(If you’re thinking deja vu, yes, this post was scheduled to appear on Friday, and accidentally came out on Thursday for a while before being rescheduled. Apologies for the confusion!)
I’ve written before about the threat that streaming media poses to traditional book sales. I’ve had a certain amount of pushback about that, particularly from those who don’t like the thought of their income from writing declining to such an extent. Some have even refused to make their books available on streaming services such as Amazon’s Kindle Unlimited. Now, however, the signs are clear. We have to face up to the reality of streaming media in our future – or be swept aside.
Those signs are most clear in other areas of the entertainment industry. Let’s not forget, that is our industry, too. We’re not selling books. We’re selling entertainment, and our products (books and stories) are competing with every other avenue of entertainment out there – movies, TV series, music, games, the lot. If we don’t offer sufficient entertainment for consumers’ dollars, they’re going to spend them on another form of entertainment – and we’re going to starve.
The recent release of Taylor Swift’s new album brought some very sobering figures with it.
… in the three years since Ms. Swift’s last album, the music industry has changed so drastically that much of the old playbook no longer applies … what counts as a hit when all the traditional goal posts keep moving?
In 2014, when Ms. Swift released her last album, “1989,” streaming accounted for only 23 percent of music consumption in the United States, according to Nielsen, and it was still seen as unproven format. Ms. Swift snubbed Spotify as a “grand experiment” with unappealing economics, and “1989” sold 1,287,000 copies in its first week, better than any album in the previous 12 years.
Now, streaming is 63 percent of the market, and the success of subscription platforms like Spotify and Apple Music have turned the fortunes of the entire industry around. Last week, shares of the French media conglomerate Vivendi rose after Goldman Sachs valued Universal Music, a Vivendi division, at $23 billion, almost triple the size of a takeover bid four years ago.
But with streaming on the rise, sales of CDs and downloads — the most lucrative formats — are plunging fast. So far in 2017, the market for single-track downloads is down almost half of what it was three years ago. The question lingering over the industry is whether Ms. Swift can match her last sales number, and how.
“For the right artist, there is gigantic demand out there,” said David Bakula, a senior analyst at Nielsen. “But in order to reach that same level of success, there are different levers today to push and pull than there were the last time.”
There’s more at the link. Interesting reading for all entertainers (like ourselves).
The changed market for music (which, the Financial Times claims, has saved the music industry) is mirrored in the changed market for movies. Consider these headlines over the past year:
- Film and TV streaming and downloads overtake DVD sales for first time
- How Netflix took over the world
- Netflix and kill: Is streaming hurting movie theaters?
- THE LIVE STREAMING VIDEO REPORT: Forecasts, emerging players, and key trends for brands’ and publishers’ next big opportunity
I might add that movie theaters are in no doubt as to their competition:
“Our competition is not Netflix. It’s not the internet. It is sporting events, it is bowling, it is nightclubs,” Tim Richards, CEO of leading U.K. movie theater chain Vue Cinemas, told CNBC last week.
That quote was from 2016. Just look what’s happened to the 2017 box office. There were other factors in play, but I think Mr. Richards was right. Competition from other sources of entertainment meant that when Hollywood didn’t deliver a sufficiently entertaining product, its consumers simply spent their dollars elsewhere. We, as writers, face the same dilemma.
Since we’re part of the entertainment industry, and also subject to the vagaries of that market, writers are going to have to get used to making much less money per copy of their work than they’re used to. I’ve been analyzing my own sales since I started releasing my books in 2013. There’s a very clear decline in the sales of each book, both older titles and new, as Kindle Unlimited ‘borrows’ ramp up. Combining the numbers, I’m moving a similar number of copies, but earning much less for each. Today, I’d guesstimate that I’m going to make between one-third and one-half as much per book, in total, as I did back in 2013, and that figure is continuing to decline.
There’s another important factor, and that is the level of competition we face. When I started publishing my own books in 2013, Amazon.com’s Kindle Store had just over two million titles available, both paid and free. Today, as I write these words, Amazon.com reports that there are 5,533,182 publications available in the Kindle Store. The number is increasing by 50,000 to 100,000 per month – I’ve checked it over the course of this year.
Do the math for yourself. There are more and more titles chasing approximately the same number of consumers – and those consumers have probably got fewer entertainment dollars to spend today than they had four or five years ago. The economy hasn’t improved. Ergo, each title we offer has to be that much more attractive to consumers than the multitude of competing titles out there, if we’re going to make a living from our writing.
If we add that increased competition to the reduction in “pure” sales caused by the rise of services such as Kindle Unlimited, we face a real problem. The Amazon.com sales ranks achieved by my independently published books rival, and frequently exceed, those achieved by my work published commercially by Castalia House and, most recently, Baen. However, that’s cold comfort when I have to work harder for every sale, and I make less money per sale or ‘borrow’. That’s reality.
This means that we, as writers, are going to have to do more to promote and sell our books. I know we’ve hashed out the implications of an Internet presence, mailing lists, etc. ad nauseam. I won’t repeat all that again. Nevertheless, if we’re going to make less per book, we’re going to have to sell a lot more copies – in the face of greatly increased competition – in order to make a living at the writing game. That means we’re going to have to look into new methods of promoting and advertising our work.
Mike Shatzkin points out that cooperative marketing and support has the potential to be a much more important factor for authors.
One expectation I’ve had that has never become manifest is a “United Artists” for authors. Although the original vision didn’t last long, UA was formed in 1919 by the biggest movie stars then alive: Charlie Chaplin, Mary Pickford, and Douglas Fairbanks. Another example of artists joining to manage their own business, and one that has lasted a lot longer with its original vision, is Magnum Photos, formed in Paris by Cartier-Bresson and several other photographers.
Since the digital age began, I have been expecting a handful of major authors to form a publishing house. It has never happened. A few, notably Stephen King, did some experimentation (remember “Riding the Bullet”?) but true commercial use of independent publishing has not tempted the authors who have been working with established publishers to strike out on their own.
But Trelstad made clear that authors are talking to each other about marketing and organizing themselves to help each other. With modern digital tools, this is easy. It is also very hard to track. There is one effort that has gotten some notoriety called the Tall Poppies, a collection of writers organized and spearheaded by author Ann Garvin. Their mission statement explains that “Tall Poppy Writers is a community of writing professionals committed to growing relationships, promoting the work of its members, and connecting authors with each other and with readers. By sharing information and supporting one another’s work, we strive to stand out in the literary marketplace and to help our members do the same.”
According to Trelstad (who is herself a “Tall Poppy member”), this kind of collaboration among authors is becoming increasingly common under the radar, like with her “masterminds” groups. It makes sense. The Trump and Sanders supporters didn’t need the party apparatus to get themselves together in common cause. Using the same tools and techniques, authors can also unite in their own interest without needing a publisher or agent to facilitate it for them. And apparently they are.
Again, there’s more at the link.
In one sense, I suppose those of us who write here at Mad Genius Club are an “author collaboration”, but it’s not primarily marketing-oriented. Similarly, a number of authors living in close proximity, including yours truly, have formed a small cooperative in north Texas. At present, we promote each others’ books on our blogs and social media accounts, but it’s relatively informal. I suspect we may get to the point, over time, where we invest money together in joint advertising and promotion activities. It’s certainly something I’m considering.
That’s just one potential approach. There are others, such as producing more work – perhaps in shorter formats – in order to appeal to more readers. I’m also trying my hand at different genres, in the hope of broadening my market. So far, I’ve written science fiction and Western novels, as well as a volume of memoirs. I’ve just launched my first fantasy novel, with a couple more planned in that genre, to test the market.
If I can gain a profitable foothold in the fantasy genre, I’ll continue to write such novels. If I can’t make enough money in that genre, I’m going to have to make a cold-blooded business decision to write where the money is. It’s as simple as that.
There are many other potential approaches. We’ve explored some of them here in the past, and I’m sure we’ll explore more in future articles. The main thing is, we’re faced with market reality. We have to respond within that reality . . . or be shut out of it. What do you plan to do about it? Please let us know in Comments, so we can all benefit from the discussion.
Mad Genius Club 
36 responses to “It’s time to face facts: online lending and streaming media is, increasingly, the future of books.”
Good analysis of what’s going on. Sobering thoughts as well. My take away from this is have another source of income that’s not reliant on writing for the moment. Or to put another way, don’t keep all your eggs in one basket.
I agree, multiple streams of income is probably going to be the way to survive as a writer.
I think there’s a hard upper boundary for subscription services though, especially for books.
For one thing, the same service is available for “free” from your local library.
For another, most people don’t read enough to make the subscription model a good investment. For the “rent” option to beat the “buy” option you would have to consistently buy (and read at least) three or more books a month, every month. Most readers don’t come close to meeting that threshold. (Yes, I know I don’t technically “own” the ebooks I’ve purchased. But I’ve backed them up on an air gapped computer, so it’s a very fine distinction.)
In short, there’s a bit of a difference between a song that’ll take five minutes to consume vs. a book that’ll take five hours.
The Chinese webnovel companies seem to be doing fairly well on the subscription model with daily updates.
I can see episodics making a triumphant return.
Having a reader on my phone makes me much more likely to purchase short story collections.
I’ve seen more novellas in the past couple of years than I’d seen in entire decades.
But novels? I’m just not seeing it.
These are episodic, and can be fairly long. (Though length at least partly seems to vary by language.)
English language serial web novels, like Worm or the one I follow, Heretical Edge, can also be fairly huge. (Note the English language ones appear to run more towards donations than paywall. Heretical Edge give extra updates for donations, and large enough donations allows targeting of the additional updates.)
I’ll admit to wanting to know more about the webnovels as how they are done and perform in the mostly Chinese-Korean-Japanese markets. They’re a source of interest for me but limited bandwidth means I don’t get to really dig around as much as I’d like…
“The economy hasn’t improved.” No, the economy has improved considerably.
Maybe for you, George. Not for everybody, that’s sure.
I heard tell that the oil companies are going to be hiring fairly soon in positions other than landsman intern.
That’s always the case.
In good economies there are people having tough times, in bad economies you have people getting rich.
It’s the ratio of good to bad that’s important. (Not to mention that good and bad are necessarily subjective, and can be measured any number of ways.)
By almost every metric, the economy is doing pretty well right now. Not great, but good, and better than it has been in years.
This might well be illusionary and transient (heck, Keynes entire oeuvre was manipulating perceptions to prop up a moribund economy), but it currently is what is.
(My personal view is that we’re in a bubble fueled by all the inflationary measures taken under Obama, but all the deregulation Trump is doing might be enough to mitigate the crash. That’s assuming that people are rational–which I cheerfully admit is a completely unfounded assumption. I fully expect my analysis to be wrong.)
Great post, Peter. Thanks.
As a reader, my biggest constraint is time. I’ve got so many ebooks and print books in the TBR pile (which continues to grow) that finding time to actually sit down and read is a major challenge.
Here’s an example: I got a freebie Chris Nuttall book in 2015, and got around to reading it a year later (then promptly bought the next 6-8 books, and plowed through those).
It isn’t uncommon for me to forget that I have a book, check it on Amazon, and find that I purchased it months (or even a year!) ago.
^This
“What do you plan to do about it?”
Well, the first thing I plan to do about it is stop screwing around and publish something on Kindle. I’ve been all timorous about letting my baby go out in the wild, I need to man up and get it done. Push that button.
Second, I suggested over on Kate’s “Perils of Division and Conflation” thread that there should be a Sad Puppy Alignment review arrangement to sort the wheat from that 5 million book chaff pile. (I would be willing to host a weekly suggestion thread, but it would be better if there was a Real Official Puppy Thing. Because frankly, China Mike gets more bot traffic than I do. ~:D) The ultimate goal would be to make “Sad Puppies” a concept you could search by on Amazon, and come up with something great to read.
Maybe Sad Puppies/Mad Genius could do a Survey Monkey thing. Pretty quick and dirty to set up, reasonably easy to administer.
Third, as always, I’m going to write more stuff. If there’s all this competition out there, I should work at getting better. Build some muscles.
Fourth, and probably most important out of any of this, we all need to stop looking at the market as a zero-sum game. Working creatively and cooperatively, we can make the market GROW. 1% of a growing market is a better thing to have than 10% of a shrinking one. To that end, exciting stories told well will get more people reading overall. That’s where we want to go. Bigger.
Fifth, for immediate action, I suggest a Mad Genius swag page. You guys should have a grand combined list of all your publications, with Amazon links. Also, there might be a profitable way to do on-demand printing of other swag, like t-shits and kitsch. That stuff works, and a sale is a sale, right? Anybody out there know about that stuff?
C4c
>> Some have even refused to make their books available on streaming services such as Amazon’s Kindle Unlimited.
In the interests of precision in this mob of writers, Kindle Unlimited is not a ‘streaming’ service. The whole of each items is downloaded before you can use it and there is no need to be connected to the internet when reading.
KU is a subscription lending library with no ‘due back’ dates.
You beat me to it. While I understand Peter probably used that phrase because the most popular and newsworthy entertainment subscription services are streaming and those are the services he’s using for comparison with KU, it still made me, software QA guy, cringe each time I read it.
> Just look what’s happened to the 2017 box office
Let’s see… drive twenty-odd miles to the nearest still-operational theater, pay $20 or more to get in, sit through half an hour of ads, then try to watch a movie while surrounded by people shouting at their phones, shrieking children, and general annoyance.
Multiply that $20 by however many family members go with you.
Compared to: wait a short time, blow the $20 on the DVD, and watch the movie in the convenience of your own home. And people aren’t watching movies on a 19″ color portable TV any more, either.
How would books sell, if you could only read them by driving to a library and reading them there?
You forgot to add that most of those movies are uninspired remakes or sequels.
streaming explained
http://www.bbc.co.uk/webwise/guides/about-streaming
For one, I’m going to do more cooperative marketing. Two, see if I can boost my productivity – the slowest parts are research and edit/cover/format. Three is see about trying new genres.
While I admire the idea, when I saw the “Tall Poppies” name all I could think of was the Aussie custom of cutting down the tall poppies i.e. knocking down the folks who get too successful and full of themselves. I know that’s not what the group is about, but my mind went there.
“Tall Poppies” has classical roots.
https://en.wikipedia.org/wiki/Tall_poppy_syndrome
Comparisons are tough when you keep publishing new books, but while the continually expanding offerings, and the slow addition of new readers, are probably the main reasons my income increases every year, I’ve noticed that my KULL payments have gone from about a third to roughly half of my income.
Which, given that my income keeps growing, is fine with me. It does, however, making me think about raising the prices, since the voracious-readers-on-a-budget are probably on KULL already.
Supermarkets analyse and publish their year on year sales “like to like” so showing the growth for old stores, omitting the new.
It should be worth while looking at book $ sales split by year of first publication and eg, Dark Lady, Empire of the One, and Directorate School which have been out for years.
I don’t know if it’s a real thing, but the clickable link to get here from my email didn’t work. I had to go back to the original mad genius page.
Someone here (Christopher Nuttall, maybe?) has a neat idea: The first book isn’t free, but it’s the only one in KU. I forget which series, but I did end up going back and buying the first one so he got paid twice.
If I want to read it again, I’ll buy it (and make a backup so I can read it without Amazon). If it’s a one-off, then I love KU. Sometimes I change my mind. The Kurthurian Gambit moved from KU to purchased when I started re-reading it. I’ve accidentally KUed Pam Uphoff a few times (then later wondered why a book in the series was missing and gone back to buy it).
I pulled 10 romances – mostly firsts of series – from KU for a camping trip. I’ve decided I don’t really like the genre (too obvious what’s going to happen) and I won’t be buying any of them.
making me think about raising the prices, since the voracious-readers-on-a-budget are probably on KULL already.
While it doesn’t thrill me (I’ll be paying more), it does seem like a good business decision.
I’m very divided about series discounts. I _think_ Amazon is inventing some of the bundled series by slapping the books end-to-end and selling them as one thing. I like that for KU (only one borrow against the limit). It can be convenient for purchases (only one file to keep track of in the nasty Kindle interface) but discounting the price seems unnecessary. The price of a 12 book series in one go can be a bit off-putting, though.
Not Amazon. Writers do that.
The National Fantasy Fan Federation http://N3F.org has for some time been trying to organize an effort to read every new SF, F, H, and O novel. Using the definition of the novel in place for the Neffie (>100,000 words) there are well over 100 a month of these from Smashwords alone. We have a review zine TIGHTBEAM that will be happy to publish these reviews. Public memberships are free to all fen and include subscriptions to all four of our zines: The National Fantasy Fan, Tightbeam, Ionisphere, and Eldritch Science, and occasional copies of our APA N’APA. Please contact me if you are interested in helping. phillies@4liberty.net
If there ever IS a conglomeration of like-minded authors to share promotion, LET ME PLAY AS WELL!!!
It bugs the HECK out of me when I review a book and see that there are only 2 other reviews, or some such insignificant number; particularly when drivel gathers tons of enthusiastic fans.
I’ve been paying $9.99 per month to Amazon for three years now for the privilege of reading books. The BIGGEST difference between this method and going to the library is that I can do so in the comfort and privacy of my home in seconds, instead of getting dressed, going out, and driving somewhere. The second biggest difference is that the brick and mortar library doesn’t carry the books I read, and if they do, they have one copy, which is already checked out.
The Kindle fund for July 2017 was $19,000,000, an increase of one million dollars over June. The per-page payout dropped a smidge, though, down to the lowest point ever at $0.0040 per page.
The $0.876 Peter will get from me for my read of “King’s Champion” is not much, but I’m not his only fan, and it is a guaranteed income. I just counted, and in August, I reviewed 14 books; that’s a bad month for me, because it included a hospitalization and two major dental procedures, costing me more than a week. I did 17 in July, 18 in June, and 21 in May. Now, admittedly, I read more than I review, and I review more than the average person, but that’s still gonna approach $15 per month of MONEY in an author’s pocket each month that only costs me $10. So, I’m not the average KU guy, but as long as you are getting page reads, it doesn’t matter.
Sigh. The above paragraph doesn’t make sense, even to me.
Alas, just hear my plea: when your book is published, make sure it is on KU, and I will get it. I cannot promise that if it comes out and it is NOT on KU, that I will go back later and find it. I just read Kate Paulk’s “Impaler” this summer; don’t know HOW long it had been KU, but it wasn’t when I first started my reading/review project.
Ow. You have my dental sympathies. Last August was the end of my two years of major dental work, and I was so glad for it to conclude that I could have kissed him. That is, after I stopped hurting and all the tweaking and adjusting was finished.
Look at Scifibridge.com and fantasybridge.com as a possible example. Those are mailing lists, but they do a great job keeping me up to date on some pretty impressive writers.
I have a number of authors I dearly love and I have stacks of their books in paper as well as a few of the latest as e-books but today when I see a $14 Kindle price on their new releases I don’t even save it to consider buying later.
I look at a book series the same way, book one cheap but the rest pricey? I may grab it but rarely will I come back for more. It takes a really good hook to get me to click the spend money button for the next in series book instead of the read for free button on another book.
Even when it comes to a one buck book, I stop to think about it and higher prices equals more thinking. What I keep coming back to is that there are a huge number of very good books on the KU program and my saved to read later list there keeps growing. It isn’t that the buck or even $14 is going to kill me it is just the feeling it is wasted money unless it is a very special book.
This isn’t just books, I signed up for Rhapsody, now Napster, many years back and haven’t bought a CD or download since. I don’t watch much TV but I have a DVR full of stuff from “free preview weekends” to watch if I’m interested or the grandkids are over. Last DVD I bought was a “Thomas the Train” one for the grandkid that is now 10.
I can see how all of this is a problem for folks on the creator side of this issue and I hope there is a solution to be found that works for you. Maybe get Amazon to tweak KU so that folks that read more than X books per month pay more than the base price?
I’m just waiting for Amazon to get hit with an Anti-trust suit by the government.
And waiting…
And waiting …
And waiting.
They’re definitely in those waters now, just kind of surprised that no one at the DOJ seems to care anymore.
In EU-speak Anti-trust is “abuse of a dominant position”
This may clarify the matter for you and for those who are sticking their fingers in their ears and mouthing “Amazon bad”.
And here are the novels (>100,000 words, SF, F, H, or Fairy Tale) from Smashwords in August
Fall of the Cities: Planting the Orchard by Vance Huxley
Ultras Wars From a Different Dimension Volume One by Richard Arthur Drewer
Phoenix In Chaos by Robert Stadnik
The Ambassador by Paul Hansen
Ure Infectus: The Chimera Adjustment: Book One (Imperium Cicernus 1) by Caleb Wachter.
Domino Mysteries by A. Nation
The Ballad of Mercy: New Washington Crisis by Jason Mather
The Distant Kingdoms Volume Six: A Kingdom Falls by David A Petersen
A Stranger in Eden by Charles Rocha
Beyond the Twisted Ring by Charles Rocha
C.M. Simpson: Short Work from 2015 & 2016 by C.M. Simpson
Ten Directions by Samuel Winburn
Se me va + Colección Completa Cuentos + Un Comienzo para un Final. De 3 en 3 by Elena Larreal & J. K. Vélez.
The Cydonian Legacy – Parts 1-4 – Dystopia Deliverance by Adrian Holland
The Silver Ship and the Sea by Brenda Cooper
Monsters from Beyond Reality by V Bertolaccini
Makers of Destiny – Sequel to Die to Live Again by David Crane
The Time Machine: Beyond the Universe (2017 Edition) by V Bertolaccini
Collected Science Fiction by Tony Richards
Se me va + El Misterio de los Creadores de Sombras + Metavida. De 3 en 3 by Elena Larreal & J. K. Vélez
Rock Star by Ian Stewart & Tim Poston
Se me va + El Misterio de los Creadores de Sombras + Colección Completa Cuentos. De 3 en 3 by Elena Larreal & J. K. Vélez
Cosmic Seagulls – Exodus by Panos Sakelis
Confidence Game by Britt Ringel
2136 — A Post-Apocalyptic Novel by Matthew Thrush
Se me va + El Misterio de los Creadores de Sombras + El Cruce by Elena Larreal & J. K. Vélez
Se me va + El Misterio de los Creadores de Sombras + Las Reglas del Juego by Elena Larreal, J. K. Vélez, & Myconos Kitomher
Syn-En: Home World by Linda Andrews
Vanity of the Silver Crow by Steve Mendoza
Archipelago by Dylan Byford
De Tweede Apocalyps by C.(Kees) le Pair
Gamma Nine: Dawn of Extinction (Book Two) by Christi Smit
Construct 11 Part 2, Trust and Loyalty; The Construct 11 Series by Anna Lynn Miller
The Whole World for Each by Kate MacLeod
The Echos of Sol: Books 1-3 by Charissa Dufour
Freeman’s Choice by C.M. Simpson
Visions VII: Universe by Carrol Fix
Alien Conquest: Five Stories of Alien Conflict by David VanDyke
Existence_Tome 2_Chap 1-6 by Désiré Gnani Zoro
Spacetime: Book One of the Time Quest Chronicles by Patrick Sheridan
Existence_Volume 1 by Désiré Gnani Zoro
Existence_Tome 1 by Désiré Gnani Zoro
Unwelcome Visitors Box Set by Vincent Berg
Stranded in a Foreign Land by Vincent Berg
Наука, технологии, техника: современные парадигмы и практические разработки: сборник научных трудов по материалам I Международного науч by Professional Science
Depot-14: Volume 2 by J.J. Mainor
Apprentice Wizards of Hope by Gary J. Davies
Surviving The Evacuation, Book 11: Search and Rescue by Frank Tayell
Voknor Diaires (Terran Chronicles) by James Jackson
A Dark Radiance by E.M. Prazeman
The Zombie Plagues Plague by Geo Dell
Sevenfold Sword: Swordbearer by Jonathan Moeller
Angel in Crisis by C. L. Coffey
Guardians of the Four by Austin Macauley
The Cursed: The Allseer Trilogy Book II by Kaitlyn Rouhier
The World Beyond Time by Marvin Berenson
Caught in the Neuse by Christopher D. Carter
The Decadence of Our Souls by Claudiu Murgan
Clarah by Sheila Mughal
Fate or Folly by Sarah Ettritch
Monochrome by H.M. Jones
The Distant Kingdoms Volume Six: A Kingdom Falls by David A Petersen
Unprojected Images by Charles Rocha.
Fate’s Door by J.M. Ney-Grimm
Mirajul Fanteziei by Tina Silvens & Sandra Lineliztrei carti din seria „Regatul Arid”
C.M. Simpson: Short Work from 2015 & 2016 by C.M. Simpson
Avenger : A Swords And Skulls Fantasy by Chris Turner
The Crystal Ark by Nancy Beth Lawter
The Royal Bears Trilogy: Bear Shifter Paranormal Romance by Emma Alisyn
Centaur Magic (Touched Series Book 5) by Nancy Straight
Hidden Rebel: Changed Heart Series #3 by Michelle Janene
The Deadliest Haunted Castle (2017 Edition) by V Bertolaccini
The Archimage Wars: Necromancer of Irkalla by Philip Blood
Complete Crystal Series by Nia Markos
The Lost Sons of the West by A.L. Buxton
Heart of the Messenger by Melody Styles
The Pearl of Immortality by Nishi Singh
Book of Creation by Ran Lahav & Michael Winstrom
Knight of Flame by Scott Eder
House of Fate by Barbara Ann Wright
Legends of the Dragonrealm: The Gryphon Mage (The Turning War Book Two) by Richard A. Knaak
Vanity of the Silver Crow by Steve Mendoza
Fated Generations (Book Three) by C.K. Mullinax
The Children of Auberon Saga by J Wolf Scott
Netherfall Academy: Awakening by Matthew Burkey
The Chosen One Trilogy (box set) by Mireille Chester
The Beggars of Nebreth City by Ashley Abbiss
Freeman’s Choice by C.M. Simpson
Eena, The Two Sisters by Richelle E. Goodrich
The Ballad of Mabel Goldenaxe: The Complete Series by Sherry Peters
Origin: Secret of the Dead Mystics by Aaron R. Allen
The Lost Treasure Map Deluxe Book Collection (2017 Edition) by V Bertolaccini
The Lost Treasure Map Book Collection (2017 Edition) by V Bertolaccini
Apprentice Wizards of Hope by Gary J. Davies
Legacy by Stephanie Barr
The Ministry of Curiosities Boxed Set by CJ Archer
The GRiPPENHAM Tales – The Hidden Truth by John C. Stannard
The Rise of Darkness by Sarah Earl
The Contending by Cynthia Joyce Clay
Into the Mouth of the Kracken by Pat Cypress
Luminous: A Noblebright Fantasy Boxed Set by CJ Brightley, JA Andrews, JS Bangs, Christopher Bunn, Pauline Creeden, Lea Doue, W.R. Gingell, Intisar Khanani, L. Jagi Lamplighter, & Marc Secchia
The Labyrinth of Melusine by Jodi Lorimer
Once: Six Historically Inspired Fairytales by Suzannah Rowntree & Elisabeth Grace Foley
Centaur Magic (Touched Series Book 5) by Nancy StraightThe Zombie Plagues Plague by Geo Dell
The Deadliest Haunted Castle (2017 Edition) by V Bertolaccini
Asher Benson Thriller Series: Books 1-3 by Jason Brant
The Vampire in Europe: A Critical Edition by John Edgar Browning
Trilogy of Terror by Stephen Gresham