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Posts Tagged free ISBNs
Did you use one of the Createspace ISBN? I want to be able to sell directly (like book signings) and wonder if it is better to buy the ISBN?
The ISBN is a unique digital identifier for a book (oh here’s the Wiki entry). Traditionally, publishers buy them in batches of between 10 and several thousand, and allocate them to each edition of any book – even ebooks. If you’re UK based you can get them from Nielsen, in the US from Bowker. CreateSpace offers you the option of a free ISBN or you can input one you’ve bought yourself. If you use the other main indie publishing print-on-demand company, Ingram Spark, you need to supply your own ISBN.
Your own ISBN or CreateSpace’s? The pros and cons
There’s a lot of emotional talk about whether you should buy an ISBN or use CS’s. Here are a few myths dispelled.
Doesn’t the book ‘belong’ to CreateSpace if you use their ISBN?
No it doesn’t. It belongs to you. You have the copyright. However, you are restricted about where you can have the book with that ISBN printed. See below.
CreateSpace will be seen as the publisher of record.
Yes it will. I’m not sure this makes any difference to individual buyers who are browsing for your book. If they’re trawling down the book details, liking what they see, they’re unlikely to screech to a horrified halt if they see it’s published by CreateSpace. They probably won’t notice.
However, the CreateSpace name may deter booksellers from ordering. But that’s not because the name is associated with Beelzebub Bezos, self-publishing or any other giant imaginary stigma. It’s because CreateSpace’s distribution terms (through Expanded Distribution) are not as favourable as Ingram Spark (Lightning Source for indies). CreateSpace discounts are not as competitive and delivery times are not as swift.
In the past, indie authors who published via Lightning Source (now Ingram Spark, remember) found their books sometimes showed ‘out of stock’ notices on Amazon. This has caused much hair-tearing, and mumblings that the big corporations were having some kind of squabble with publishers caught in the middle.
So now, many indies are now buying their own ISBN, printing through CreateSpace to sell on Amazon, then printing the same book (with the same ISBN, remember) to distribute everywhere else. Best of both worlds.
It all sounds good – except for the cost of ISBNs. In some countries they’re free, in which case you’re laughing. In countries where they are not, you’re not laughing. From Nielsen, you’re looking at £144 for 10. The unit cost is lower if you buy 100 (£342) but that’s rather too painful for me. Allocating ISBNs used to be a big administrative faff (I used to fill in the publisher’s forms when I was in charge of an editorial department) but now it could surely be automated and free. Don’t get me started, but I’d rather use that money for something that would benefit the reader, such as better cover art. Also, publishing on Ingram has a cost too, they charge for changes and the set-up is more challenging.
More on expanded distribution
1 So far, all my print titles have used CreateSpace ISBNs. Despite the distribution factors, this doesn’t stop me getting bulk orders every month for the Nail Your Novels. I can’t tell where they’re going, but they are being bought in bulk, somewhere. Maybe I’d get more bulk orders if I had my own ISBN and an Ingram version. Who knows?
2 According to Bowker:
Without an ISBN, you will not be found in most bookstores, whether online, or down the street from your house. Buying an ISBN is your first step to insure that your book is not lost in the wilderness.
This is true, of course. But even if books are on databases, and available at competitive rates, they sell zip without publicity. Bookstores get some of their stock because customers ask for it. But much of their speculative stock is books they order because they are featured in the wholesalers’ magazines, which is arranged by publishers’ marketing departments, or because a publisher’s rep called. So even with a shiny Bowker-or-Nielsen ISBN, the world is not your oyster. How much of a publicity campaign can you mount? Put another way, without a shiny Bowker-or-Nielsen ISBN you may not be missing very many sales because getting noticed is the most difficult thing of all. (Sorry.)
Short version, please
Sorry, Daniel. If you’re getting your paperback made for Amazon sales and direct hand sales, a CreateSpace ISBN will be fine. Certainly if you’re new to making books, use CreateSpace as your training wheels. Also, there’s nothing to stop you making a new version with your own ISBN, and uploading to CreateSpace and Ingram later on. You can change the CreateSpace settings to take your book off expanded distribution, so that the copy that reaches catalogues is on bookseller-friendly Ingram. You can also, if you have a really neat mind, disable the old CreateSpace listing by making the book unprintable, which takes new copies off sale although the old listing will remain.
As for me, I usually use the Createspace ISBNs. But I’m trying a new tack for the plot book. I’ve made a deal with a small publisher to put the book out with their ISBN. They get the book for their catalogue, I do everything else. I’m initially printing through CreateSpace, then seeing if a non-CS ISBN printed with Ingram Spark will give me any advantage. It would be nice if I could eat my pessimistic words about ISBNs. I shall report. 🙂
Thanks for the printing press pic Tadson
The ebook of Writing Plots With Drama, Depth and Heart: Nail Your Novel is now available on pre-order. It will go on live sale on Twelfth Night, 5th January, and if you order beforehand you can get a special pre-order price.
‘On the twelfth day of Christmas my true love sent to me… Twelve drummers drumming, eleven pipers piping, ten lords….’ Is that too complicated for an opening scene?
Anything further to add? The Createspace/Ingram universe is changing all the time, the ISBN issue is one of the most divisive in the indie world – so comments and further discussions will be welcome!
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Tomorrow (or maybe today or last week, depending on when you’re served this post) I’ll be taking part in a Book Industry Communication debate on the future of ISBNs. I’m providing the author perspective, so as part of my research I canvassed opinions to see what the mood is.
Much of the feedback centred on whether authors should buy ISBNs or use the free ones from CreateSpace, Smashwords et al. There were sound arguments on each side. But what emerged for me was the way self-publishers view ourselves. It’s a snapshot of our times that goes a lot further than a little piece of industry bureaucracy.
For and against
Julia Jones, one of my co-conspirators at Authors Electric, said she bought ISBNs ‘to behave like a publisher in every way’ – a view shared by many. Plenty of authors feel to have their own ISBN is more professional, lets you be seen and counted, and gives you control.
Other writers – among them author-entrepreneur Joanna Penn – feel having their own ISBN makes no difference: ‘I can’t see any benefit, or evidence that having a paid ISBN helps you sell more books’. As Joanna sells whopping numbers of her novels and non-fiction books, we certainly can’t argue with that. (I agree with her. Personally I’d rather put the money towards a better cover or more editing time.)
But it was a comment from Michael N Marcus, who writes and publishes books about self-publishing that hit a bullseye for me: ‘If you want to be known as an author, the ownership of the ISBN is unimportant. If you want to be known as a publisher, own the ISBNs you use.’
Now that’s a very interesting view. We’ll return to that in a moment.
But look, no ISBNs at all
Most striking was Dan Holloway, who publishes experimental fiction and poetry – both his own and that of others. He doesn’t use ISBNs at all – even for printed books. He says: ‘I write and publish for a niche, dedicated audience, providing an experience they can’t get elsewhere. I work with selected independent bookstores and galleries and send customers to them for my books, rather than having my books available everywhere.’ He’s not even on Amazon.
Dan is a firm believer in direct selling: ‘We should be trying to get our fans to buy direct from our websites if we can to foster community – we want to nurture fans with stickability, who will become our bedrock over the years, and the best way to do that is to have a hub that exposes them to us, our ideas and worlds, and all that we have to offer. I buy all my music direct from bands, for example.’
You might think this is a recipe for obscurity. Au contraire, Dan’s ISBN-free books have twice received special mentions for the Guardian‘s first book award, been shortlisted for the Guardian‘s Not the Booker Prize, and been voted ‘favourite Oxford novel’ by readers at the Oxford branch of Blackwell’s.
Author or publisher? Or something else?
I keep coming back to Michael’s interesting distinction and I think he’s nailed something important. Certainly I put most effort into building an identity as an author rather than a publisher. Like Dan, I am most keen to find people who like my imagination and preoccupations, my way of thinking. Having said that, I like publishing and I want to publish myself; I enjoy the control and creativity. I can also, if needed, wave a CV that demonstrates years as a production editor/chief sub/editorial manager, so perhaps that’s why it’s no big deal for me and you should discount my view as I’m not typical of self-publishers.
Other authors feel ISBNs are an important part of their brand and image – one of many signifiers of their professionalism.
Now, more than ever, there is no ‘one right way’ to self-publish well. We’re all finding our own paths. You might be a Dan, a Julia, a Roz, a Joanna. Most probably you’re something else again. I’d love to know. Oh, and wish me luck tomorrow.
What kind of self-publisher are you?
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