My friend pointed it out first, and then I started noticing too. Why would books that multiple libraries definitely, 100% had digital access to a couple of months/weeks/days ago disappear?
Amazon is invoking exclusive rights to them.*
Ebooks that the public library once had digital copies of are now only available through Amazon. Audible boasts on their covers about Audible-exclusive audiobooks that did not used to be Audible-exclusive. Entire series and collections are disappearing overnight.
Keep your eyes on the privatization of media and your libraries.
*earlier versions said "getting"; Amazon has likely always had these rights, but in the face of boycotts they're tightening the leash, so to say [source 2] [source 3] [source 4] [source 5] (sources indicate that Amazon is refusing to sell to libraries)
**librarians in the notes have also noted that, in addition to Amazon often refusing to sell to libraries/increasing their number of exclusive/privatized titles, libraries have to repurchase eBooks/audiobooks every eight uses (another user said $50-$100 for every 26 check-outs or for a whole year), so cuts to library funding have reduced their access to media as well
Hnngh. The Audible "hack" is making the rounds again, with people claiming you can use your Audible credit to listen to a book and then return it "for free." While I am the first among many to say "fuck Amazon and we should gullotine Jeff Bezos," I need you all to know it's not Amazon refunding you.
It's the authors.
They take that out of our royalties. And that's after they take 80% of our royalties on sales we do make.
(Note: Also, do not assume that your credit is worth the price listing that Amazon shows. Amazon does not pay us the cost of the listing. ((WHICH THEY PICK, we cannot set our own prices on audiobooks and then that forces us to use the Amazon price for the rest of the market!!)) What we get is 20% of the credit's value, so my book might appear on Audible for $20-30. However, if you received an Amazon credit for one of those $4.99 deals, I'd get 20% of $4.99. Yes, it's fucked, it's all fucked. Yes, other audio retailers do the exact same thing. This is one of the reasons authors don't make half as much money as people think they do.)
This became such a big issue that they had to make it impossible to return books after a certain point without talking to a customer service representative, because people were using Kindle/Audible and Amazon's return policy "like a library," and some authors (myself included) were getting royalty checks that showed negative income.
At this point, I don't even know if the Audible "hack" still works (Amazon has made changes to protect authors from this kind of thing at a glacial pace), but I need you to know it's not Amazon that's refunding you. This isn't a fun little "fuck Amazon" thing. The way Amazon has it set up, it's directly fucking the authors over.
So, yeah. Obviously, if you download something and can't get into it, or if something pops up on the author's side that makes you not want to support them anymore, yeah, process that return. Yeet the bitch. But please don't use it "like a library."
It's really harrowing to see your predicted income based on sales and then find out you're getting one-tenth of that because of refunds. And it's not even because people didn't like your book. They're just using the wrong place like a library and fucking over your algorithm as well, because once you get too many returns, you stop getting promoted.
Try using a library. You can access places like @queerliblib for FREE provided you have a US library account that you've hooked up to Libby. It's a little bit of work, but once you've got a card number, you're golden.
Just, y'know, throwing it out there because I don't think people realize this is how it works. You're not taking something back to Walmart, and Walmart is eating the refund before dumping the item in the garbage. Amazon takes the refund, turns to the author, and takes it off our plates.
Note: this does not affect Kindle Unlimited. Flip through the end pages to give the author maximum pages read, and then return that bad boy so the author can get paid. But also, please, maybe think about switching to a Kobo+ account instead. It offers the same subscription-based membership without demanding exclusivity, so authors aren't locked into just Amazon the way they are with KU. (Royalty rates are roughly the same, but it's a better deal in terms of allowing broader market access.)
This has been a rambling and exhausted PSA from your local peddler of weres.
If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
Audiobooks are hands-down the most enshittified aspect of publishing, which is why I make my own audiobooks and pre-sell them on Kickstarter, which is how I get around the fact that Amazon refuses to carry my audiobooks:
http://disenshittification.org
Why are audiobooks so enshittified? Because they have the two essential characteristics for enshittification:
1) They are digital, which means the rules for them can be shifted on a per-customer, per-usage basis; and
2) They are controlled by a monopoly, Amazon, whose Audible division is responsible for 90% of popular audiobook sales.
Amazon refuses to sell any audiobook unless it is first wrapped in the company's proprietary encryption (AKA "Digital Rights Management" or "DRM"). This DRM permanently locks Audible's audiobooks to the apps it approves, because US copyright law makes it a felony to tamper with that DRM. That means that neither the author nor the publisher can authorize you to take your Audible purchases to a rival platform, and if they try, Audible can have them imprisoned for up to five years:
Which is why none of my books are for sale on Audible. I'm not gonna submit to conditions that will let Audible take you, my reader, hostage. Not only does that make you vulnerable to whatever evil shit Amazon thinks up (remember a couple years ago, when they experimented with putting ads in the audiobooks you paid for?!), but that also makes me (and every other author) vulnerable, because if you can't leave Audible, neither can we:
Which is why I do these Kickstarters for my audiobooks! Since 2013, I've either paid narrators (like Wil Wheaton and Amber Benson) to perform my books, or I've gone into Skyboat Media's studios myself, to record under the expert direction of the legendary Gabrielle de Cuir:
https://skyboatmedia.com/
That's what I did this time, recording my forthcoming book Enshittification: Why Everything Suddenly Got Worse and What To Do About It in early August. Since then, I've been working with my trusty sound engineer John Taylor Williams to polish that recording to perfection. Now, I'm selling that pre-selling that audiobook on a Kickstarter where you can also pre-order the hardcover, ebook, as well as an extremely limited edition art-book collecting the collages I made for my Pluralistic.net newsletter while developing the ideas behind Enshittification:
The audiobooks and ebooks I sell through my Kickstarters are sold without any DRM, and also without any "terms and conditions." You are buying these books, not "licensing" them. That means you can do anything with these books that copyright law allows: sell 'em, give 'em away, lend 'em to a friend. Just don't violate copyright law and we're cool.
This book, Enshittification, synthesizes all the essays, speeches and panels I've done on the subject of platform decay into a single, coherent argument designed to be accessible to everyone, even (especially) your normie friends who know that everything sucks but don't understand why and are paralyzed about what to do about it.
The book's not out until October – it'll be published by Farrar, Straus and Giroux (US/Canada) and Verso (UK/Commonwealth), but it's already getting fantastic early notices. The Financial Times has already longlisted it for 2025's best business book of the year:
https://www.ft.com/bookaward
It's gotten starred reviews and raves from trades like Kirkus, Library Journal, and Publishers Weekly, and we've sold foreign rights in more than a dozen countries, all over the world. There's also a 2026 graphic novel edition (adapted by Koren Shadmi) coming from First Second's 23rd Street Books.
Just as exciting is the Enshittification documentary, which is currently in pre-production, directed by Emily James (Just Do It), edited by Kurt Engfehr (Fahrenheit 9/11) and produced by Eve Marson (Web of Make Believe: Death, Lies and the Internet). You can pre-purchase tickets to the theatrical run and a DRM-free download here; your early support will help raise the $75,000 we need for principle photography:
https://www.patreon.com/posts/one-time-137256536
We recorded a sizzle reel at the Teardown conference in Portland last spring, and Kurt's edited it into an amazing trailer:
The documentary is a road-movie, with a crew following me on tour and interviewing me and other experts on the subject (think Inconvenient Truth, but for platform decay). We've got quite a tour planned: I'll be in Boston (with Randall "XKCD" Munroe); DC (with former CFPB chair Rohit Chopra); New Orleans; Chicago (with Kara Swisher); LA (with The American Prospect's David Dayen); Calgary; San Francisco; Portland; Seattle (with Ed Zitron); Vancouver; Calgary, Montreal, Toronto, New York City (with Lina Khan); Miami; Burbank; Lisbon; London; Hay-on-Wye; and Madison, CT. Other tour dates are still being finalized – more details to follow.
I developed enshittification as a series of posts on Pluralistic.net, my blog/newsletters/social media feed. Each edition of Pluralistic goes out with a graphic, usually a collage I've made from public domain and Creative Commons materials:
Making these collages has turned into one of my major creative outlets, and dozens of readers have asked if I would ever do a book of them. Then, last year, I got to talking to Creative Commons CEO Anna Tumadóttir about her plans for CC's 25th anniversary and we cooked up a plan to publish a little book of my Pluralistic collages to give to major donors as a premium. Anna needed 400 of these, but my printer gives me a quantity break at 500 copies, so I'm making 100 signed, numbered copies available for backers of this Kickstarter.
The books are gorgeous. Cyberpunk icon and electronic art impresario Bruce Sterling wrote me a wonderful introduction. It's designed by John D. Berry, president of the Association Typographique Internationale, a legend of type and book design:
https://johndberry.com/biographical-note/
For production, I've tapped Pasadena's Typecraft, a 118-year-old printer who ran the book on 100lb Mohawk paper. It's a gorgeous little 4.75" x 6.75" paperback, and this is the only run I plan on doing (though if people like it, I might do future volumes collecting more collages).
One of the things I love about these campaigns is the chance to work with so many wonderful partners. There's Skyboat Media and director Gabrielle de Cuir; editor John Taylor Williams of Wryneck Studios; Emily, Kurt and Eve working on the documentary; John Berry, Bruce Sterling and Typecraft for my art book. I'm also working with some of my favorite booksellers in the world to fulfill print book orders: in LA, I've got Secret Headquarters (the best comics shop in the world!), who'll fulfill US orders as well as worldwide orders for signed books and Canny Valley. For Canadian hardcover orders, I'm working with Winnipeg's McNally-Robinson. For EU orders, I'm once again working with Berlin's magnificent Otherland Books. Orders in the UK will be fulfilled directly by Verso. Working with local shippers means we don't have to fuck around with the Trump tariffs.
Enshittification is the product of my open-access publishing program. I don't charge anything for the essays I publish nearly every day on Pluralistic.net, and I release them under the Creative Commons Attribution 4.0 license, which lets anyone reproduce and adapt them, including commercially. Releasing my work this way means that it gets spread far and wide, which means everything to me, and I'm so glad to see everyone from scrappy progressive news sites to Conde Nast taking my work and reprinting it widely.
Readers frequently ask me how they can support my work, whether I have a Patreon or some other way to accept donations. I don't have anything like that. What I have, instead, are these books, which I can't seem to stop writing. The best way to thank me for my work is to buy the books, in any (or every) format. Selling books benefits a whole community of people who are important to my work, including my publishers and agents, and also all the people who work on publishing, fulfillment and production with me. These people don't just work on my projects, of course: they have many partners of their own.
When you buy my books, you help ensure that I'll keep doing what I do – and you help all my partners keep doing what they do. And the best way to support my work is to back it on these Kickstarter campaigns. The extraordinary generosity of my Kickstarter backers since 2020 has made a huge difference to my artistic career and my family's financial stability. If you backed one of those campaigns, I thank you, sincerely. And whether you've backed before, I hope you'll consider backing this one:
Do not count just WATCHING something on Twitch, only transactions involving money.
When was the most recent time you bought something from Amazon or its subsidiaries: Audible, Twitch, Whole Foods, etc?
Within the last 1–2 days
Within the last week
Within the last month
Within the last 6 months
Within the last year
Within the last 4 years
Within the last 9 years
10 years ago or more
I've never purchased anything from Amazon or its subsidiaries
Amazon and its subsidiaries are not available in my country/region
Other/show results
Voting ended onJan 16
Amazon does operate a number of smaller subsidiaries, but Audible, Twitch, and Whole Foods are the largest and most likely for the average person to have purchased from.
–
We ask your questions anonymously so you don’t have to! Submissions are open on the 1st and 15th of the month.
I stumbled upon this a few days back and I'm still like… Audible WHATTA HELL?! Are you okay, Audible? You're promoting Hard Times by Charles Dickens… HARD bloody TIMES by CHARLES fucking DICKENS! And you decided that a subtle objectification was just what you needed, right? :)) I mean, it looks like the director of this clip had a check-list of all the wildly fetishized parts of Bertie's… being, shall we say. Beard and lips (moving, which is even harder to cope with :)) - check. Hands - check. The scar on the left eyebrow - check. And, of course, THE VOICE. Well, yeah, you couldn't go without the voice, you're promoting an audiobook, but frankly, you didn't need anything else, it would've still worked :)) But hey, let's advertise Victorian social misery by the hotness of the narrator… Marketing specialist in me is just having a trip :)))) This is so hilarious… and hot :)) I guess I'm listening to Dickens now… despite him usually pushing me into depression…
