buy it. (Ditto a 75-page novella for USD 4.99, which is like paying just under USD 20.00 for a paperback.)
This isn't a perfect system, and the AMZ page count isn't necessarily an accurate equivalent of an actual paperback page, but it's the best I could come up with to stretch my money, and get the best bang for my ebook bucks as possible.
Just my USD .02.
Eric
I heard that 0.99 is counter-productive. It seems that people look suspiciously to content with a so low price. Some (american) authors lamented that they sold less books with a 0.99 price tag in comparison to a '2.99 price tag' (that seems perceived somewhat as 'standard'), and we are talking about less books, not less margin. Maybe isn't widespread but even I wouldn't spend a penny on a 0.99 book. It's like if even the same author don't respect it.Here in Italy it's different, from one side there is some poor people that will look at the least price possible, and at the other side some people that want to pay for a good product and will spend some money on it (even 9-10 dollars on ebooks). Generally the latter side isn't at all interested in unknown authors and will spend the money on well known publishers and/or authors.
2.99 seems a good target to me for general content like fiction.
I will never go under 5.99 for my non-fiction content, that would be just 'not serious' in my opinion.
x Eric: I don' think it's all about mathematics.
More about perception (cover, book lenght, publisher, incipit, etc.).
Though probably not reflective of the industry as a whole, the following data may prove interesting, if not actually useful, in answering your question.As of the most recent quarterly sales report, the breakdown of my one and only novel's sales year-to-date (Aug. 9, 2011 - Sept. 30, 2016), by format, was as follows:
1,017 Units Sold - Total Royalties Paid = $2,334.49
Paperback - 482 (47.4%) - Total royalties = $1,535.64
E-Book - 471 (46.3%) - Total royalties = $572.28
Audio Book on CD - 36 (3.5%) - Total royalties = $134.17
Audio Book Download - 28 (2.8%) - Total royalties = $92.40
Very low royalties from the ebook in comparison to the paperback Jim, how so?Audio books seems to be a really bad investment since the don't come for free but have a production cost, the publisher must have lost money on that.
Agato wrote: "Very low royalties from the ebook in comparison to the paperback Jim, how so?Audio books seems to be a really bad investment since the don't come for free but have a production cost, the publisher..."
Agato,
Vendors purchase units from the publisher on-consignment at a negotiated discount dependent upon the order size. Each vendor assigns its selling price based upon overhead costs, annual volume and net profit target. I receive a flat royalty of 15% directly from the publisher every three months.
Writing a novel was just one of four items in a bucket list that my late wife insisted that I create upon retiring in 2001. Obviously, it has not been a commercial success. I enjoy a comfortable lifestyle that is not in any way dependent upon the aforementioned royalties. Thank goodness!
I wish you success in your current and future writing career.
15% is pretty good as per royalties. In Italy an author generally get 8% from a publisher.1000 copies I see it as a big achievement if the publisher didn't invested so much money on it (advertisement and distribution are always key for success, although some books can live alone by their fame). Pretty good.
For what I know very few writers live by selling books, though 1000 copies should be a so pleasant number for anyone to say: "I'll do another one".
Thank you for the wishes, I'm not searching for commercial success, just for a piece of me to survive Time, though I will not belittle my book with a low price, people who will want to read it will spend their money (5.99 for the digital or 15.90 for the paper), otherwise that same piece would just have not deserved to survive.
Since you are already on big numbers I wish you to continue writing new books and doubling your current numbers.
Agato wrote: "15% is pretty good as per royalties. In Italy an author generally get 8% from a publisher.1000 copies I see it as a big achievement if the publisher didn't invested so much money on it (advertise..."
Agato,
Please, keep in mind that the 1,017 units were sold over a period of five years. That breaks down to only 203 per year. However, just the thought that a thousand people read my book is quite flattering.
That said; my first novel will also probably be the last. It took me 14 months to produce a completed, polished manuscript and an additional 2 months working with those assigned to help convert it into a commercially viable book. It was definitely an enjoyable and interesting experience, but there are just too many other enjoyable and interesting things I wish to experience and so little time.
Perhaps someday I will be able to boast that I knew Agato before he became a best-selling writer. Once again, I wish you success.
Surely you are no match for J. K. Rowling and her commercial efforts (that I'm somewhat enjoying too) in terms of numbers but there are many authors that don't sell a single copy, ever. I heard about people lamenting their hard work didn't match any sale.Your work is in the hands of 1000 people, I wouldn't say it's a failure, but if it wasn't worthed the effort you only can say that.
I know that some people invest big money on their projects and not seeing them back isn't appealing.
Some things aren't done just for the money, that's the case of books where you can see many authors giving out their books for free. Even their first and only foray.
I see it as a success nonetheless but obviously it's yours, so you are the judge.
I hope it so, anyway 'not to sell but to last'.
Thank you Jim.
Agato wrote: "Very low royalties from the ebook in comparison to the paperback Jim, how so?Audio books seems to be a really bad investment since the don't come for free but have a production cost, the publisher..."
The date of original publication explains everything. Jim's book is from 2011. Paperbacks had not yet collapsed although they may have been on their way. Audiobooks had not yet taken off. Today, it would not be economically viable to spend 14 months producing a single title, since Amazon will almost certainly cease to give it visibility after 10 (or 30) days, depending on the genre.
Most writers lose money and are happy to do so because they would spend a few thousand dollars on their personal entertainment anyway.
Agato wrote: Some things aren't done just for the money, that's the case of books where you can see many authors giving out their books for free. Even their first and only foray...anyway 'not to sell but to last'
Free books are often downloaded and then never read. There are some studies to suggest that if people pay for something, they are more likely to use and appreciate it and enjoy it. Currently, I have a ton of free books available, but I'm looking at making some changes now that I've made a more serious study of how to reach readers. Nothing "lasts" that was never read in the first place.
Mary wrote: "Getting back to pricing issue, I decided I'd rather have my book read than to make a bunch of money per book. I priced my ebooks at $2.99, but I have one in a new genre that is struggling and I put.. I refuse to spend more than $7.99 for an ebook no matter who writes it or how good it is. That's what libraries are for...I have made it a matter of principle..."I'm not sure what that principle would be. If someone only likes something because it is cheap, do they really like it at all? What is the purpose of targeting readers who only care about cheap? There will always be someone who is cheaper. If you sell for $3, they sell for $1. If you sell for $1, they give their book away.
I also agree with ebook pricing above 3.00 better be a trilogy or collection. My hubby hollers when I buy for .99. But I try to buy ebooks from Christian authors whenever they are reasonably priced. If they are too high I use library or buy paperback.
Parker wrote: "Agato wrote: "Very low royalties from the ebook in comparison to the paperback Jim, how so?Audio books seems to be a really bad investment since the don't come for free but have a production cost,..."
Have audio books sales skyrocketed? Because with 50 copies out of 1000 it seems really painful. Here they ask like 450$ for a 300 pages book. You need big number sales to cope with it.
I would never try that route but here audio books sell nothing.
Certainly for a famed author is doable because out of 200.000 paperbacks they can place some audiobooks.
I second you on the fact that 0.99 is more 'buy and forget' like it's for videogames (and anything eventually). Generally if people spend more they are more prone to read too. 0.99 are perceived as cheap content, not tasty.
In the US, a far bigger market than Italy (no offense, it's just a matter of the relative sizes of the population), paperback sales have crashed, ebook sales are leveling out or even falling in some categories, but audio books are still growing. This is what I believe, and you may take it or leave it: In the future-- heck, in many genres in the here and now-- audio books will soon be a necessity to establish credibility as an author writing in English.
Carolyn wrote: "I also agree with ebook pricing above 3.00 better be a trilogy or collection. My hubby hollers when I buy for .99. But I try to buy ebooks from Christian authors whenever they are reasonably priced..."If my partner hollered because I spent a dollar, my partner would be my ex. I can't even... !
Parker wrote: "paperback sales have crashed, ebook sales are leveling out or even falling in some categories, but audio books are still growing. "more details. in fact, indie ebook sales really took a nosedive from May 2016 to October 2016:
"After two and a half years of quarter-over-quarter growth, Indie eBook market share shrinks significantlygood point about audiobooks. from authorearnings.com:
* Indie ebook market share drops all the way back to early 2015 levels.
(http://authorearnings.com/report/octo...)
"Audiobook sales continue to grow rapidly, for indie authors as well as for traditional publishers."
(search for "audiobook" at http://authorearnings.com/report/octo...)
authorearnings.com (established by Hugh Howey) compiles data on books published on Amazon (~70% of the ebook market) and analyzes that data from a self-publishing POV. they have a crapload of computing power and expertise. they crunched a million amazon titles last month (and do so regularly on a regular basis). you can also download their raw data and run pricing stats for your genres in a spreadsheet.
here's an example of the kind of pricing info you can get at http://authorearnings.com/report/octo....
Parker wrote: "In the US, a far bigger market than Italy (no offense, it's just a matter of the relative sizes of the population), paperback sales have crashed, ebook sales are leveling out or even falling in som..."No offense on facts, and that's a fact.
What I say is that even if audio books grow by 100% they still count as a little fraction of the whole market. They need to grow by '500%' (hypothesis) while paper shrink to make it viable for 'Jim' (Rowlings gets obviously nice numbers, but we are mortals out of the big numbers, big publishers, etc.).
In U.S. certainly it will have a slice of the cake (but how much? Really...), in Italy I would consider it DoA.
A great grow on nothing is still nothing, eventually.
Indies should consider real market numbers before they invest their little money.
x Alex: Nice charts, very useful to me. Thanks.
It is a nice info. Thanks, Alex.Agato, I guess I can't tell you *when* you should start budgeting for audio but I think one day soon it's going to be inevitable if you want to find readers in English. A big problem with indie books is quality control. Right now, there's a perception that a lot of people are putting out books without spending any money on decent editing, etc., and it does seem to be hurting sales overall after the initial rush of readers to embrace indies and a diversity of outlooks.
As a reader, I feel like one way I can quickly figure out if an indie was willing to invest in their book is to see if there's an audio-- even though I rarely listen to audiobooks myself. The audio format doesn't necessarily just sell the audio book. It also helps sell the ebook too. It's an indication of quality that gives me more confidence when selecting a book by an author I don't know.
That said, I don't yet have an audio book line either. It's a project for 2017.
Avid readers share a common bond - they love a good book. However, their individual taste in book format may vary quite a bit. Some prefer traditional print while others prefer e-books. Still others would rather listen to an audio book while they drive or perform other chores. The ideal situation is to have a book available in all three formats to attract the widest possible audience.The more commercial vendors that carry a book, the more potential customers will become aware of it; so widespread distribution is as important as format availability. The adage "Never place all your eggs in just one basket" is worth heeding.
True.If I had limited resources though I would do Paper->Ebook->Audio. Who can will spend on everything and gets advertised on anything.
That's true for book trailers and everything else. If you got the budget you can spend, otherwise you have to select the best way to offer your opera.
Sarah wrote: "In Spanish and Hawaiian, as in Italian, all vowels are pronounced. Of course some vowel sounds are different depending on the language and the words themselves. Even though I can pronounce all of t..."New York is a "southern" state--hmm, I better update my maps. But seriously, it's no surprise that you don't consider California to have "strong" accents-you can thank Hollywood for that. The figured out long ago that "Midwestern Blah" is the American accent easiest to understand by non-native speakers (accents or languages), so anybody who wants to get on the national stage learns to use "Midwestern Blah." (which isn't to say that all Midwesterners have the same accent, like dose folks dat say "ya" t' da U.P., eh?)
This isn't unique to America. In Japan, the Tokyo dialect has become the national dialect--again, thanks to the TV/movie industry. And in some cases, their dialects may have completely different meanings, like "hashi." Depending on whether you raise or lower the pitch of "-shi" relative to "ha-" (and what regional dialect you're speaking), you can be talking about either a bridge or chopsticks. Fortunately, no one in a restaurant anywhere is going to bring you a bridge when you as for "hashi," no matter how you say it.
Parker wrote: "In the US, a far bigger market than Italy (no offense, it's just a matter of the relative sizes of the population), paperback sales have crashed, ebook sales are leveling out or even falling in som..."There are two things that boosted the sales of audiobooks:
1) Back in the (I think it was) last '90's, somebody got the bright idea to market audiobooks to commuters. Opened up a big new market for "story" books (novels, biographies, narratives of events) and some kinds of education (language learning and subjects that lent themselves to lectures).
2) The growing sophistication and ease-of-use of audio software over the last five years or so, enabling non-technicians to quickly and easily edit a recorded interview into an audiobook. This ease of creation allows a large number of books to be put to market in short order, often priced below the written book, making them more attractive to cheapskate customers (and therefore boosting them higher in rankings, encouraging even more people to publish audiobooks using the model.)
Coincidentally, these types of books comprise the lion's share of books published, including a lot of books published 20-120 years ago that are only just now sprouting audio versions (which argues that sales will level off once this "boom" has passed). So, if you're writing in one of the above-mentioned types, you might want to think about audio. But if you look at all the types of books available, you'll find several that don't work as well as audio: those that depend on illustration (like craft books), those of an academic nature (not necessarily textbooks), those that use multiple text streams (like the "Idiot's Guide to . . ." and "for Dummies" series). If you're writing in those, it doesn't matter how much audiobooks are booming, because it's not going to affect how well your book performs in its genre.
Carolyn wrote: "I also agree with ebook pricing above 3.00 better be a trilogy or collection. My hubby hollers when I buy for .99. But I try to buy ebooks from Christian authors whenever they are reasonably priced..."It depends on what your are buying. Personally, I'd consider $0.99 to be a good price for a poetry chapbook, small collection of short stories, or a novella, and an "intro" or "promo" price for something larger. Charging a regular price of .99 for an average-sized novel is a (price) race to the bottom, and has more to do with the nosedive of hard copy than convenience of delivery/storage or saving trees.
I'm into a lot of arts and crafts, and many companies offer PDF's at 50-75% of their paperback prices. We're talking $15 for a PDF vs. $20 (+shipping) for a paperback or $20 for a PDF vs $30 for a hard copy.
And there are a lot of neeedlecraft sites that charge $4-6 for a single pattern, but you get over to Amazon and suddenly a book (usually 10-20 patterns) is expected to fit in their "sweet spot" of $2.99-9.99?
I guess the expectation of what a "book" is has fallen with the price people expect to pay for ebooks.
(And on aside, can I get you over to my "Is this a Christian book?" discussion? You're the kind of person I'd really like an opinion from.)
So are you cutting margins on the digital product to make it more palatable or are you going to have the same or even higher margins in comparison to your physical book?
How do you approach the digital market?
It seems even more competitive than the paper's one.
Thanks