And the reason we can do so is because Babelcube exists. Before BC, if a self-published author wanted to see their book in Portuguese, for example, they’d go to a professional translator. A 23,000-word novella like our werewolf-romance-mystery, Twisted Games, would have cost us from $2,300 to $4,140 per language (at the standard $0.10 and $0.18 per word) or more. There aren’t a lot of indie writers who can afford that kind of money.
Babelcube changed the math by creating a royalty-share model. This meant writers didn’t have to pay a translator anything for the work they did as long as both parties share the royalties for any translated book sales. There’s a sliding scale on who gets what, but Babelcube takes 15% of the net whenever a reader buys a book. It’s a long game, played for pennies at a time. With tens of thousands of translations out there, the Babelgang is surviving on volume.
(Cover designs by 1 Rat Studio Graphics.)
That’s my speculation, anyway. BC is famously private about its number of sales.
At this moment in time, AI isn’t nearly as good at the subtleties as people. Nuance isn't just about the words; it's about the culture. We learned, for instance, that French readers actually prefer the English title for steamy romances, while Italian titles have their own unique capitalization rules. Which is why we treasure the human translators who’ve worked with us.
This month, Babelcube released our previously-mentioned Twisted Games in French (traduit par Maëva Vervaëck) and Spanish (traducido por Adrian Buenrostro). Both did an outstanding job of capturing the nuance and "heat" of the story. Our science-fiction short stories, After Things Went Bad, came out in Italian (traduzione di Maria Giovanna Polito) this month, as well. Maria Giovanna Polito is excellent at what she does.
AI will probably take over their jobs in time, but we hope not. Until then, buy human.












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