Digital distribution and aggregation · ebook and audiobook
One platform. Sixty retailers. Thirty countries. Five languages.
Digital distribution for first-rank Spanish-language publishing groups —Arturo Pérez-Reverte's Zenda Aventuras among them— and for more than four hundred independent imprints runs through here. Ebook and audiobook, simultaneous release, title-by-title traceable reporting, royalties closed to the cent.
The problem, before the pitch
Digital distribution always breaks in the same place.
A book's digital operation never fails in the visible part. Files arrive; stores accept them; titles show up. What fails is underneath.
It fails on the Friday that closes the quarter, when the reports from Amazon, Apple Books, Google Play, Kobo and Storytel each arrive with their own format, their own delay and their own way of counting, and what was already advanced to the author has to be squared by hand. It fails when a regional retailer changes the product page and nobody notices until a reader writes in. It fails when the launch window planned for Tuesday across twelve markets slips because two stores are still processing metadata. It fails when an audiobook and its ebook are released as if they were two different products and never quite get linked on the page. It fails, above all, when digital sales data stays on a dashboard and never reaches the places where the next thing is decided: how much to reprint, what to translate, what moves to the screen, what to sign with the author for the next book.
That last fracture is the most expensive one. A pure aggregator delivers what it promises —files, sales, royalties— but it delivers in isolation. It does its part. The rest of the publishing operation stays hand-stitched.
The premise
Functionally, aggregators all do the same thing. Structurally, they don't.
A pure aggregator does one thing, and does it well: it packages metadata and files, sends them to the big platforms and their retailers, collects the sales, generates the royalties. Full stop. It's a legitimate operation and, for many imprints, enough.
Lantia does exactly that, exactly as well. Sixty platforms. Thirty countries. Five languages. Same ingestion, same metadata quality, same monthly closes. The aggregation part, in what you can see, is indistinguishable.
What changes is in what you can't.
Our platform wasn't built as a separate product. It was built inside a complete publishing group, alongside an industrial print plant of our own (Liberis), a physical distribution network in Spain and Mexico, a translation-rights agency and a film production company. The digital sales data that enters the system doesn't stay on a dashboard: it crosses, in real time, to the rest of the operation. Five visible flows, every day:
Digital sales → print-run planning at Liberis.
When a title moves on Kindle, on Apple Books, on Storytel, that signal enters the print-on-demand planner. Short-run and reprint decisions stop running three months behind the market and start running a week ahead of it.
Digital sales → author royalties.
Every sale, on every retailer, in every currency, in every format, leaves a trace from the origin. The author's quarterly close isn't reconstructed from five spreadsheets; it prints from the same database that recorded the sale on the Tuesday it happened. No hand reconciliations. No surprises.
Digital sales → audiovisual rights.
When a novel published in Spanish sells well across Latin America, that signal crosses the hall to Lantia Films and the group's literary agency. Sales data becomes a rights-selling argument: when a producer asks “does this have readers?”, the answer arrives with concrete figures, by country, by quarter, without asking the publisher for them.
Digital sales → editorial decisions on the next book.
The editor closing the contract for an author's second book walks into the session with the first book's data open: where it sold, when, in which format, in which market. This isn't decorative analytics: it's the information that sets the advance, the initial print run, the calendar and the launch strategy.
Digital sales → the curated catalogue at libros.cc.
The group's online bookstore —dedicated to independent imprints and self-published authors— feeds on the same signals. What moves in aggregation informs what gets featured in direct sale. Direct-to-reader sale, where the imprint keeps the margin and the relationship, stops being a separate channel and becomes the natural complement of the digital operation.
That is what a pure aggregator can't replicate with external APIs. Not because it lacks APIs. Because it lacks the other sides of the hall.
The operation, day to day
What it produces, day to day.
Simultaneous release across every retailer
When a title is ready, it's ready in sixty stores at once. The reader who opens Apple Books on Tuesday finds it; so does the one on Storytel; so does the one on Bajalibros, in Argentina. No retailer runs a week behind. Press campaigns, reviews, catalogue SEO and audiobook pre-orders run on that same date, not against it.
Consistent metadata, entered once
Native ONIX 3.0. Descriptions, BISAC and Thema categories, per-market keywords, authorship with its standard identifiers, translations where they apply. The record is entered once; changes propagate to every retailer with nothing re-keyed. When a retailer —regional, specialised, new— joins, it inherits the record without asking the publisher to rebuild it.
The audiobook as a first-class citizen
The audiobook operation isn't a layer bolted onto the ebook. Production, mastering, track and metadata control, distribution to Storytel, Audible, Scribd, Kobo, Google Play Books and the regional platforms opening up the market across Latin America. Format-specific royalties, reconciled in the same close as the ebook's and the print book's. The audiobook is today the fastest-growing segment of the digital book; the platform is built so that growth doesn't require a second provider.
Consolidated reporting in real time
A single view of sales across every platform, every geography, every format. The monthly reconciliation of five reports in five templates stops existing. The conversation with the imprint's marketing team, the rights team and the author's office starts with the same data on screen, not five versions of it.
Royalty closes to the cent
Every sale leaves a trace from the origin. Every author receives a traceable quarterly close, in their currency, with a per-channel breakdown. Every imprint receives the consolidated view. If a sale is disputed, it can be reconstructed. No black boxes.
Support that lives inside the language
The conversation with regional retailers —the ones that matter in Mexico, Colombia, Argentina, Chile, Peru, Hispanic USA— happens from inside the language, not as an export. When a record breaks on Bajalibros, someone in Seville, Mexico City or Houston picks up the phone and fixes it. When a new retailer opens and asks for different terms for Spanish-language titles, someone reads it. The difference from remote operation is measured in the time between a problem appearing and a problem closed.
Coverage
Sixty retailers. Thirty countries. Five languages.
Coverage isn't decoration. It's the other perimeter of structural integration: a platform that reaches the regional retailer no global aggregator serves is the one that closes the loop on the flows above. Without that coverage, the data crossing to the rest of the group would be partial data.
- Global platforms
- Amazon Kindle · Apple Books · Google Play Libros · Kobo · Storytel · Audible · Scribd / Everand · BookBeat · Nextory
- Regional and specialised platforms
- Bookmate · Tolino · 24Symbols · key regional retailers in Mexico, Colombia, Argentina, Chile, Peru, Brazil and the US Hispanic market · vertical Spanish-language audiobook platforms · educational subscription where it applies
- Languages operated
- Spanish · English · Portuguese · Italian · French
- Anchor markets
- Spain and Mexico are the two pivot markets of the Spanish-language book; the US Hispanic market is the third leg, with an operating presence in Houston. Latin American coverage is run from inside the language, not by export.
Operating proof
Zenda Aventuras. Círculo Rojo. More than four hundred independent imprints.
First-rank Spanish-language brands and hundreds of independent imprints operate their digital distribution on Lantia's platform. These aren't testimonials. They're operating relationships: multi-year, public, in force.
Zenda Aventuras — Arturo Pérez-Reverte.
Zenda Aventuras prints and distributes its catalogue —digital aggregation included— on Lantia's infrastructure. Pérez-Reverte has authorised the quote that appears across this site: “Lantia is the future of publishing.” The difference between an endorsement and an operation is that the second one gets invoiced every month.
Círculo Rojo — inside the group since 2025.
Círculo Rojo, Europe's self-publishing leader since 2008, has operated its digital catalogue on this same platform since joining the group. More than fifty thousand published books are the load test: the infrastructure that absorbs that volume is the one that runs every client imprint.
More than four hundred independent imprints.
The big names are the most visible proof; the bulk of the catalogue comes from the mid-size and independent imprints operating on the same platform. The same coverage, the same timelines, the same close to the cent, with no minimum scale. What works for the biggest catalogues works, with no rewrite, for the imprint publishing twenty titles a year.
The difference, in one sentence
Structural integration can't be replicated with external APIs.
A pure aggregator can improve its product. It can add retailers, refine metadata, shorten timelines, hire more people across Latin America. It's reasonable that it should; the aggregation business is a good one when done well. What it cannot do is build the rest of the hall.
- It can't make a Kindle sales datum enter the print-on-demand planner that same afternoon, because it doesn't have the planner.
- It can't make the Storytel sale count, in the same session and with the same traceability, toward the royalty close the author receives in the next statement, because the statement is calculated in another system under another contract.
- It can't take the Mexico sales figure to the team selling the audiovisual rights in Berlin, because that team doesn't exist.
- It can't inform the editorial decision on the author's second book, because the editorial decision happens outside its perimeter.
- It can't feed the curation of the group's online bookstore, because it doesn't have a bookstore.
This isn't a criticism of the standalone model. It's an honest description of its perimeter. For an imprint that only needs files in sixty stores and sales on a decent dashboard, that perimeter is the right one. We say so in the next section.
A refusal
This isn't for you if all you need is your files reaching Amazon.
If your imprint publishes a limited number of titles, no audiobook, no active presence in Latin America, no need to cross digital data with manufacturing, royalties or rights, and what it wants is the simplest, cheapest possible delivery to the big platforms, there are options that cover that well, and they're the right call. Lantia doesn't compete for that job.
Lantia is for the imprint —independent, mid-size, large, or a group subsidiary— whose digital operation is already crossing into the rest of the book's cycle, and that feels the weight of that crossing being done by hand. For the imprint that looks at its reports and thinks the problem isn't coverage: it's what happens to the data after the sale. For the imprint about to decide on a change of operator, that doesn't want to repeat this same conversation with another brand in six years.
If this sounds like your situation, the next section is for you.
The process
Three steps: audit, migration, operation.
- 01
An audit of your current digital catalogue.
In seven to ten days, a no-commitment review of your digital catalogue's real state today: coverage by retailer, metadata quality and consistency, historical launch windows, pending reconciliations, immediate opportunities, areas where the crossing into manufacturing, royalties and rights is losing signal. If your current operation is the right one for your imprint, we say so in the report. If it isn't, we say that too, with the estimated cost of switching.
- 02
A migration plan.
If the proposal fits, a time-boxed plan to full operation: historical catalogue preserved, support tickets inherited, launch windows in flight respected, consolidated reporting from the first close. The migration is designed so that on day one at Lantia the imprint's team is no worse off than on the last day with the previous operator. The rest is won afterwards.
- 03
Operation under way.
The imprint's digital catalogue on sixty retailers, thirty countries, five languages. Quarterly royalty closes to the cent. Consolidated reporting in real time. A dedicated account team, inside the language. The five flows into the rest of the group (Liberis, royalties, audiovisual rights, editorial decisions, libros.cc), live from the first full quarter, to whatever extent the imprint wants them switched on.
Three ways to start:
- Ask for the full audit (seven to ten days).
- Ask for a thirty-minute call with the digital team, before the audit.
- Ask for the commercial proposal directly, if an audit has already been done — by whoever.
Request the audit
Tell us what the imprint operates today.
Four fields so the digital team can prepare your catalogue's audit in seven to ten days. If you'd rather talk first, say so in the message and we'll call.
Digital distribution of the Spanish-language book, operated from the inside.
Through here, every day, runs the digital distribution of first-rank Spanish-language publishing groups and more than four hundred independent imprints. Sixty retailers, thirty countries, five languages, closes to the cent. The difference from the rest isn't in what you can see. It's in the five hallways through which every digital sale crosses to the rest of the operation —manufacturing, royalties, rights, decisions, direct sale— with no manual reintegration, no reconciliation, no black box.
Your imprint's next digital-operation decision is the one you won't want to repeat in six years. The conversation starts with a seven-to-ten-day audit.