Author Income Surveys Are Misleading and Flawed—And Focus on the Wrong Message for Writers

“Of all the learned professions, literature is the most poorly paid.”

—Dr. Edward Eggleston, 1890

Update / Jan. 9, 2019. The Authors Guild has released a new income survey with the usual “crisis” headline. The monumental problem with their study is this: A large number of respondents reported little or no income. Once you filter out these people, there is no longer a decline in author incomes. As Publishers Marketplace reports, “Median income for full-time published authors, once you remove the people reporting nothing at all, was $20,857. In fact, despite the focus of the study conclusions, full-time authors saw their median income rise 13 percent since 2013, and romance/romantic suspense authors also saw gains. For the 63 percent of authors who reported receiving book related income in 2017, the average total income was $43,247, which paints a very different picture [than the Authors Guild headline of $6,080]. … Three-sevenths of full-time authors with any earnings were making over $50,000.”

Reliably, every year or so, you’ll see headlines about new research that claims author incomes are on the decline. The most recent is from the Authors’ Licensing and Collecting Society (ALCS), a British nonprofit run by writers for writers. (Download the report here).

Before I continue with this epic-length post, here’s the short version: I don’t trust these surveys’ results and I question their usefulness in improving the fortunes of writers. Too often it feels like promotion of a self-interested narrative from writers’ organizations, with the outcome boring and predictable: There is media coverage that claims writers’ incomes are plummeting, a few big-name authors come out and try to shame publishers or even society for not valuing writers properly, debate ensues, then everyone gets back to work—until a new study emerges.

This latest gnashing of teeth has motivated me to finally write a comprehensive post about why these reports are so frustrating, in the hopes more people will ask critical questions and notice their flaws. In the long run, I hope organizations will either reassess how these studies get done, or focus on more useful support of professional authors. A brief side note for industry insiders: For the purposes of this article, I’m setting aside the fact this research may be done mainly to support arguments and legislation for strengthening and protecting of authors’ copyright and thus (presumably) their earnings potential. Frankly, I don’t think weak copyright law is the problem, and I believe such efforts have little effect on the average author—and copyright terms have been increasing steadily for 200+ years.

When considering author-income research, my concerns fall into these areas.

  1. How reliable is the research?
  2. What other data points do we have?
  3. If the data are directionally correct, then why are incomes declining?
  4. Does the research tell us something meaningful or useful about how writers earn a living?

How reliable is the research?

One challenge with these surveys is they reach out to all types of writers, not just professional authors or commercial authors. Any writer can generally take part, and it’s anyone’s guess as to the consistency in who is responding to the survey call. For example, ALCS has conducted these surveys:

  • In the latest one (2018), ALCS commissioned CREATe at the University of Glasgow to conduct the survey. It reached 5,523 writers which includes “everyone from full-time professionals to occasional contributors.”
  • In 2014, research was conducted at the University of London and included 2,500 writers. The report says, “The majority of respondents were professional authors who spent most of their working lives writing. Overall the respondents represented a varied group, writing in different contexts and for diverse markets.”
  • In 2005, research was conducted by Bournemouth University and included 25,000 British and German writers. Surveys were sent to members of ALCS and two professional bodies in Germany. Here’s that report.

The 2005 study is probably the best and offers the most thorough detail; it separates out main-income writers (50%+ income from writing) from professional writers (50%+ time spent on writing), and also indicates the percentage of those who are academics/teachers. You won’t find this breakdown in later studies, at least in no public version I could find.

ALCS 2005

The conclusion of the 2018 study is that the median annual income of professional writers in the UK is down by 15 percent since 2013. If the group is expanded to all writers, then the decline is 33 percent since 2013. But the main-income category isn’t cited in recent research; I don’t know why.

So, what is a professional writer for the purposes of this study? Aside from being defined as someone who dedicates over half their working hours to writing, ALCS says that respondents (at least in 2014) included teachers, journalists, author-illustrators, poets, translators, scriptwriters, academics, playwrights, and comedians. (!) These obviously represent very different fields with varying levels of commercial potential. By mixing them together, it makes it difficult to draw valid conclusions about earnings trends for, let’s say, the average novelist. And let’s be honest: When these studies are reported in the media, the image most people pull up in their minds is their favorite commercial author.

I’m not trying to pick on the ALCS or its researchers’ methodology. Other such research has the same or similar flaws—usually a too-diverse pool of writers being surveyed not to mention the self-selecting nature of the survey. When the US-based Authors Guild conducted a survey in 2015, it asked its own membership to respond. That’s going to slant the results and tell you something more about the type of person who belongs to Authors Guild than the fortunes of writers more generally.

It’s also problematic to rely on authors’ guesses or memory of their income. I recently participated in an authors’ income survey, and it asked me to come up with earnings figures from the most recent year, a year before that, and five years ago. Fortunately, I have that info at my fingertips because I keep good records immediately accessible to me, but how many writers do? How many bother to check and how many just guess?

And: what if the authors surveyed are producing less than in prior years? This is another factor not taken into account—and it’s an important one. What if responding authors (often more likely to belong to an authors’ organization) have been coasting on older books that have declining rates of sale? What if they are producing work they can’t sell because their work is no longer as commercially viable as it once was? For example, only 19 percent of respondents in the 2018 ALCS report are age 44 and younger; 33 percent are 65 and older. This isn’t about ageism (or at least I hope not); it’s about writers reaching retirement and the end of their careers.

If these studies are going to be more reliable and trustworthy—while still surveying the authors themselves—they should try to:

  • Revisit the same writers year after year and ask about earnings; if possible, validate the responses through documentation
  • Categorize writers’ earnings based on their primary genre, category or medium
  • Focus on full-time professional writers if we really want to study full-time author earnings and not, say, professors who also write
  • Ask about the volume of work being produced and if it’s consistent from year to year

Some people write on the side because they have the luxury or leisure time to do so; I question why they should be included and discussed in the same studies as professional or full-time writers’ earnings, as it ends up creating misleading narratives and muddies the waters. This raises the issue, however, of how prevalent it is for writers to pursue or hold other jobs because writing doesn’t pay a living wage. I’ll comment on this in the last section below—regarding the meaningfulness or usefulness of these studies.

What other data points do we have?

Unfortunately, not many. Earlier this year, Nicola Solomon of the UK’s Society of Authors put out a call for publishers to reveal what they pay authors. The Society argues—based on UK publishing industry figures—that the percentage of publisher revenue going to authors is somewhere around 3 to 5 percent. However, Profile Books, an independent UK publisher, reported that 22 percent of its revenue goes to authors.

Update (8/17/18): It’s actually 19 percent that goes to authors; the original report got it wrong!

Why the gap? When a London literary agent, Andrew Lownie, weighed in on the issue at Publishing Perspectives, he said fewer than 15 percent of book sales made in the UK will result in the best royalty rates for writers. Discounts and special sales to large retailers and wholesalers reduce the basis on which royalties are calculated. Once again, we’re confronted with how different authors publishing different types of work can expect to earn different amounts—further undercutting the meaning of any all-in-one study.

As a side note, it may be that US authors have it better than UK authors. In June 2017, Michael Cader of PublishersMarketplace wrote an article (subscription required) guessing at what US authors earn; part of his motivation was to synthesize data from both traditional publishing and self-publishing—using Author Earnings data to help fill in the gaps. His key points:

  • In the US, traditional publishing authors mostly “earn” from advances, not book sales; at large publishers, 75 percent of their advances are not earned out—but that is by design. (Successful authors receive a much higher effective royalty rate as a result.)
  • Cader estimates self-publishing authors make up about 20 percent of all author earnings in the US. (Note these are authors not normally reached by the usual surveys.)
  • Cader writes, “HarperCollins CEO Brian Murray has said in public they invest ‘over $200 million a year in new works.’ That suggests they pay at least 12 percent of annual revenues in advances every year. And Penguin Random House consistently carries … close to 800 million Euros for future projects under contract. … That obligation is equal to about 25 percent of the company’s annual sales.”
  • Cader adds, “The biggest publishers will say informally within the community that they pay around 40 percent of their sales to authors annually between advances and royalties. That’s not a published or verifiable number, but it’s not out of step with what’s findable.”

One question I’m unable to answer: whether those percentages Cader cites have been consistent over time. Traditional publisher earnings and profits have been doing quite well in the digital age—and are trackable and verifiable. The chart below from Nielsen gives us an indication of the stability in the US market over the 2000s, and the UK market is similar in its stability (if not size). So one would expect authors’ earnings from traditionally published work to be fairly consistent or modestly growing alongside publishers’ earnings. That brings us to the next question.

US book market 2004-2015

If the survey results are directionally correct, why might author earnings be declining?

When these reports hit the major media, the blame almost always falls squarely on book publishers. In The Guardian, the headline is “Publishers are paying writers a pittance, say bestselling authors.”

However, the survey data don’t prove that publishers are the cause of the decline. Rather, that’s the spin applied to the data—at least by The Guardian and the bestselling authors they interviewed. As you might imagine, it’s not hard to find an author willing to complain they’re not paid enough by publishers. In addition to publishers, Solomon blames Amazon for not sharing in its profits—another common refrain, especially in the US market.

Let’s assume that this survey is surfacing a real decline in earnings among the professional writer class while, at the same time, publishers’ revenues are increasing. What might be going on? A quick list off the top of my head:

  • As Lownie points out, a greater share of sales may be in discount/bulk sale categories where authors are paid a lower royalty rate.
  • Publishers earn a better profit margin on ebooks. See chart below, “Improving Profitability Through Better Unit Economics.” As ebook sales grow, authors would not see their earnings match publisher growth. The Authors Guild addressed this “elephant in the room” in 2015.

ebook profit

  • Publishers may be more fiscally conservative in their advances and no longer pay that effective higher royalty rate as described by Cader.
  • The authors being surveyed may be writing in categories that have suffered declines in readership and sales over the years. See charts below; they are somewhat dated now, but recent industry reports show that frontlist fiction is flat to declining. YA/juvenile categories see growth whereas adult fiction does not, at least in the US.
  • Even though traditional publishing revenues are up, it may be driven by increased pricing or by products that don’t require authors or royalties. For example, coloring books were a huge contributor to print growth a couple of years ago.
  • Self-publishing authors may be taking away market share and earnings from traditionally published authors, especially in fiction categories.

US fiction sales

US nonfiction sales

It would, of course, be fabulous if publishers offered some transparency, as Solomon requests, on the percentage of their revenues or profits that ends up going to writers. That seems unlikely, but some independent publishers may have the freedom to be so open. Literary agencies, too, might be able to offer trends they’ve seen from year to year, without divulging sensitive figures about specific clients.

Do these studies tell us anything meaningful or useful?

The most recent ALCS study says, “Full-time writers are still very much the exception rather than the norm and we are still seeing that writers need to develop ‘portfolio’ careers in order to make ends meet. The number of authors earning their income solely from writing appears to have stabilised and is fairly consistent with the 2013 figures, but is still depressingly low at 13.7% and is still only a third of the number of full-time professional authors recorded in 2005. The research showed that, on average, income from publishing makes up the largest proportion of the professional writers’ income, but that this is supplemented by other areas such as lecturing, self-publishing and teaching…”

So why isn’t the headline of these research studies something like, “Author income from those who earn solely from writing is stable” or “Authors employ varied business models to earn a full-time living”? Even “Authors don’t make a living primarily from book sales” would be a great alternative.

Something I keep saying (and have explained, at length, in my book The Business of Being a Writer), is that the writer who makes a living from book sales alone is the exception and not the rule in traditional publishing. Were things that different in past decades? That’s the idea you might take away when reading The Guardian’s reports on ALCS research, where they inevitably quote an author saying, “You used to be able to make a full-time living from writing.” But what does that really mean?

  • That you could once expect a generous advance for every book that equated to a full-time living every year?
  • That you could once survive on royalty checks indefinitely?
  • That you could write one book a year and live comfortably regardless of the commercial potential?
  • That you could live by book sales alone without engaging in any other activities at all?

I suspect the meaning varies by author, but here’s the bottom line. These studies show significant percentage declines, but only because the base of earnings is quite small to begin with. In 2005, professional authors’ earnings solely from writing was 12,330 British pounds. In 2017: 10,437 British pounds. Given the age of writers being surveyed, the guesswork involved in estimating one’s income from years prior, and whatever changes have occurred in the market (as discussed above), this starts to look like a rounding error and not a crisis.

What most frustrates me, year after year, is why we believe or assume that authors have ever earned a reasonable full-time living from publisher advances or book sales. If these studies help make young writers (especially those paying for MFA degrees) more aware of the reality, then I’m glad of the wake-up call.

Was there some golden age—perhaps as publishers consolidated and chain retail emerged—that offered authors a more lucrative living or the potential to earn a full-time living more easily than ever before? I doubt it, but if so, that was a singular era. The history of authors’ earnings is one that’s beleaguered and fraught with anxiety. Back in 1991, during a time that some consider that “golden age,” full-time writer George Packer wrote in The New York Times, “The notion of literature as a steady livelihood now seems pretty absurd.” (He was comparing 1991 to the Grub Street era.)

If we go back to the beginnings of modern authorship, in the decades after the printing press emerged, we can learn from The Coming of the Book that “Authors who could command large sums from their publishers were very few. In fact, except for a few isolated cases, the money an author received was still meagre. To subsist it was necessary to have recourse to other means and to continue to sell prefaces and dedications.” In other words, authors needed patrons once upon a time—and still do.

The people responsible for conducting this research will argue that if publishers don’t change their ways and pay the author more, it will mean the decline of literature and overall diversity in the field. There is zero evidence this has ever happened or will happen. At the very least, since 2010, self-publishing and digital publishing have shown how much great work is overlooked by publishers every day, and only makes it to market because of authors’ own innovation, motivation, and sources of support. And thus it always has been. Most writers, regardless of how they publish, are motivated not by money, but for some other reason. Prestige. Infamy. Status. Visibility. A million other things.

However, it’s not that art or literature can’t pay; it’s that most writers aren’t willing to make the compromises required to make a living from it. When the 2014 ALCS report was issued, The Guardian ran it with Will Self as the poster child of collapsing author incomes. Sometimes I feel like I’m the only person who noticed the feature of Self just a couple of years prior, also in The Guardian, where he proclaimed he doesn’t write for readers—and he considers that the characteristic of a serious writer.

Will Self

All well and good, but that’s someone who needs government support for the arts if he wishes to be unconcerned with the commercial return of his work. Publishers can’t take that attitude and expect to survive; writers who intend to earn a full-time living should expect to put together an earnings model that’s diverse and multi-faceted (with patrons, grants, speaking, etc.), or become attuned to the commercial market and produce work accordingly.

I leave you with this quote from Authors & Publishers by G.H. Putnam, published in 1897, when animosity between the author and publisher populations reached a fevered pitch. (Notably, it was during this era that the figure of the literary agent emerged, as well as what we would recognize today as a standard royalty contract.)

“If there is any truth in the picture which represents the publisher as a sort of ogre, whose den is strewn with the bones of authors, and who quaffs his wine out of their skulls, this assumption is certainly natural enough, as between the eater and the eaten there can be little love lost. It must be admitted that the reminiscences of authors do contain not a few instances which serve to justify this vulgar impression as to the piratical and profit-absorbing tendencies of publishers. … The author who has experience in literature and knowledge of business is … ready to recognize that, while in certain undertakings the results may be unsatisfactory or may bring ‘inequities’ for one party or the other, the series of transactions between authors and publishers must, as an entirety, be regulated by the same inexorable laws of supply and demand, and under the same pressure of competition, which control all buying and selling. The interests of authors and publishers are, like those of all producers and distributers, practically identical.”

For even more discussion and food for thought, I highly recommend John Scalzi’s Author Incomes: Not Great, Now or Then

Posted in Business for Writers, Publishing Industry.

Jane Friedman (@JaneFriedman) has 20 years of experience in the publishing industry, with expertise in digital media strategy for authors and publishers. She is the publisher of The Hot Sheet, the essential newsletter on the publishing industry for authors, and was named Publishing Commentator of the Year by Digital Book World in 2019.

In addition to being a columnist for Publishers Weekly, Jane is a professor with The Great Courses, which released her 24-lecture series, How to Publish Your Book. Her book for creative writers, The Business of Being a Writer (University of Chicago Press), received a starred review from Library Journal.

Jane speaks regularly at conferences and industry events such as BookExpo America, Digital Book World, and the AWP Conference, and has served on panels with the National Endowment for the Arts and the Creative Work Fund. Find out more.

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Harald Johnson

So many good observations here, Jane. As usual, you approach the topic with the depth that’s required. Well done!


“If the survey results are directionally correct, why might author earnings be declining?”

It might be worth looking into how many trad pub books are sold in the UK under a deep discount. I just heard from Robin Sullivan that most of her husband’s books were sold that way in the UK, costing him most of the potential royalty. If deep discount deals are common in the UK then it might explain part of the drop in author income.

I appreciate your insight on another way to view the recent survey, Jane, and what you share about data and results through the years. Your points create meaningful conversation and thought about compensation reporting in the industry.

Christopher Wills

As a Brit I never believe what the London media write or show on TV about the writing life. This is because London literati newspapers like the Guardian are still living in the past of 3 hour alcohol fuelled literary lunches between editor and writer, trendy launch parties with illiterate B-list celebrities, talk show interviews about the deep and meaningful metaphors in some drivel written about modern society. You are right on the nose with your observations and any self respecting university would run a mile from the biassed conclusions from poorly gathered data. Who cares because we in the… Read more »

[…] Writing may be an art, but publishing is a business. To help with the business side, Anna Castle offers tips for author businesses on managing research trip costs, and Steve Laube has advice for new authors for working with their publishers, while Jane Friedman maintains that author income surveys are misleading and flawed and focus on the wrong message for writers. […]

Felix J. Torres

Meaningless indeed. Talking of how much of publishers dollars goes to authors as a group says nothing of which *authors* get that money. How much goes to the top three/four “big name” authors, how much goes to disguised political contributions in advances for politician books, and how much goes to newcomers? One thing Author Earnings tries to do is show the income spread for different author categories; legacy authors who established themselves in the pre-digital era, mid-listers, debut authors, etc. Likewise, the publishing trade press seems to go out of its way to obfuscate what little data filters through by… Read more »

Ernie Zelinski

Great article. It just goes to show that you have superb critical thinking skills that are so much lacking in today’s society. Of course, most people can disregard my comments given that I am one of those writers whose books (mainly self-published) have given him a pretax income that is better than not only that of 99 percent of writers in his country but also better than that of 97.5 percent of all the working stiffs in his country. This, by working only one or two hours a day. For the record, I once joined the Writers Guild but I… Read more »

Star Ostgard

You pointed out many of the things I’ve been saying for years – but you’ve got the credentials so people might actually listen! lol Surveys like these do nothing to inform writers (or the public) and in general get people ranting off into the sunset before they realize they’re riding a horse-less saddle.

Todd Besant

Bingo #1: “What most frustrates me, year after year, is why we believe or assume that authors have ever earned a reasonable full-time living from publisher advances or book sales.”

Bingo #2: “However, it’s not that art or literature can’t pay; it’s that most writers aren’t willing to make the compromises required to make a living from it.”

Excellent piece.


Thank you for this. Your last quote seems to say it all.

Jonathan Gunson

Jane, there’s a very large elephant in the room that supports your thesis. In crude surveys of COURSE the average income will appear to be declining across all books. This is because legions of amateur “authors” are uploading an increasingly huge number of ultra-low quality books that no-one buys. They report poor incomes of course, so as their numbers increase it appears the average income of writers is falling. Not so. For authors of reasonable quality it’s increasing. What the surveys are really reflecting is not “average income” but the increasing amount of trash that no-one wants to buy.

Star Ostgard

I really think that’s the biggest problem with most of these surveys – the people/group instigating them have a theory they want to prove, a POV they want to promote, and the surveys are used to serve their purposes, rather than finding out what’s actually happening out there.

Christopher Wills

Are you aware that in 2017 there were over 1,000 self-published authors who earned over $100,000 in the year? This was almost the same as the number of traditionally published authors who earned the amount. There are two main differences. The first is that the self published number is not a guess or an estimate, it is known because the figures are not a secret like in traditional publishing. The second is that the self published authors earn their money from 70% or 30% royalties on book price (depending on what price they set their book). Any writer today wanting… Read more »

Liz Filleul

Jane, I agree with much of what you say, but there is one area of author income that has definitely declined over the years – and that’s income that could once be derived from writing fiction for magazines. For example, back in the 1950s and 1960s in the UK, there were numerous weekly comics and magazines aimed at girls and all of them published several short stories and serials per issue. Even in the 1980s, when I wrote for teenage magazines, this was quite a lucrative market. Since the 1990s, that teenage/pre-teenage girls’ magazine market has gradually disappeared, and while… Read more »

Joel D Canfield

As more indie authors publish their work, isn’t it an obvious and natural conclusion that traditional publishers will make less money, therefore their authors will make less money? Unless the pie itself has grown so much that traditionally published authors’ share of it is greater than the entire pie was 15 years ago, it seems simple economics (an oxymoron, I know.)

Agree wholeheartedly on your assessment of the suspect methodology of these reports and their click-baity headlining when reported. “Things are fine, but we sure wish they were better” isn’t a headline that sells.

Michael J. Sullivan

Not really. If the publishers were failing to find authors…or were having to accept stories that were lower in quality than they once had (for instance if all the “good writers had moved to self and only the “marginal” ones remained traditionally published, then that might happen. But I’ve seen no evidence to support that. Bottom line…the publishers still have plenty of books to buy, ebooks and audio have picked up the decline in print, (and when included yes the pie has grown). So the fact that self-published authors are getting sales AS WELL, isn’t impacting them significantly.

Gary D Townsend

I’ve always thought these surveys were utterly useless, and the articles reporting on them even more so. I can’t say I’ve ever seen a survey that claimed to quote incomes from those who are full-time writers (then again, we’d have to define that term for such a survey to have even a smidgen of meaning).

Anne Rooney

As a full-time writer living in the UK, who contributed to the survey, I’d say that it does roundly reflect the experience of British writers – at least professionals, I don’t know any others. I’ve also been interviewed by ALCS about income, which you might find interesting as it gives a full breakdown of how and what a UK professional writer earns, and answers some of your questions about why income has dropped. It’s only one case study, obviously, but I have had a lot of feedback from other writers saying it matches their experience.

Star Ostgard

Respectfully, though, just because it rings true for you and those writers who have contacted you doesn’t make it universally true or useful. If the survey only included full-time professional nonfiction writers, then one could say the results were useful to writers who are or wanted to be professional nonfiction writers. It would be of little, if any value to someone writing fiction part-time. Which is the point of the this whole article. Surveys – in any field – are great for “headline news”; it’s when one looks at the methodology and detailed results that one knows if it actually… Read more »

Anne Rooney

Hardly ‘those writers that have contacted me’ and certainly not only non-fiction writers. I am in daily contact with a large number of writers. I know fiction and non-fiction writers (adult and children’s market), translators, screen writers, poets…. I’m active in the Society of Authors, the trade union for UK writers with more than 10,000 members, and none of those writers has, in extensive engagement with SoA, said the survey does not represent their experience. I can see there are limitations with the survery. There are with all surveys, and there are clear faults here. But I think it slightly… Read more »

Star Ostgard

Surveys whose methodology is flawed can reflect reality only by coincidence. That’s why we need to look at the methods and motives before deciding that one generalized conclusion is correct. Example: Did you actually contacted every one of those 10000+ members and they all said the survey reflected their experience – or are you basing that on comments you’ve seen and the X number of members you actually did speak to? That’s why methodology counts. That’s why surveys should not be taken as gospel.


I notice that the Long Term Change in US Fiction graph, which supposedly compares printed fiction in the pre-and post-ebook world, trends down starting in 2009, which also corresponds to the Great Recession. So does this graph reflect a conversion to ebooks, or rather a larger slowdown in fiction buying in general because of the financial crisis? Maybe the crisis confounds the issue.

Kathryn Schmitz

Love your focus on data quality! As an author and market research professional, I agree that it’s good to be critical of how reliable this data truly is.

Jeff lyons

Not all author income surveys are created equal for sure. Agree with a lot of this. There is one author survey that transcends all the “official” surveys, however: This study covers categories and data ALL the official surveys tend to skip like: non-isbn books (which is a huge category to leave out). Hugh Howey is behind this particular study and he and his data guy (no one knows who he is) do an amazing job of giving us a much more real-market assessment of the state of all books being sold online. needs to be on the list… Read more »

Michael J. Sullivan

I’ll take a look at it. The biggest problem I have with Author Earnings (when looking at Amazon rank data) is for books in the KU the rank changes when the book is downloaded but INCOME for that book depends on page reads. If all downloaded books got read, then you could do some extrapolation to income (if you knew (a) how many pages of that book was rea in what months — impossible to get at and (b) what the monthly payout per pages was (easy to get at). But I suspect people download all kinds of books that… Read more »

Michael J. Sullivan

Great points, Jane thanks for an excellent (as always) post. Until we have Amazon and the publishers reporting anonymous data along the lines of we paid xx authors upwards of yy value and zz authors between the range of aa and bb, and ww authors between the range of cc and dd (and so on), we won’t really know what’s going on as far as author income. Correlations between Amazon ranking and income does help lift some fog (but only concerning authors outside the KU and if we assume the agency model rates of 30% are still accurate in the… Read more »

Michael J. Sullivan

You’re very welcome. I think you are one of the most informed bi-partisan publishing experts I’ve seen and I’m glad to provide some of my experience/insights to add to your knowledge base.

[…] Friedman, author of the excellent The Business of Being a Writer, explains why the data might not mean what the Authors Guild says they mean, and the challenges of getting authentic data on income. (But still emphasizes that it’s rare […]

[…] And three-sevenths of full-time authors with any earnings were making over $50,000 (source: Author Income Surveys Are Misleading and Flawed—And Focus on the Wrong Message for Writers | Jane …) […]

Keith Pratt

Coming in a bit late, but the article and conversation seem to be proving Mark Twain’s famous observation there are lies, damn lies, and statistics.