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Anthologize: Making Web-First Workflow Even Easier for Publishers

Thursday, August 5th, 2010 by Meghan MacDonald

Anthologize is a free, open-source, plugin that transforms WordPress 3.0 into a platform for publishing electronic texts. Grab posts from your WordPress blog, import feeds from external sites, or create new content directly within Anthologize. Then outline, order, and edit your work, crafting it into a single volume for export in several formats, including—in this release—PDF, ePUB, TEI. — Anthologize

Anthologize grew out of One Week | One Tool — yes, one week — a project of the Center for History and New Media, George Mason University.

This is my favourite type of project: pulling together a small group of people with diverse backgrounds who end up  making something amazing. I think there’s something in the small team/fast pace combination that leads to magic… and really useful products.

So, what’s all the fuss about? This is the extra step that’s been needed to make it extremely easy for any publisher to implement web-first workflow : all you need is WordPress and a plugin.

Now, you can create all of your chunks of content (chapters, excerpts, etc.) in WordPress, then use Anthologize in the WordPress admin side to create new projects that can pull from any content you have in WordPress, external feeds, or content you create in Anthologize itself. That means you can easily create multiple formats from a single source of information. Current export options include: PDF, ePUB, and TEI (an XML format).

To summarize: WordPress to PDF, ePUB, and TEI with the click of a button.

But, we still make paper books, right? Right. So, what if someone added a script that exports a file that can be placed into InDesign for print production? That’s where SFU’s Start With the Web /Book of MPub project comes in: John Maxwell , Kathleen Fraser , and I are all testing Anthologize right now and will be adding our script — the one that turns web content into ICML (which gets placed into InDesign) — as soon as possible. Then, Anthologize will be able to instantly create the files publishers are currently concerned about (InDesign and ePUB) from a single source.

Testing Anthologize

I started some basic testing of Anthologize and I’m really impressed so far. Here’s how it works:


All your WordPress posts will be pulled into the Items panel. Each Part (ex. Chapter 1 below) will become an element in your epub table of contents. Create as many new parts as you need, then drag and drop your posts into the part you want to find them in. Click Export Project.



Fill in this bit of metadata (hint to Anthologize: there should be an ISBN here). Click Next.



Choose your export options — and that’s it!


My results

I exported an epub file…



Then cracked it open and pulled out the main_content.html file…


Converted it to ICML (InCopy Markup Language which imports into InDesign) for print production…


And placed it into InDesign.



The whole process took about 10 minutes. Seriously.

Web-First Workflow: Confluence Proof-of-Concept

Monday, July 26th, 2010 by Meghan MacDonald

Or, practicing what we preach.

Back in May, Noah blogged about the potential for Confluence by Atlassian to work as a web-first xml workflow solution. His post put Confluence up alongside WordPress from SFU’s Book of MPub (full disclosure: I worked with John Maxwell in 2009 on Start With the Web and still do some related work today) as a contender. Really, any CMS/wiki can work, it’s just a matter of how well it works and whether it works for you.

So, why Confluence?

We already use it and we like it. We have spaces for all of our projects and either upload attachments or create pages (the goal is to get away from uploading attachments whenever possible). At this point, we don’t want to start from scratch.

My Mission

To figure out if Confluence will serve BNC’s web-first production needs (tech documentation, educational materials, etc.), which include:

  • ease of use
  • WYSIWYG editor
  • version control
  • commenting
  • PDF export (we don’t have a designer on staff, so we need an easy export that anyone in the office can use)
  • customizable stylesheets

That’s it for now, but I will be testing the XML and HTML exports in the future.

Ease of Use

We already use it and like it, so that gets a check. Any problems we have with Confluence are based on our own organization of the content and not on Confluence itself. Bonus points for how easy it is to move child pages around to re-organize content.

WYSIWYG Editor

Check.


And Wiki mark-up.


Version Control

Check. At this point it’s at the page level, but we think it can be more granular — I just haven’t had time to figure out how.


Commenting

Check

PDF Export

So easy. Select pages you want to export from the tree structure, click export, and you have yourself  a PDF.


Things I’d like to see: Currently, you can only export from one space at a time. We have all of our content divided into spaces by project, but sometimes we’ll need to pull in a page from a different space…but can’t unless we duplicate the content or temporarily move it over. So, I’d like to be able to select from multiple spaces when exporting.

Customizable Stylesheets

Huge win. You can choose to use the generic stylesheet but customize a header, footer, and title page, or you can dive in and edit the CSS yourself like this:


Things I’d like to see: Multiple stylesheets that apply to all spaces. Currently, it’s one stylesheet per space, but I’d like to be able to select from options when I export.

The Result


Increase Sales & Lower Costs with Better Metadata [pdf] was completely written in Confluence and exported as a PDF with a custom stylesheet applied. The title page was created separately, but everything else comes from Confluence. We needed something quick and easy so that anyone in the office can create and export tech documentation, or one-offs when we get requests for information from publishers — and Confluence works for us.

Up Next

Testing XML and HTML exports.

Links

Confluence by Atlassian

Noah’s Confluence as a Web Based Publishing System

The Book of MPub

XML Production: Start With the Web

App vs. ePub: Which is best for your book?

Thursday, June 3rd, 2010 by Meghan MacDonald

These statements probably sound familiar:

"I need to digitize my entire backlist! I’m converting everything to ePub. Find that book from 1973, cut the spine, scan it…"

"I’ll only make apps - no ePub for my books. Apps, apps, apps: I love apps."

I hate both of these statements. They lead publishers who maybe aren’t so tech-savvy to believe that it has to be one or the other, or, even worse, that they have to digitize their books no matter what. But, why ?

Why do you need to convert your backlist?

Will the cost of the conversion process be made up in sales? I love experimenting, but that doesn’t mean you have to convert every title right away. Maybe it’s better forget about the backlist and start producing digital versions as you go forward and see how it goes (that also makes it free (or almost free) experimentation).

Why does it need to be an app?

Can you do something in that format that will make your book better that you can’t do in ePub? Do you have enough of a reach to get that app out to readers? If yes, then awesome. Otherwise, why? Personally, I’m not buying a book in app form. Something that turns people into unicorns for $0.99, though? Sold!

What should we do instead?

What I’m really getting at here is that we need to step out of the digital publishing whirlwind every once in a while and take a serious look at what we’re doing and why we’re doing it. The question should always be: what is best for this book in this market at this time? And we should always (always!) treat the digital version of a text as its own version, separate from the print version, and not as an afterthought.  Maybe an app is the best option, maybe its ePub, maybe you don’t need a digital version at all — but those decisions should be made on a title-by-title basis.

IDPF Digital Book 2010…a short recap

Friday, May 28th, 2010 by Noah Genner

Earlier this week (a lifetime at Laguardia ago)  I attended the IDPF’s Digital Book 2010 at BEA in New York. The show was very well attended (700′ish in attendance) with a great international representation and a large number of Canadians in attendance. It was nice to see some success stories and hear where things are heading with regards to epub and IDPF. Parts of the conference felt a little ’sales-y’, but there was enough implementation and technical information to keep me, and I think many others, interested. Here are a few of my takeaways:

- The first/final epub logo was shown. (I can’t find it on the IDPF web site yet, but I’m sure it will be there soon).

- epub version 2.01 available and version 2.1 working group struck.

- epubcheck to be updated to include CSS support.

- Strong international support for epub. Great interest from Japan, China and Korea in adding Kanji and expanded directional reading support (For some of the issues see here => http://www.jepa.or.jp/press_release/reqEPUBJ.html).

- epub 2.1 to include more language support, new layout techniques, more enriched media support, support for mathematics. Looking at a release early in 2011.

- Some interesting presentations on some of the things that can be done now in epub (if the reading software supported it) and some of the things that could be coming in future versions (I recommend checking out Liza Daly’s presentation when it is posted).

- The ongoing discussions on ‘agency’ pricing, lack of marketing for ebooks and the difficulty with ‘windowed’ releasing.

- DRM panel had an interesting presentation from Ronald Schild on the German ebook platform libreka! a co-operative effort between the German Publisher and Bookseller Associations to offer a common platform for ebook sales. They use social DRM and have never found a pirated copy of one of their books online (admittedly from a semi-small source).

All in all a good day. Congrats to IDPF and Michael Smith.

IDPF has said they will be posting the presentations online and we will update this post with the link when they do.

PS. Teleread has a good summary of the different sessions.



BNC Visits the Espresso Book Machine at McMaster University

Friday, May 14th, 2010 by Meghan MacDonald

Earlier this week, the BookNet team took a field trip to Titles McMaster University Bookstore to check out their Espresso Book Machine (EBM). Mark Lefebvre , BNC Board member and our gracious host for the day, took us on a tour of Titles and gave us a live demo of the EBM (with some help from Laura the EBM magician).

Don’t know what an EBM is?

"The Espresso Book Machine is a fully integrated patented book making machine which can automatically print, bind and trim on demand at point of sale perfect bound library quality paperback books with 4-color cover indistinguishable from their factory made versions." - On Demand Books

It really is as quick as they say. It only takes a few minutes from the time you select and order the book for you to have your shiny new POD book in your hands.

While I was hoping for something like this:

Charlie and the Chocolate Factory

It actually looks like this:

Espresso Book Machine

But it manages to make books anyway. Success!

POD Book and Tim

Now, it wouldn’t be a BNC Blog post if I didn’t remind you about how important metadata is. Hilarious moment of the day as described by Mark :

we selected a title from the catalog of just under 1 million titles to show them how we order from the EspressNet Catalog. We picked a public domain Google Book of Shakespeare — a "King Lear" search result that was listed as 120 pages. We figured it would be a nice short book that could be completed in about 3 minutes, as part of demonstrating the quickness of this process.

Of course, it took a unexpected longer time for the book to load to our system and start printing. And once it started, the print que was showing a gigantic page count, well behind 120. So we let it run it’s course and out came a 1000 page book.

The BNC folks, grinned at this and stated something they often say, and something I’m familiar with given my previous job role as data wrangler at Chapters/Indigo between 1999 and 2006.

"See," Tom, the Bibliographic Manager at BNC said. "It all comes down to the quality of the metadata."

The EBM has been a huge success for Titles. It has opened up new business opportunities that a university bookstore would normally not be able to tap into, and makes it so that millions of books are available at the click of a mouse.

Want your books to be available on the EBM? Comment below — I’m sure Mark would be happy to pass on some info.

eBook pricing impact on print formats?

Friday, January 22nd, 2010 by smurakami

Although I’ve been aware of eBooks and have followed the trials and tribulations of the industry in figuring out how to negotiate this new technology, I hadn’t had direct experience with device-based e-reading until this week. Yes, Internet, it took me this long to get me an iPhone. In my defense, my mobile provider didn’t provide it until November. I’ve spent the past week with my nose to the screen, and much of it has been getting acquainted with my eBook options. When I encountered the prices, I found myself surprised; $20.00 for an eBook? Really?

All week I’ve been trying to unpack my reaction. Part of it, I think, comes from comparable e-buying experiences. The content I buy in electronic format – songs, TV episodes, and now iPhone apps – rarely cost more than $3 and it’s hard for me to go above that price for e-content without pause.

Whether or not this a realistic price point for the industry, there seems to be strong consumer opinion about how much eBooks ought to cost. (I would reference the BISG consumer attitudes towards e-reading survey on this matter, but as Morgan’s pointed out, one of the qualifications for responding to the survey – the surveyed had to have purchased an eBook in the past year – automatically excluded all the non-eBook-buying customers, which represent too large a percentage, if not the majority, of the market; of 36 000 respondents, only 868 qualified.) I’m thinking of last spring’s Kindle-users’ $9.99 price point push on Amazon, and the retailer and publisher response of lower and lower price points for eBooks. The price of an eBook is an important discussion (involving consumer perception of value and content vs. production and distribution costing in addition to that content, for one) but not one I’m going to get into here.

My question is, will low eBook pricing drive down the price of printed books? The prices of hardcover, trade paperbacks, and mass market books have been established at levels that, with constant, mind-bending struggle (utilizing, say, analytics from BNC products!) can work for the book industry supply chain. Though everyone seems to get the short end of a very short profit stick, and despite the constant announcement that print is dead, print books are still selling. Though they may complain about, and affect the levels of pricing, here what’s important to note is that consumers accept the pricing relationships between formats. That is, a hardcover costs more than the trade paperback, which costs more than the mass market; if you are patient enough to wait for the MM, you will be rewarded with a significant price decrease.

Will print format pricing be insulated from the eBook price? Is the eBook reading market too separated as of yet to treat it the way you’d treat a reader who waits for the mass market version to come out, or the movie-viewer who waits for the movie to be released on DVD and then iTunes?

Mike Shatzkin proposed a debut pricing model in August of last year. Dominique Raccah of SourceBooks (who will be speaking at the BNC TechForum on March 25) weighed in last summer as well. To treat the eBook as a format similar to the mass market – cheap to make and disseminate – would help to protect the traditional print format price points, I think.

But the problem may be that consumers don’t think of the eBook as a format the way they accept the relationship between hardcover and mass market, or the movie in a theatre and a DVD. I suspect, as well, they don’t want to wait for the content. Maybe it is the task of publishers to push this message to consumers, to align the eBook with MM and identify it as a second-run format. Making the backlist available as eBooks might be a way to start, as well as defining an eBook release date along with the MM release date. If movies aren’t released straight to iTunes when they go to theatres, why should an eBook be available at the same time as the hardcover?

It seems that several houses are taking the debut pricing model. Here’s the example of Sarah Palin’s memoir delayed e-release.

I think the delayed eBook release, along with its lower price point, is a good idea. As for me as a book consumer, I’ve never had a problem paying full price for a new trade paperback or hardcover. Anything above $25 may make me scowl for a moment, but ultimately I think it’s worth it – for the quality of the object and, in the case of hardcover, to satisfy my greedy need to read it right away. I am, I suppose, an ideal consumer of print books. Maybe it’s having worked in the industry and knowing all the work that goes into producing a book, and knowing that everyone along the way needs to pay their bills. Or maybe it’s just that I like that fresh-book smell.

Bookselling Innovation That Will Save The Industry

Thursday, January 14th, 2010 by Morgan Cowie

EBooks, eReaders and eBooksellers are all the rage in publishing reporting. Amazon announces that Christmas Day 2009 was the first Christmas where eBooks outsold their print counterparts. Kobo announces a new global strategy.

Actually, forgive me. We do hear a lot about independent bookselling - but only when a bookstore shuts down. Or is having trouble staying open in tough financial times.

A friend of mine mentioned the other day how upon becoming pregnant, the immediate response of many people she talked to was to tell her horror stories about other pregnancies/births. (Note: this may or may not be the first time bookselling in Canada is compared to human gestation). Just as healthy, happy pregnancies aren’t that interesting (because they are so common), we hear very little about the successful booksellers that continue to chug along every day. We hear even less about booksellers that are harnessing new technology to serve their community, both reader and publisher, even better. So today, I celebrate the bookseller.

Proposal: a new technology can be considered successful if it provides benefit to a group or an individual that outweighs its cost. This is not a frivolous declaration - if it’s too expensive, too hard to learn how to use, too labour intensive to maintain or just plain annoying, it’s not going to catch on. So what are the successful technologies we’ve seen pop up in the last five years in bookselling?

Supply Chain Innovation

  • In Store Print On Demand- Both Todd Anderson of University of Alberta and Mark Lefebvre of McMaster University have installed Espresso Book Machines in their bookstores to great success. They are using in store print-on-demand for the most literal translation of just in time delivery I’ve ever heard of…you literally wait for the book to be printed right in front of you. Other use cases for these machines are short-order print runs for small publishers and custom created course packs for profs on campus.

    Mark Lefebvre is speaking at this year’s BNC Tech Forum about how and why Titles is transitioning into a different kind of bookstore.

  • RFID - we haven’t really seen this yet in Canadian bookstores but booksellers in other countries, notably the Netherlands, are using item-level RFID tags to keep track of stock in store and in transit to make it easier to find books, order and re-order books and generally smooth out the supply chain.

    Marshall Kay of RFID Sherpas is talking about RFID and how the US and the UK are starting to examine its use in book commerce at the BNC Tech Forum 2010.

Collaborative Commerce

  • BNC Prospector - independent booksellers across Canada are using a module of BNC SalesData called BNC Prospector to share business intelligence. With a really inspiring ‘we’re all in this together’ perspective, retailers from different areas of the country create small aggregate groups wherein their peers can check out what’s really selling in stores like theirs.

    It’s still anonymous, it’s still protects each store’s individual talents but it provides indie stores with the kind of analytic power that big chain stores have been utilizing for years.

  • eCatalogues - while this project is still in the early days of development, booksellers have already played a major part in the discussions of what an online catalogue for Canada could and should look like.

Online Marketing and Geocaching

  • Discoverability Online - combining the weight of independent bookselling recommendations with the speed and convenience of online access makes for a powerful bookselling force. Indiebound.org has created an online destination (as well as mobile apps) where readers can find independent bookstores near them, check out recommendations compiled from a whack of indie retailers and peruse bestseller lists generated exclusively from indie stores.

    Len Vlahos is going to come to Tech Forum to talk about how and why this kind of online marketing for bricks and mortar stores is changing the way booksellers find and keep customers.

  • Discoverability Offline - if you haven’t heard of geocaching or urban adventure or some other buzzword filled tag (there’s one now), you should start paying attention now. I’m predicting that this combo of online and offline marketing is going to be the next Twitter (yes - I did just say that). At their best, projects like Foursquare are the most democratic and genuine example of crowdsourcing I’ve seen on mobile apps.

    People use their devices to check in at places, give ratings, recommend specific products and to-do items and just generally share their impressions of a city with their online community. Shudders abound among those who prize privacy above all else - that said, if you’re a business owner, you’re going to want to know who’s coming to your store and what they think/do while they are there.

    There are already tons of bookstores and libraries appearing in Toronto’s Foursquare, added both by users and by the stores themselves, I’m sure. Offering promotions to those who are frequenting and recommending the place is the next step…

Tim Middleton 2009 in a fragmented review: ebooks are *vampires pbooks are *zombies:

Wednesday, December 30th, 2009 by Tim Middleton

The interesting thing and perhaps the most encouraging and inevitable thing about this past year in publishing is the emergence of new business models - real honest to goodness business models - that are going to challenge the old book world. Every time you turn around you hear about the ebook, ereaders, and giving stuff away for free. But what can you do with that knowledge? Hold on and let the wind blow. The wind will blow you right overboard and this is what has booksellers and bookmakers reeling.

We are going to get over this necessity of looking and talking about technological solutions. We are going to get over our dazed and confused attitude toward technology. We won’t even think about technolgy anymore. One of the biggest media stories from 2009 was the ebook. Listen to the Agenda or CBC and you are hearing about the revolution that is unlocking the keys to the kingdom. And this is what is exciting. Kobo to me seems like almost a mature business model with the idea of distribution and self-published authors meeting a global market. The barriers are falling. There is still hemming and hawing but the emergence of the young tech savvy publishers coming out of Ryerson, Humber, Centennial and SFU are not afraid of the future -they are the future. So this year has seen Google battling those publishers who are hanging on to every last cent of their revenue generating content - but Google has a vision that cannot be denied. The development of the Android OS for mobile is another signal that Google anticipates books and all content to be availble 24/7 wherever you are.

Perhaps one of the biggest things to happen for me is the fatigue that I feel when I hear people argue for pbooks with the now ancient and deluded belief that they just can’t get over all the richness of ink on paper. That they love reading in the bathroom etc. These are non-arguments now and anyone who has read a book on their iphone or dedicated ereader will tell them they are deluded.

It isn’t consumer behaviour that is going to change next year - it will be the distribution that will change. Consumers already want ebooks but they haven’t been able to get what they want.

Immediacy is the currency. Our virtual selves are becoming the norm not the geeky exception. I write as one who is on the outside looking in. Everything for me is catch up all the time. This is the nature of technological advances. I am ahead of many people my age or slightly older than me in that I get to work and research this stuff all the time but when I look behind me I see a the digital natives rising and they will not be denied.

It is hard to think outside of the box, but certainly one of the concepts that took a firmer grip of our industry and most industries was that social capital is generated in real time on twitter and other channels and that there is less a need for the expert than there once was. We are all the experts. Yes this tautology was around before this year but twitter kept it growing and more meaningful. Lots of companies figured it out and are leveraging it better and faster than ever.

A watershed moment for me was the sudden accessibility of 1.8 million free books that are nicely formatted. This is for the creators out there. Suddenly an obscure copyright law becomes front and center. Public domain and orphan works are words that should bring freedom to mind for readers.

The real revolution of course is for readers and hopefully for creators. The org chart of publishers is changing rapidly with far fewer boxes and arrows - i.e less beuracracy and more agility. You learned agility is easy with digital. Yes the economics are obscure and ungrounded but you also discovered if you don’t do it then someone else will. This is the disruption that technology enabled collaboration and zero cost distribution taught you. So mistakes are made but mistakes have to be made and the faster you make them the better.

Creators - how often have you been able to conjure the rapt attention of a cocktail party by whipping out the terms public domain and orphan works? With mashups about zombies and heroines in the mainstream hopefully you have been thinking about how you can mashup

footnotes:

  • Ebooks although only a small percentage of sales in the market continue to suck the lifebllod out of the gatekeepers of the industry.
  • Pbooks are the zombies of the industry and naturally everyone thinks this is a bad thing but have you ever tried to kill a zombie?
  • Skynet = Booknet
  • Marcus is the bundle - the meeting place of the book in all of it’s forms
  • John Connor is the old book
  • Morgan Cowie 2009 in Review - Cowboys, Ninjas and Bears

    Wednesday, December 23rd, 2009 by Morgan Cowie

    It’s been a big year for territory shifting in property rights, market share and pricing power dynamics. Who better to help me explain it than my old friends, cowboys, ninjas and bears?

    The Cowboy: Google

    • In this corner, the Author’s Guild and the Association of American Publishers. In this corner, an ever-expanding web crawler/tool builder/information aggregator known as a verb and noun: Google. In 2009, the final face-off.

      The Google Book Settlement was heatedly debated and the final settlement was far from unanimously adored. This class action lawsuit has, however, set a remarkable legal precedent for better or for worse. Publishers and creators who opt-in are getting paid royalties; Google is expanding searchable content. Whether you look at it as a win/win or a lose/lose or some zero sum variation, there’s no doubt that that in this Wild West, digital book copying and sharing without restriction has ridden into the sunset.

    The Ninjas: Kindle, Kobo, B&N, Sony, Stanza, Specter of the Apple Tablet & The Ghost of 2009 Past PlasticLogic

    • 2009 was a year of stealthy and strategic attempts to gain market dominance in the battle of the eReaders. In the first half of the year, Amazon’s Kindle was king (at least of the press hits). The Kindle continues to dominate although B&N’s Nook looks to be a potential assassin of the one reader/one retailer eBook supply chain. And don’t count Kobo out - with the rebranding comes a set of nunchuks with ‘global’ and ‘appeal’ scrolled upon them.


    The Bears: Amazon vs Publishers

    • As noted above, Amazon’s dominant market share may be upset in the coming year but in 2009, Amazon set the pace and pricing of the eBook market. That is, until the publishers fought back with their own set of tactics: delayed released of digital formats. The bears are still going toe-to-toe on this with Amazon and other eBook retailers looking for simultaneous eBook and print release and publisher refusing to take lightly the hit to their margins that the preferred $9.99 price point would deliver. Two heavy hitting beasts with no clear truce in sight. 2009 was the year of first blows and 2010 looks to be a continuation of the skirmish.

    Mark Leslie Lefebvre 2009 in Review: Plus ça Change, Plus c’est la Même Chose

    Wednesday, December 23rd, 2009 by Mark LeFebvre

    Mark Leslie Lefebvre is a blogger, a writer and an innovative bookseller at McMaster University. There’s a rumour going around that he also plays a mean jazz flute.

    In many ways, 2009 was an intense year of change within the Canadian book industry. 

    In February, for example, Reed Exhibitions cancelled BookExpo Canada, which used to be a small trade show run by Canadian Booksellers Association. Years ago, it was taken over by a large corporation, grew fast, got out of hand and was no longer about booksellers and publishers sharing information and ordering books, but about flash and glamour, publishers paying continually growing rental fees for booths they couldn’t afford and ridiculously long line-ups for freebees.

    It started to be managed further away from the actual book-loving people it was centered around (ie, booksellers, publishers and authors), and eventually things collapsed.  Canadian Booksellers Association quickly put together a “back to the basics” Summer Conference 2009.  Touted as “Stronger, smarter, shorter, sweeter” it included more opportunities for simple connections between participating publishers, authors and booksellers.  It was a great success. 

    There’s more change in the air, with respect to digital delivery of books (both ebooks and digitally delivered POD)  As one of three Espresso Book Machine owners in Canada, I personally witnessed the importance of embracing the ability of authors, publishers and booksellers to act quickly in getting books into consumers hands.

    I worked with Playwrights Canada Press to get two books into a classroom at McMaster which were out of print and stock and thus would have otherwise been unavailable for study.  This resulted in publisher income and further study of Canadian authored work.  Similarly, thanks to the forward thinking of Blue Butterfly Books, my bookstore was able to go from not having even heard about a great new fiction title (Second Rising by Catherine Wiebe) to having stock of it within a matter of hours in response to local buzz and promotion.  Again, increased sales because of a willingness of the publisher and bookseller to work together and try something new.

    Of course, that type of advantageous use of POD is just the tip of it. There are so many opportunities to change distribution models to better benefit the author, the publisher, the bookstore and the consumer.

    Digital books, something that we’ve only seen the modest beginnings of this year, present interesting changes and challenge. 

    It’s my hope that the previously mentioned examples of the spirit of adaptation prevalent within Canada also takes hold and we don’t blindly follow the lead that the major US and foreign owned publishing houses seem to be taking with respect to ebooks (which seems more in line with the “old” way publishing has done things, based solely on models that subscribe to moving physical atoms from point A to point B)

    I hope that 2010 allows the book industry to find ways to embrace the change and engage in the possibilities that digital can provide rather than subscribe to the belief that the existing world is coming crashing down around us.

    Deanna McFadden 2009 in Review - Panic on the Streets of…Well…Everywhere

    Tuesday, December 22nd, 2009 by Deanna McFadden

    Deanna McFadden, Marketing Manager, Digital Content and Strategy at HarperCollins Canada, makes her digital home at tragicrighthip.blogspot.com and is a friend to woodland creatures, great and small.

    Looking back on the world of publishing in Canada in 2009, it’s easy to pull out the biggest news stories and create intelligent commentary around them. From the Kindle to Kobo, there’s no doubt that the ebook has finally become mainstream — perhaps not as yet in its adoption by the masses, but we’ll see how much that changes after the holiday season as gadgets are unwrapped, plugged in, and turned on. Yet, for all the positivity around the digital content revolution, there are equal amounts of panic.

    We’re not talking panic as in the "oh no what’s Marcus Dohle done now"-type headlines on Publisher’s Weekly, but the kind of disquiet that leads to companies making some truly bad business decisions. No one can possibly accuse publishing (in general) of being a rash business. We’re still using publishing models that were adapted when we printed the very first books. Yes, I’m exaggerating, but you get what I mean. We evolve slowly, so the fact that digital content and the ebook revolution has made it this far in this short of an amount of time remains a little staggering.

    Somehow, though, we’re rushing in all the wrong places. Entire businesses are being formed around technology that may or may not be relevant in six months. Companies are pulling from tight resources to make sure they’re at least in the digital space without having any real strategy behind what they’re trying to do. People are building giant web-based properties without any foresight about whether or not they can make them online destinations, or even fully realizing what’s involved in doing so.

    This is the kind of panic I mean, the "if we don’t then we’ll be left behind" mentality that’s driven much of the conversation around the digital side of publishing in 2009. It’s the biggest trend I’m seeing as entire companies move from fad to fad, mistake tools for marketing reach, and leave behind the very thoughtful practices that have ensured our staying power. Yes, there are archaic practices that need to be overhauled. Yes, there are problems with many, many parts of the publishing business. Yes, we need to change. But what does that change look like and at what cost should we be making it?

    While my giant sweeping generalizations might not be newsworthy, they certainly have given me pause to think as I reflect on this past year. There’s nothing wrong with taking a deep breath as an industry and figuring out what the right next move is, whether you’re a smaller house or a larger one. Maybe ensuring that 2010 becomes the year of the conscious revolution in publishing instead of knee-jerk revolution might be the only way for the panic to subside and for us to survive well into the next decade.

    The Mobile Internet and Thou

    Friday, December 18th, 2009 by Tim Middleton

    “The rapid ramp of the mobile Internet, in short, will be a boon for consumers and some nimble incumbents and attackers, while other companies will simply wonder what just happened.”

    cell phone vs smartphone graph

    Morgan Stanley has made available a massive research project that looks at the rise of the mobile internet, contextualizing the research with the thesis that:

    “These epic technology transformations happen every 10-15 years, and they are exciting. After the evolution of the PC and the desktop Internet, we are now in the early innings of the development of the mobile Internet. These tech transformations follow similar patterns:

  • Entrepreneurs search for better ways to do stuff / break down old systems;
  • Moore’s Law works on technology components with better, faster, and cheaper chips, and new hardware follows;
  • A single galvanizing event – like Microsoft’s Windows 3.0 launch in 1990, Netscape’s IPO in 1995, or Apple’s iPhone debut in 2007 – jolts the industry forward and captures the hearts and minds of consumers;
  • Software developers rise to the occasion, build products that solve old problems and create new businesses;
  • and

  • Money is made, money is lost; some “sure things” become relics, and some “crazy” start-up founders become the great philanthropists of the next decade.
  • I found it instructive to read through and contemplate these ideas from an ebook perspective especially with the recent kobo news. Below are the 8 themes that emerge from the research and below those is the link to the report. Not bad reading over the holidays if you don’t wnat to be one of those companies that simply wonder what just happened?

    1) Wealth Creation / Destruction Is Material in New Computing Cycles – History shows that massive technology changes typically shift dynamics between incumbents / attackers, creating winners / losers. A handful of incumbents (like Apple, Google, Amazon.com, and Skype) appear especially well positioned for the mobile Internet, the fifth new cycle of the last half century.

    2) Mobile Ramping Faster than Desktop Internet Did and Will Be Bigger Than Most Think – As five key trends converge (3G, social networking, video, VOIP, and awesome mobile devices), the explosive Apple iPhone / iTouch ramp shows why usage of mobile devices on IPbased networks should surprise to the upside for years to come. As 3G adoption hits inflection points in many markets, consumers are flocking to a broad range of IPbased usage models over powerful mobile Internetenabled devices. We predict that smartphones will outship the global notebook + netbook market in 2010E and out-ship the global PC market (notebook + netbook + desktop) by 2012E.

    3) Apple Leading in Mobile Innovation + Impact, for Now – Depth of App Ecosystems, User Experience, and Pricing Will Likely Determine Long-Term Winners – Near term, Apple is driving the platform change to mobile computing and leading in user experience. Its mobile ecosystem (iPhone + iTouch + iTunes + accessories + services) market share and impact should surprise on the upside for at least the next 1-2 years. Longer term, Google Android’s open operating system (combined with clever device manufacturers), emerging markets competition, and carrier limitations may pose challenges to Apple’s market share upside. RIM may maintain the enterprise lead, thanks to its installed base, but the longterm outlook is challenging.

    4) Game-Changing Communications / Commerce Platforms (Social Networking + Mobile) Emerging Very Rapidly – Improvements in social networking and mobile computing platforms (led by Facebook + Apple ecosystems) are fundamentally changing how people communicate with each other and how developers, advertisers, and vendors can reach consumers. Mobile devices are evolving as remote controls for continually expanding types of real-time, cloud-based services – including emerging location-based services – creating opportunities and dislocations, empowering consumers in unprecedented and transformative ways.

    5) Japan Mobile and the Desktop Internet: Roadmaps for Growth and Monetization – Mobile Internet development in Japan and desktop Internet business models provide significant runways for monetizing the mobile Internet through online commerce, paid services, and advertising; data access likely will continue to lose relative revenue share in the mobile Internet ecosystem.

    6) Massive Data Growth Driving Carrier / Equipment Transitions – Global mobile IP traffic is likely to grow 66x by 2013E (with 130% CAGR), per Cisco. Increasing 3G / smartphone penetration and emerging usage models (such as video / audio streaming) will stress carrier wireless networks. Carriers may be able to address the surge via capacity upgrades and offloading to Wi-Fi. Tiered data pricing (speed, quantity) will likely be critical to long-term revenue growth.

    7) Compelling Opportunities in Emerging Markets – Emerging markets have enormous potential for mobile Internet user growth, owing to low fixed-line telephone / broadband penetration + already vibrant mobile valueadded services. We expect 3G inflection points to be 2-3 years away, depending on the individual markets.

    8 ) Regulators Can Help Advance Mobile Internet Evolution…Or Slow It – Inherent conflicts between the wants / needs of consumers and those of incumbent TMT providers are creating challenges for regulators.

    Get the full report and enjoy!

    New Publishing Business Model #11 - Carina Press

    Thursday, November 19th, 2009 by Morgan Cowie

    Passion. Lust. New (market) positions. Unsurprisingly, Harlequin continues to charge ahead in the eBook frontier. Their latest venture, Carina Press, is a digital book only imprint headed by online press veteran Angela James, most recently of Samhain Publishing.

    Carina Press isn’t just for romance readers either. Submissions currently being accepted can come from anywhere in general fiction (although erotic romance and erotica - do I want to know the difference? Um, yes: ‘[erotica differs] from erotic romance in not promising a happily ever after within the story line’- are likely to be the bulk of offerings). The subject slant is a result not of Harlequin’s expertise but rather of the business model: Carina is positioned to deliver to the niches.

    The digital only format allows Carina Press to deliver to all kinds of unique cravings without the burden of minimum print runs or distribution difficulties. Carina Press isn’t paying advances either so earning out isn’t as much of a challenge. This is a realm with plenty of room for experimentation - finding new niches could be as easy as putting a book out into the world and then gauging the response from the community. Heck, developing new niches might be that easy too: never knew you were into vampire erotic romance with rescue animals acting as the catalyst for matchmaking? Now you do. You’re welcome.

    Author development, community expansion and potential cross-over acquisitions for print lines are also possible side-benefits of having a digital-only imprint like Carina Press.

    As always, it’s great to see a Canadian publisher continuing to lead the way in the digital sphere….

    New Publishing Business Model #10 - The Complete Guide to Google Wave

    Wednesday, November 4th, 2009 by Morgan Cowie

    Discuss: Google Wave is the Tickle-Me-Elmo of Fall 2009 for web denizens. Everyone wants to play with it but it’s not clear whether it will end up changing everything or just get crammed in the back of closets with an Alf doll and a some old Barbies who got innovative hair cuts thanks to scissor-happy pre-teens.

    Gina Trapani and Adam Pash, creators of the new online, unofficial Wave ‘manual’, The Complete Guide to Google Wave, while totally keen on the potential of the new online communication tool, recognized that the window to get a guide into the market is small. Additionally, the potential for crowdsourcing and reader collaboration is high. So instead of printing books and letting them get stale as the Wave tool moves forward, the authors have an online eBook version of the site that will be constantly updated:

    You always have access to the latest and greatest version of this guide’s contents in its entirety at completewaveguide.com. In addition to the web site, this guide will be available as a DRM-free PDF (forthcoming) and an independently published softcover print book (coming early 2010). We’ll continuously update the pages on the web site as we become aware of corrections and additions to its contents.

    Because Wave is still very early in its development and adoption, we’ve committed to four editions of this book that will become available as Wave grows throughout 2010.

    Is the book itself a money-making venture? Well, no - probably not. But by presenting themselves as authorities on the subject, winning the trust of avid users, as well as gathering valuable insight from wiki-likey type folks, Trapani and Pash are ‘establishing a vertical’ (a great quote from my colleague Tim Middleton) where they can move on to write more books on the subject, speak as experts and even perhaps even work as consultants as the tool is adopted.

    In other words, a traditional model of expert –> author becomes inverted. By becoming an author (note: Trapani and Pash are already established tech authors), and gathering a community that supports and bolsters your position, you’ve become a de facto expert. The book is a tool that may or may not generate revenue on its own but instead becomes your business card that gives you the authority to comment, consult and create even more.

    New Publishing Business Model #9 - Beast Books

    Wednesday, October 14th, 2009 by Morgan Cowie

    Are traditional book cycles, with inception to production taking a year or more, too long for today’s instant gratification seeking consumers? Unless you’re Sarah Palin, it’s received wisdom that books actually take some time to write. According to a new publishing model debuting at Beast Books, child of The Daily Beast and new imprint of Perseus Book Group, that kind of production cycle is old news.

    Citing the likelihood of missed opportunities should a title come to market too late, Tina Brown of Vanity Fair fame has decided the optimum cycle for their media-based titles is about three months - total. Authors will have one to three months to write the book and publishers will have about a month to take it to market.

    Beast Books will be released first as eBooks and will only subsequently be released in paperback. For those despairing of what will happen to the news industry, this new model gallops in like a magical cowboy on a white horse: not only can journalists and freelance writers see a rent in the dark cloud of free content, but cultural critics who believe fast is synonymous with superficial might start to see some light as well.

    If good books by talented writers find an audience of smart and hungry readers thanks to the power of the web, we might just be ready to let LOLCats go as the Internet’s flagship export.

    It’s a model that works well only for a particular kinds of book - Michael Jackson’s Life and Times contrasted to the next Booker winner, say. That said, this model brings intelligent discourse into the market in a timely way, ensures those who are creating content get paid and combines the benefits of new tech with the venerability of the journalistic establishment. Also: Beast Books = pretty awesome name for an imprint. Unleash at will.

    New Publishing Business Model #8 - Gamers Become Readers

    Wednesday, October 7th, 2009 by Morgan Cowie

    While it’s not exactly a new thing for publishers to publish game manuals (whether of the video variety or other, like Magic: The Gathering which all the SUPER-cool kids were really into when I was growing up and, frankly some of my friends kind of still are), the game (punny!) changes when big entertainment companies like Nintendo start opening up shop within bookstores.

    Nintendo Germany has begun to open up mini-shops within established bookstores to sell their wares: consoles, games and, I assume, game guides. You know…books. These kinds of partnerships indicate the increasing convergence of entertainment culture. Books, games, music, movies, if viewed from a certain perspective, have more in common than they differ.

    Will bringing newer technologies like video games into bookstores erode the value of the book or will it help bring new readers in? On one hand, as game strategy guides move into the eBook world, their resemblance to physical books might start to fade. Additions of video, updatability and other interactive features (like the multi-user features inherent in games like World of Warcraft) blur the lines even further.

    At the same time, books tend to fare well in terms of bang for buck when compared to other recreational purchases - though I’m not convinced you can make the argument for books tied to games or movies. The shelf life of these types of books may veer closer to the value of the primary object (i.e. the game/movie) rather than the book itself. However, book buying is book buying and a gamer who picks up a collector edition of screenshots from Halo might also cast an eye towards other, more traditional, titles in the store.

    New Publisher Business Model #7 - Textbook Rentals

    Thursday, August 27th, 2009 by Morgan Cowie

    Cengage Learning is turning the unique features of the higher education market into a completely different model for students and publishers: textbook rental. For 30-70% of list price, students are able to use a textbook for a set period of time before having to make the decision to give it back or buy it.

    From the New York Times:

    Students who choose Cengage’s rental option will get immediate access to the first chapter of the book electronically, in e-book format, and will have a choice of shipping options for the printed book. When the rental term — 60, 90 or 130 days — is over, students can either return the textbook or buy it.

    Since the used book market is a much bigger part of educational sales than any other kind of publishing, the same book can be bought and sold a number of times with only one time royalty payment to the author. The rental model allows publishers and authors to be paid every time the book is used, making it a happier day for those with highly circulating tomes.

    Other higher-ed publishers, including McGraw-Hill, Barnes and Noble College Bookstores and Follett, are experimenting with rentals as well.

    Before determining that this model works only for the specific needs of students, attention should be drawn to mass market titles that are, by some estimates, most at risk from being eroded by consumer tastes shifting to eBooks. These types of books might only be read once (beach thrillers, cottage mysteries, romances - whatever) but a lot of people would want them right away and would be willing to pay to borrow with that benefit. Some folks might be happy to wait until the first round was complete but not willing to brave the huge waiting list at the local library.

    Other types of instructional but not strictly higher education like books, like curriculum guides for teachers, course books for continuing education, study guides for particular grades, might fit quite neatly into this type of model as well.

    With the option to buy the book outright, testdriving titles might help stimulate purchase where once was only wavering.

    New Business Model #6 - IndieBound

    Wednesday, July 29th, 2009 by Morgan Cowie

    IndieBound.org was founded almost a year ago by members of the American Bookseller Association looking for a way to work together with other indie booksellers and other locally owned businesses.

    IndieBound promotes shopping local by providing easy ways for readers to find local bookstores and shop there either in person or online. There’s a pretty nifty website with store location widgets (search by zip code - yep, IndieBound is just in the US as far as I know) and links to indie bookstore’s sites and eCommerce action.

    Even more interesting to me is the iPhone app which allows you to have book lists (wish lists) with you wherever you go as well as providing the store location service of the website. A handy tool if you’re like me and often forget the author or title of the books that you’ve been dying to pick up the instant you actually get in range of a bookshelf.

    The Indie Bestseller and Indie Next lists are fundamentally virtual handselling. Booksellers are providing their insight and recommendations even in an online shopping experience which, to me at least, offers a significant challenge to Amazon. Whereas on Amazon, I’ve had a lot of People who Bought This Book Also Bought This Random Title That Has Zippo Connection to The One You’re Buying, the Indie Next list provides me with picks from educated booklovers who do this for a living.

    Could there be something like this in Canada? I know there are tons of bookstores (and other local businesses) that I’ve yet to find just in Toronto, let alone in other regions where I might be meandering for business or pleasure.

    New Publishing Business Model #5 - HarperStudio

    Wednesday, July 15th, 2009 by Morgan Cowie

    Bob Miller made a big splash in the waters of publishing in April 2008 when he announced that he was leaving Hyperion and joining HarperCollins to create a new imprint. And not only did Miller change houses, he also challenged fundamental aspects of the supply chain as we know it. HarperStudio, as his imprint came to be named, was not taking returns. Period. All books are non-returnable. And wait…there’s more! Authors receive a 50/50 revenue share in exchange for lower initial advances, rather than a more traditional 10-15% with a large(r) chunk of cash up front.

    There’s a lot more about HarperStudio that is remarkable. Possibly the best part of their website is their amazing blog. With articles coaching authors on how they can do great book signings or explaining to readers why eBooks cost more money than you might think, they are working on educating the entire publishing community (and I am nothing if not a huge fan of the rising tide lifts all boats theory).

    There’s book promotion on the blog, sure, but there’s also a feeling of real community. The tone of the site and of the new way of doing business sync to build a feeling of everyone being in this together. After all, the author, publisher, bookseller and reader all want the same thing: getting great books into the world in a sustainable way is everyone’s bottom line.

    Is HarperStudio the wave of the future or do they exist only as an anomaly within the supports of the traditional structure? This is something of a false binary but an interesting questions nonetheless. How does an imprint or a firm move to non-returnable? Is it possible to change traditional advance structures industry-wide? The competitive advantages of securing a large author with a big bonus or allowing for returns are many. Will there come a time when it makes more sense for these traditions to be retired? HarperStudio is certainly worth watching for things about how these questions will be answered.

    Online Subscriptions - Can Shortcovers Do What NY Times Can’t?

    Friday, July 10th, 2009 by Morgan Cowie

    Back when the web was just the web and 2.0 was just a glimmer in the mind’s eye of Timothy Berners-Lee, newspapers tried to get people to pay for content online. Various models were used but the one that sticks out in my head is the ‘free for a day, pay for the archives’ model which some periodicals, including the Wall Street Journal, still use.

    In these dark times for newspapers, the notion of trying to resurrect or just erect this model is coming back. The NY Times recently sent out a survey to its audience asking if they would be willing to pay as much as $5/month to access online content for all stories.

    Two major behaviour patterns threaten this transition. First, we’re just not in the habit of paying for what we view online. There are so few types of content that require a fee/subscription/even a log-in these days and it feels more like we’re moving away from barriers to access than towards them.

    Two, perhaps even more important, with the wildfire-like spread of instant communication systems like the ubiquitous Twitter, and the resulting information spreading siege, we’re really used to sharing, sharing, sharing. Restricting the ability to deliver interesting news articles and headlines to our networks serves to make the information itself less valuable. Online content is the currency of connection and limiting the way this can be spread undercuts one of the primary functions of reading news in the first place.

    Apply this model to books, however, and I think there’s a lot more room to maneuver. I’ve made this argument before in this very blog but we’re not yet used to getting books for free and it’s not easy to distill the essence of a book (or a publisher’s entire list) into a 140 character tweet.

    A subscription model for eBooks has a lot of advantages. The time-starvation we hear so much makes it difficult to spend hours browsing for books but we still want to find cool new stuff. Trusting one publisher or retailer (or one vertical, if it comes to that) to deliver the book of the month digitally automatically takes away the work of discovery and allows for exciting surprises. Recommendations based on past purchases and eventually the reader’s reviews wouldn’t be hard to put together.

    Is this something that would work for online bookstores like Stanza or Shortcovers? Could it open up the digital reading space for publishers still trying to find their readers? The polls are open - what do you think?

    New Publishing Business Models #4 - Smashwords

    Monday, July 6th, 2009 by Morgan Cowie

    In May of this year, Smashwords, an eBook publishing platform originally set up to serve as a channel for self-published authors, expanded to offer services designed for publishers.

    It’s a pretty sweet deal for publishers, particularly those who are just looking to dip their toes into the murky waters of digital. Just like with Scribd, content providers choose how much everything costs and get a hefty portion of the profit (85%).

    Another big plus - all the conversion is done for you. You can load up a Word file and once the Smashword elves (unrelated to their annoying Keebler cousins) have done their format dance, your book is available in a whack of formats including PDF and ePub. It’s all DRM-free (it’s a plus for your readers. Really) and sold through your custom-branded bookstore.

    Mark Coker of Smashwords let me know that as of now, there are abut 20 small publishers selling eBooks through Smashwords and that for now, the books that work best are straight up: straight text, simple formatting. In a nutshell, content matters first (my addition: rights matter second. These presses own world-rights to the titles that are being sold).

    It’s kind of a crowded field on the Smashwords site and it’s not easy to find the publisher’s websites…but if you can do a little pushing from your own channels to the site and you want to get your books into the online and mobile world with very little muss and fuss (as an owner of a new iPhone, I’m pretty happy that Smashwords is available directly through Stanza), it’s worth a shot.

    New Publishing Business Models #3 - The Tor Store

    Monday, July 6th, 2009 by Morgan Cowie

    Mike Shatzkin of Idealog has long been arguing that commerce in books needs to go ‘vertical’ - that readers will gather at sites where their interests are served. Publisher branding doesn’t matter as much as putting the right combination of books together for a one-stop shopping experience.

    Tor Books has effective done just that with their new online store. Through their site, they are selling Tor books, Spectra books, Xlibris books, anyone’s books: the selected titles are linked only by subject (sci fi and fantasy) and not at all by publisher.

    This isn’t not to suggest that Tor isn’t involved in some pretty heavy branding. Their new store also includes a link to buy Tor-branded merchandise. So the explicit branding is certainly there (I mean, the site is called the Tor Store. Not only because it rhymes, one can assume) but the more subtle brand expansion is what’s really impressive.

    As I understand it, the argument for continuing to buy books from publishers when there is scads of free content available goes something like this:

    1. I like good books but don’t have time to sort through/gamble on the millions of options out there to find them
    2. There are trusted sources (publishers) who both filter for and enhance the quality of written work, creating books that are easy to find and that are a reasonably safe bet.
    3. I am willing to pay for this kind of quality assurance to save me time and hassle.

    Tor has created an environment where their expertise extends not only to the manuscripts they themselves have picked up, worked on and published but also to all the good sci fi/fantasy books that other publishers like them have created. Tor is positioned now as the arbiter of great books in this genre….they are kind of like the super trusted source managing all the mini-sources.

    Of course you’d want to wear a Tor shirt - by being creator-neutral in sourcing, they have become the most recognizable part of a really good thing for book lovers. Is it too sci fi for me to suggest we kneel before Tor? Yes? (Imagine I was saying it in a really funny voice - I know my coworkers are really liking my practice rounds. Did I mention BookNet has an open-concept office?)

    New Publishing Business Model #2 - Scribd

    Wednesday, June 17th, 2009 by Morgan Cowie

    O’Reilly’s doing it. Simon and Schuster’s doing it. The New York Times, Harvard and Ford are doing it.

    Whatever it is you might be guessing (the twist? the dew? the nike corporate schill?), if you didn’t guess selling content through Scribd, then you don’t get the blue ribbon. Not that you do get one if you guessed right but I’m guessing only Wilbur the pig would be disappointed at the lack of such decorative prizes.

    This is not the first post on the BNC Blog to discuss Scribd and the potential changes this kind of bookselling could bring to the industry. Because Scribd allows publishers to set prices while offering 80% of the listed price to the content provider, it might be possible for presses to sell eBooks at lower rates than hardcopies and still make a profit.

    It’s also really easy to allow for content previews while still protecting the rest of the book and Scribd promises search engine indexing as well.

    Good Stuff

    • Better revenue split - allowing for lower pricing in-line with perceived value of eBooks to consumers
    • Findability - it’s not Amazon and there aren’t a lot of bells and whistles but it is an aggregated book center with a wide range of content. There’s at least a chance of browsing.
    • Good design - the Buy Now button is huge, orange and wisely placed. Scribd makes it easy for people to figure out how to get the goods.

    I’m Not Convinced About…

    • The current pricing - S&S is offering a 20% discount off what looks like the trade paper price. O’Reilly has a pretty wide range but a lot of their stuff is $35.99 which seems like a lot to me especially considering…
    • It’s just a PDF - no choice of formats. If I’m going to pay that much for a book, I need it to be available on any device. If I’m paying print book prices, it needs to be print book portable.
    • Copyright issues - the Scribd store is only available to those in the US (or those willing to use an IP re-router for book buying purposes). The question of copyright is a moot one for now but if this becomes globally accessible and eBook rights are carved up, issues of differing prices in different territories could come up pretty fast. And it might not be pretty.

    Worth it? It’s a hard question to answer in Canada since we don’t even have access yet. That said, I think this is the kind of site that’s worth playing with if you’ve got US rights for your books. Since it doesn’t require any high-faluting files, it wouldn’t be a huge time investment to get a few PDFs in the game and experiment with price points and subjects.

    New Publishing Business Models #1 - Symtext

    Tuesday, June 9th, 2009 by Morgan Cowie

    This last weekend at BookCamp TO has really got me and my fellow BookNetters percolating. One particular question that keeps coming up? What are the new business models that turn digital from into deep, dark and dangerous to exciting and (gasp) profitable?

    To start fleshing out the question, I’ll be posting mini ‘case studies’ intermittently. I will mine the depths of the Internet (or at least my Google searches and address book contacts) so you don’t have to. Gratitude can be expressed in cookies mailed to 215 Spadina - or just by reading and commenting on these posts. Think what I’m saying is crazy? Or so crazy it just might work? If I know anything about blogs, I know that’s what the comment button is for! That, and the only made-up word I dislike more than blogosphere is tweeple. But back to business models…

    Today’s post is about Symtext, a company that promises to deliver “Liquid Textbooks” for higher ed. students. There is something personally tantalizing about this promise - during my halcyon days as a philosophy undergrad, I searched Guelph’s Albion bar high and low for liquid textbooks but only found Liquid Bravery (which, oddly, nearly always walked in with Liquid Bad Judgment and left me every time with only Solid Pain).

    Symtext’s version of Liquid Textbooks gives students (or instructors) a platform where they can select content from a multitude of publishers in a variety of formats (book chapters, podcasts, video etc) to create a customized eText with everything they need and nothing they don’t. Publisher gets paid, prof doesn’t get chased by Access Copyright and students has more money to spend at the Albion - everybody wins.

    There are two ways for publishers to participate (I’m quoting now from Symtext’s site:

    1. In the first model, publishers contribute content to our repository within a permissions agreement… The publisher sets the terms (prices, permissions and other conditions) concerning use of its clips.
    2. In the second model, Publishers private label our platform to remix their own titles. In this model, we provide Publishers with software and services enabling them to directly generate new value by creating and commercializing new works from existing titles.

    Either way, as a publisher, you’re in charge of the pricing structure. You decide how your authors are paid for what as well as what you need to make in order for this to be viable.

    It’s a higher ed strategy, to be sure, though there may be some applications to the world of fiction and definitely there’s something here for non-narrative non-fiction.

    My questions - you’re losing the ability to put out new annual editions…so is updated material given a price tag? Or do readers buy a license to content which allows them to have access to all updates? On the one hand, publishers and authors continue to do the work of creating quality product without getting paid. On the other, students have to keep shelling out whenever content is changed.

    Applications for trade? Has anyone worked with the Symtext platform? The Comments box is now open for business!