Showing posts with label Publishing. Show all posts
Showing posts with label Publishing. Show all posts

Tuesday, July 16, 2013

PW: "Author as Entrepreneur"

My article for Publisher's Weekly on crowdfunding for books, Author as Entrepreneur, has emerged from behind the paywall. It's a follow-up of my blog post from April,  Book Publishing After the JOBS Act Revolution. An excerpt:
“From a business perspective, I think the business model of crowdfunding book equity is not practical,” said Ash Kalb, a tech lawyer and venture capitalist who founded Singularity & Co., which crowdfunds e-book editions of classic science fiction. “For 99.9% of books, the overhead costs of dealing with a large number of unsophisticated investors are going to be too high, and one lawsuit from a disgruntled investor wipes out the business. But really, it all depends on the bar the SEC raises with the rules, so we shall see.” 
In England, where equity crowdfunding is already legal, Web sites such as Seedrs and CrowdCube think they have found ways to address the problems. CrowdCube has raised over £6.7 million from more than 30,000 investors for 46 businesses. Seedrs has funded 21 startups with more than £1 million total. 
Figuring out how to churn out small publishing startups on an assembly line won’t be the only barrier to making crowdpublishing work. A bigger obstacle may be the changes in transparency that crowdfunded books require. 
“Have you ever seen a 10-K or a securities offering? asks Kalb. “Do you really want to list risk factors at the start of your book? ‘No one may like this book. I may be a bad author. My wife may leave me. Werewolves may not be as popular next year...’”
Since it was originally published in the print edition, the web version is missing the links, so here they are:
There have been some recent development on the securities regulatory front. The SEC has decided to drop its prohibition against "general solicitations" of securities for sale as long as they are available only to accredited investors, as required by the JOBS Act. (I don't understand how the SEC gets to decide whether to implement a law, just as I don't understand how Apple could have been an ebook monopolist before it sold its first ebook.) This is a LONG way from legalization of equity crowd funding, but at least some movement is happening.

Enhanced by Zemanta

Article any source

Sunday, June 2, 2013

Four Corners of the Sky: Chapters 39-41

This is installment 7 of my Big Library Reading diary, covering chapters  39-41, through the end of Part 2.

I had been reading Four Corners on my train commute into Manhattan for Book Expo America. But on Friday Overdrive pushed an iPad update that somehow left my Overdrive app in a half-updated state. So that slowed me down a bit. I need to get it in gear; I have only 5 days left on my checkout!

Maybe it's the influence of BEA, but there seemed to be a LOT of alcohol consumed in these 3 chapters. So I have a few things to say about that today.

Sgt. Dan Hart drinks ALMOND LIQUEUR????? Is that an alusion to a movie I didn't see? Because if Brad was drinking almond liqueur I would think nothing of it, but Dan Hart? What kind of love interest (I got that right, didn't I?) drinks almond liqueur? And after a bottle of Cuervo, too. Annie drinks pitchers of mojitos after saying she doesn't drink. Also, Brad's bottle of beer.

Speaking of mojitos, congratulations to the Evoke team, which won the Publishing Hackathon book discovery competion with their website that makes emotional connection of characters in books more salient. The mojitos at the afterparty were just AMAZING, they set this reading diary back about 10 chapters worth.

So Melissa Skippings is a vodka martini girl. Good for her.

Zemanta is recommending blog posts about Nutella Martinis. So they win the competition for drink discovery via books.

Next Diary Entry
Enhanced by Zemanta

Article any source

Tuesday, May 14, 2013

Hack the Publishing Hackathon

Why a publishing hackathon?
Book discovery needs innovation. It’s never been easier to get a book into a reader’s hands—just one click. But, with over 10,000 books published each year on every topic imaginable, how do people find out about them? There are fewer bookstores to help readers discover exciting new authors and ideas. There’s currently no digital experience that replicates the serendipity of browsing bookshelves. Recommendation engines are fairly primitive – they know what you bought, but they don’t know why. It’s a disruptive opportunity that hasn’t been explored.
Seriously, the sponsors of this event don't think book discovery has been explored? I guess they were too busy suing Mr. Google to notice that Google Books is a pretty good discovery tool. I suppose they never thought to ask Mr. Wikipedia how many books are published every year.

All in all, I find the description of this hackathon INSULTING to just about every developer that's worked in the general vicinity of the book industry.

Umm. Mr. Steinberger. If you and Perseus really want to promote discovery innovation, then perhaps you have heard of Goodreads? They're driving some decent discovery of books. Maybe it doesn't count if Mr. Amazon is buying them. Perhaps you've heard of Amazon? They popularized the "If you liked this, maybe you'll like..." feature that everyone in the publishing industry tries to copy. If you don't like Goodreads, maybe I can introduce you to LibraryThing, which has been driving valuable book discovery in more ways than I can list here. I know that "library" in their name is a big turnoff for your big 6 colleagues, but libraries are huge book discovery machines. I don't suppose you want them to disrupt anything. And umm DP.LA????

People mostly discover books by word of mouth. Some  innovators promoting social reading include Readmill (who had their own publishing hackathon) and (giving props to the NYC home team) ReadSocial and the stuff Bob Stein has been exploring. And Kobo, Copia and Zola are doing some amazing things to integrate book discovery with ebook selling and reading environments. I've written previously about Jellybooks' fresh approach to discovery.

And some more on libraries. When I was at OCLC, we worked on real simple problems like "how do you discover the other editions of the same book?" and we found that publishers had NO CLUE what they'd published 5 years previous. So yeah, we did our bit.

But I'm coming to the hackathon anyway. because despite the ridiculous framing, this event has some clueful backers. NYPL for one. Small Demons for two. And they're even wasting prize money on a new age library metadata thingy. (I might be wrong about the wasting part.)

I'm hoping that some people will be interested in rethinking ebook front matter. Unglue.it needs books to work better all by themselves. The best discovery instrument for a book is the GDMF book, to my mind. So let the book do some work. With a little javascript. And no more DRM, thank you very much!
Enhanced by Zemanta

Article any source

Tuesday, April 30, 2013

Dandelion Publishing is the Worst Idea Ever

Spring has arrived in New Jersey. Newark's Branch Brook Park is home to the the nation's largest collection of blossoming cherry trees in the nation. You can't go outside without being stunned by something living and beautiful. Also, the weeds like it. I spent Sunday pulling dandelions. They have long, deep roots, and they love depositing thousands of baby dandelions anywhere you try to grow anything else.

Which reminded me of the stupidest thing I heard at London Book Fair two weeks ago. It was in Neil Gaiman's "Dandelion" talk at the Digital Minds conference. Apparently Gaiman thought it went over like a lead balloon, but I was there and the London digital publishing establishment just loved it. You can watch it here:




Or (quicker) read the transcript at the Falls into Writing blog :
Mammals, which all of us are, I hope, put a tremendous amount of effort into raising our children, into what we do. Child – it’s, you know, a solid 15, 16, 17, 18 years. They go onto higher education.  It could be 22, 23 years, and you’re still raising these things. And you put effort and you put life into it. Dandelions don’t care. They just have thousands of seeds, and they throw them to the wind. And there’s a level in which, as time goes on, I’m enjoying throwing things to the wind. 
Two days ago, I was in New York, bored over lunch, and I started drawing on the paper tablecloth. And I just did a drawing on the paper tablecloth. And at the end of the meal, I was getting up, and my wife looked down, and she said, ‘Are you doing anything with that?’ 
And I said, ‘No, just leaving it behind for them to throw away.’ 
And she said, ‘We should do something with it. It’s a great drawing.’ So she stole it, folded it up, walked outside, put it under a rock by the restaurant, and twitted a photograph of herself putting it under the rock and the location. And she said, ‘You can retweet that. Some of your fans, somebody’ll find it. It’ll make them happy.’ 
And I said, ‘Okay.’ And we walked the 70 seconds to our hotel. Went up to our room. 
And she said, ‘Oh. No point in you retweeting it. Somebody’s already found it.’
and later:
The truth is, whatever we make up is likely to be right. It’s time for dandelions. Embrace the old as we embrace the new because we’re on the frontier, and there are no rules on the frontier.
The reason this is a bad idea for publishing, and maybe the reason Gaiman thought he had bombed, is that book publishing is all about suppressing the weeds and fertilizing the flowers. Suppressing weeds is fashionably called "curation" and the fertilizer is politely called "marketing".

It's only the dregs of publishing that makes money off of weeds. And dandelions are weeds in most contexts. The righteous publishers treat their books like children, and yes, they put lots of effort into them. My organic gardening friends assure me that dandelions are delicious in salads; by the same token, I have a friend who works at Marcal who assures me that books make excellent pulp.

Even the most inexperienced self-publisher knows that scattering seeds to the wind is a recipe for financial disaster in book publishing. A seedling book of the very best variety requires careful nurture. To think you can hide a masterpiece under a rock and expect anything other than worms is the height of narcissism.

Also, dandelions are spammers. Please don't be a spammer.

(To Neil Gaiman: the rest of your talk was just brilliant; if you want to unglue one of your books, we'll be happy to fawn over you like teenage beliebers.)
Enhanced by Zemanta

Article any source

Wednesday, April 10, 2013

Book Publishing After the JOBS Act Revolution

On Monday, the US Senate confirmed Mary Jo White as the new head of the Securities and Exchange Commission (the SEC). The book industry will never be the same. No, that's not a non sequitur.

A year ago, a bipartisan majority in Congress passed the "Jumpstart Our Business Startups" or JOBS Act, and President Obama signed the legislation on April 5, 2012, thus accomplishing the first major overhaul of the nation's securities laws in over forty years. Perhaps the most far-reaching provision of the JOBS Act is the legalization of equity crowd funding. But not quite yet. The SEC has not published the rules that would implement the JOBS Act, and so it's not yet legal to crowd fund a business, unless your crowd is all millionaires.

#strangersproject
"But what about Kickstarter?" you may be asking yourself. "Isn't that legal?"

Kickstarter and businesses like it (Unglue.it, which I run, is one) take great pains to prevent projects on the site from offering any sort of tangible equity. Instead of equity-based crowd funding, these site offer rewards-based projects and products. People become backers on Kickstarter because of the rewards they get if the project a success. In many ways, Kickstarter is just a site where creators pre-sell products that don't exist. A supporter on Unglue.it might get a signed manuscript or some other reward,  but it's the intangible equity of making a book free to the world that drives the site.

By contrast, the backers on an equity-based crowd funding platform could receive shares in a business.  So on a crowd-funding site for books, the backers might become investors in the individual books, and would make money if the books turned a profit. If you happened to invest in Fifty Shades...

From an author's point of view, this would completely change the game of publishing. Instead of relying on an insider network of literary agents who market book properties to publishers, an author would put proposals on a book-funding site. They'd line up a team of free-lance editors, illustrators, designers and developers, and the literary proposal would look like a mini-business plan. (More likely the author would seek help from a new class of social-media-savvy literary product-manager-agents who specialize in marketing to the crowd funders.) The crowd – probably consisting of voracious readers hoping to earn a little money from their obsession- would fund the books that had the best chance of success. That same crowd would be the marketing vanguard for the book when it's finally published; how can corporate publishing compete with that?

There's nothing intrinsic about crowd-funding that restricts this sort of fund-raising to unknown authors looking for a first advance. The JOBS act restricts the amount raised from "unqualified investors" to $1,000,000, so the really big name authors would have to tap the "qualified investor" funding market. (An individual with more than a million dollars in assets excluding home and vehicles is considered "qualified")

Once equity crowd-funding becomes established for books (and it WILL happen!), incumbent publishing houses will have lost, at a stroke, their oligopoly on books as investment vehicles. Already, publishers are outsourcing their design, editorial, production, distribution and sales functions; providing capital is their last bastion of essential function. They will have to participate in the new markets or they will dissipate into irrelevancy.

The reason the SEC has not issued the new regulations implementing JOBS is apparently because the previous Chairwoman, Mary Schapiro, had reservations about opening the gates to crowd-funding. The SEC's mindset is to protect ordinary investors from being fleeced by Wall Street sharks.  One would assume that President Obama's new appointee will be motivated to implement what could be a signature accomplishment of the Obama administration. So Monday's confirmation of Mary Jo White could signal the start of a new era of American investment.

Tim Draper at SVCrowdFund
by Return On Change
I had not paid attention to the possibilities of equity crowd funding for books until I attended last week's "SVCrowdFund" conference in Palo Alto. There I met many of the people who had been instrumental in getting the JOBS Act introduced and passed. There was electricity in the air, and my head is still spinning.

What's needed to make equity crowd funding for books a reality is a platform that has both crowd funding and publishing functions. Mostly, investors in books need to be protected from the sort of accounting shenanigans that prevent advances from earning out and royalties from amounting to more than a few pennies per copy. They also need some insurance against authors who don't deliver their promised manuscripts. All parties need sound legal agreements, business plan templates and investment entities. But above all, none of it will work without copious transparency and openness.

I've been trying to think some of these things through. It's a pretty big project, needing a variety of expertise. If you'd like to join me and others in some discussion, please let me know, and I'll organize something. Or leave a comment.

Resources
Community/Crowd Funding for Books
Disaggregated Publishing
JOBS Act
Enhanced by Zemanta

Article any source

Sunday, March 4, 2012

Random House's eBook Price Hikes are GOOD for Libraries. IF...


Random House, the last of the Big 6 Publishers to allow libraries to purchase and lend ebooks on a 1-copy-1-patron (pretend-its-print) basis, said last month that it was going to raise its pricing for libraries. The new pricing isn't set in stone, but Library Journal has reported that libraries are being asked to pay as much as three times the price of a print copy for a lendable ebook from Random House.

The general reaction from the library world was nicely summed up by ALA President Molly Raphael in an official press release: "In a time of extreme financial constraint, a major price increase effectively curtails access for many libraries, and especially our communities that are hardest hit economically."

Well, yes. But 5 years from now, libraries may well look back on Random's move and recognize it as the beginning of a new, healthier relationship between public libraries and trade publishers, one that recognizes libraries as an important player in the "reading ecology". Here are the reasons why I think it might happen:

  • eBooks aren't books! So why should the price of a library-lendable eBook be locked to the price of a print book? Once the prices of lendable ebooks are allowed to float, market forces will move them up and down. For some books, high profile best sellers for example, the market price for a lendable ebook might be 5 or 10 times the print price. A year later, that same book would have to be steeply discounted to be sellable in the library market. Books without a buzz, or by a new author might be offered to libraries well below the print price, in an attempt to prime the market and spread the word.
  • High prices for library-market books are nothing new! In academic markets where libraries make up a significant fraction of the buyers, prices are already over $100 per copy. That's because the  sales impact of inter-library loan and other forms of library sales-substitution is built-in to the price.
  • Higher prices give libraries more leverage. This is the most important benefit of higher prices for  lendable ebooks. Libraries aren't being forced to buy the 3x ebooks- they will consider prices and their limited budgets before investing in them. They'll need to demand digital product features tailored to libraries to make them worth premium prices. 

This last point is the big IF. With its move, Random House has made clear what it wants out of a new relationship with libraries- more cash per copy. In return, libraries need to demonstrate what they expect for their money. What should libraries require from their premium ebooks in exchange for premium prices? Here's my list:

  1. Portability - the ebooks shouldn't be locked to the distribution platform of a particular vendor; most libraries have existed longer than Overdrive, Adobe, Apple and Amazon combined and libraries would like to continue existing after those companies have been long forgotten. Their ebooks should persist as well.
  2. Transferability -  libraries can make their ebook assets go a lot farther if they can be traded to other libraries or library consortia.
  3. Privacy - libraries should never be forced to expose their users to the prying eyes of anybody!
  4. Accessibility -  libraries will increasingly be relied on to provide text-to-speech and other accessibility technologies to users who need them.
  5. Integrability - libraries don't want to be sources of friction, they want to provide integrated information environments. Library systems will increasingly provide capability such as annotation, discussion, advanced discovery tools and social interaction; they won't be able to do that if their ebooks are walled off behind third party DRM.

But, back in the real world,  most public libraries that offer ebooks are having difficulty keeping their digital shelves stocked due to overwhelming user demand for ebooks. If ebooks cost 3 times what they did last year, the availability will be 3 times worse. How can this situation get back into balance? I have three suggestions. First, if ebooks don't expire, as in the Harper-Collins scheme, the supply of ebooks will grow over time so that even if long wait times for hot titles are the norm, plenty of 5-year-old ebooks will be there to read for library users. Second, libraries can steer users to ebooks that don't have pretend-it's-print lending limits: those in the Public Domain or in the Creative Commons.

Here's an idea for a way that a smart publisher could help a library convert its print collection- offer a 1 for 3 (or 1 for 2) p for e  trade-in. The publisher's sales of new books would improve by suppressing competition from used books, and the library would gain inventory of older books to slake reader book-thirst.

Both libraries and publishers need to move on from backward-looking economic models. The time to start doing so is now. We can make it happen.

Enhanced by Zemanta

Article any source

Sunday, November 13, 2011

eBook Markets Need eBook Quality Standards

Yes, the Kindle is UL rated!
Underwriter's Laboratory (UL) issued its first standard, covering "tin clad fire doors", in 1903. It then became easier for architects to specify fire-resistant doors for new buildings, which no doubt was a boon to tin clad door manufacturers, who no longer had to compete with doors made with too-thin tin. The UL® labels now let consumers buy all sorts of electrical products without thinking about whether their new Amazon Kindle will burst into flames in the middle of Maharaja's Mistress.

Think about all the things you didn't have to think about today. If you nuked a mug of water for tea this morning, you probably didn't consider whether the microwave's magnetron would fry you. You probably don't even know that your microwave oven has a magnetron. Our modern civilization is built on being able to not think about these things. Quality standards such as those developed by UL help us to think less, and help marketplaces sell more.

Unfortunately, if you're an avid ebook reader, in 2011 you have to think more than you want to about ebook quality. When Neal Stephenson's new novel, Reamde, came out, early purchasers of the book were dismayed to find that it was rife with typographical errors. (But not the title. That "typo", for ReadMe, is intentional!) Amazon was forced to suspend sales.

I've been watching an important effort on ebook quality. It's worth supporting. The entry deadline for the Publishing Innovation Awards is this week, November 15. Entrants submit ebook files which are evaluated for quality, innovation and design. New this year is the "QED" seal, which is awarded to entrants that satisfy a checklist of basic ebook quality no-brainers:
  1. Front matter: the title does not open on a blank page.
  2. Information hierarchy: content is arranged in such a way that the relative importance of the content (heads, text, sidebars, etc) are visually presented clearly.
  3. Order of content: check of the content to be sure that none of it is missing or rearranged.
  4. Consistency of font treatment: consistent application of styles and white space.
  5. Links: hyperlinks to the web, cross references to other sections in the book, and the table of contents all work and point to the right areas. If the title has an index, it should be linked.
  6. Cover: The cover does not refer to any print edition only related content.
  7. Consumable Content: The title does not contain any fill-in content, such as workbooks and puzzle books, unless the content has been re-crafted to direct the reader on how to approach using the fill-in content.
  8. Print References: Content does not contain cross references to un-hyperlinked, static print page numbers (unless the ebook is intentionally mimicking its print counterpart for reference).
  9. Breaks: New sections break and/or start at logical places.
  10. Images: Art is appropriately sized, is in color where appropriate, loads relatively quickly, and if it contains text is legible. If images are removed for rights reasons, that portion is disclaimed or all references to that image are removed.
  11. Tables: Table text fits the screen comfortably, and if rendered as art is legible.
  12. Symbols: Text does not contain odd characters.
  13. Metadata: Basic metadata for the title (author, title, etc.) is in place and accurate.
Next year, I hope they add a checklist item for typographical errors. If a publisher can produce print with minimal errors, there's no excuse to allow them in digital books. As the Reamde debacle showed, even typos can create significant customer service expenses for retailers.

A few years from now, it's likely that any ebook that doesn't meet these standards will be unsaleable; for now, a QED seal is a great way for publishers to realize the value of making a good digital product, and for readers to be able to think less.

Notes:

  1. In building Unglue.it, we've realized that we need to give book lovers some assurance that the ebooks they support for ungluing will be of a quality that they will be proud to have contributed to. We'll point to QED as a reference point for the quality we expect from unglued ebooks.
  2. I read the print version of Reamde. I thought the spin-up was Stephenson's best, but there was a lot of carnage as things spun globally out of control.

Enhanced by Zemanta

Article any source

Saturday, October 29, 2011

The United Nations of Reading

The Internet Archive
I had a great time at Books in Browsers, even though I completely lost my voice on the second day. The assembled talent and brainpower made almost every moment a thrill. When my talk from the morning of the first day was given prominent mention in the New York Times' Bits Blog, I got so excited that I couldn't pay attention to an amazing talk on annotation of medieval manuscripts.

But the most important talk of the two days was Brian O'Leary's closing presentation, which prompted the Twitter backchannel to unanimously elect him the "Secretary-General of the United Nations of Publishing".

Here's his abstract:
Although business models have changed, publishers and their intermediaries continue to try to evolve their market roles in ways that typically follow the rules for “two-party, one-issue” negotiations.  In an environment in which the negotiations are better framed using models for “many parties, many issues”, these more limited approaches have made the design of a flawed ecosystem even worse, shifting burdens onto valued intermediaries (libraries and booksellers, among others).

Content abundance, coupled with improvements in available technologies, gives us an opportunity to reshape the competitive framework.  This talk will examine options to apply the principles of effective game design to create a set of new, targeted and evolving business models for content dissemination in an era of abundance.
O'Leary talked about the changes occurring in the entire ecosystem of what used to be called "publishing": authors, agents, publishers, distributors, retailers, libraries, and of course readers. He noted that relationships throughout the ecosystem were being renegotiated without an awareness of the effects of these changes on the rest of the ecosystem. As a result, frameworks, arrangements and processes that could benefit the entire ecosystem were not being given the consideration they deserve.

The future of EPUB
O'Leary pointed to the discussions leading to the United Nations Convention on the Law of the Sea as a possible inspiration for a reading-ecosystem way forward. The breakthrough in those discussions was the introduction game-theory models that helped the parties see the effects of agreements and provisions on all stakeholders in the Law of the Seas negotiations. If a similar sort of model could be developed for the activities surrounding publishing, it might be possible to do a lot more that to "save publishing". Intelligent, collaborative application of digital technologies should be able to increase the effectiveness of an industry whose purpose is to promote reading, education, culture and knowledge.

According to O'Leary, we need to figure out ways to fund the sort of research that could be the basis of modeling for the reading ecosystem. One possibility would be to create a cross-industry organization to do so.

If such an organization were created, I hope that its membership mirrors the composition of Books in Browsers attendees. Many inhabitants of the reading ecosystem were represented, despite the technology emphasis of the meeting- publishers, librarians, agents, academics, authors, designers. The contrast with last week's DPLA Launch meeting was striking- hardly any publishers or authors were in evidence at DPLA. It seems to me that with everything that's at stake, we could do a lot worse than to listen some more to Brian O'Leary.

Update (10/31/11): The text of O'Leary's talk is posted here.)

Article any source

Monday, April 11, 2011

In Defense of the Book as a Container

Podcasting has turned radio into a new medium. From the New York Times Magazine:
...the value of a media product does not come from being fast. It comes from being timeless. ...It wouldn't make sense, [Abumrad] said, to devote the effort to seduce, disturb and engage the listener if "Radiolab" epidsodes were merely broadcast once and disappeared.
Exactly, I thought, Radiolab is like a book.

Back in October, Brian O'Leary posted a rather long essay on his blog, called "Context First". The essay was well received, and he presented versions of the essay at conferences around the world. I excerpt:
my idea in a nutshell is this: book, magazine and newspaper publishing is unduly governed by the physical containers we have used for centuries to transmit information.  Those containers define content in two dimensions, necessarily ignoring that which cannot or does not fit.

Worse, the process of filling the container strips out context – the critical admixture of tagged content, research, footnoted links, sources, audio and video background, even good old title-level metadata – that is a luxury in the physical world, but a critical asset in digital ones.  In our evolving, networked world – the world of “books in browsers” – we are no longer selling content, or at least not content alone.  We compete on context.

I propose today that the current workflow hierarchy – container first, limiting content and context – is already outdated.  To compete digitally, we must start with context and preserve its connection to content.
Something about O'Leary's essay has been gnawing at me ever since, but until reading yesterday's article on Radiolab, I couldn't put my finger on what it was that bothered me.

The implication of O'Leary's "Unified Field Theory of Publishing", is that in order to compete, print publishing needs to break away from the limiting forms of the print medium and become something new, in jazzy harmony with our contextually dynamic digital world, filled with links and metadata and APIs.

Bear in mind, O'Leary's [a consultant who's worked in both the magazine and book industries, is] dead right about magazines. But I've decided his implication is dead wrong about books. We need to understand what it is about the book that makes it a container of media that will persist into the digital world. It's NOT context. The wonderful thing about the book as container is the same thing that lifts Radiolab as podcast above Radiolab as radio. It's the timelessness.

So as we evolve the ebook, I think we need to be aware of and nurture its potential for timelessness. If we put the context first, as O'Leary urges, then all we have left is a website.

Long live the content container formerly known as the book!


Notes:
  1. As we develop plans for the Gluejar business, we need to add some definition to the "containers" that get released as creative commons ebooks. One thing we might do to enhance "timelessness" is to add a digital signature that verifies that the content of the ebook hasn't been altered.
  2. [Update] This conversation has continued over on Brian O'Leary's blog. There's also a remarkable reflection, in French, at SoBookOnline, that does a great job of laying out the ideas and questions that Brian and I are wrestling over.
Enhanced by Zemanta

Article any source

Thursday, October 7, 2010

Consumer Demand for Pirated eBooks Stopped Growing in 2010

Online piracy of ebooks has been a persistent worry for book publishers who look at the successes and failures of other media that have moved to digital forms. A surprising number and variety of ebooks are easily availabile on file sharing websites and peer-to-peer networks that use bitTorrent and similar protocols. The possibility that this availability will cut into sales of licensed ebooks and even print books is a scary one for an industry that has had many decades of relative stability. At Digital Book World in January, Brian Napack, President of Macmillan, "delivered a passionate call to arms for publishers to fight piracy in the ebook space or risk permanent damage to the underpinnings of publishing as a commercial enterprise".

Adding to the ebook piracy hysteria have been studies of the prevalence of ebook piracy produced by Attributor, a company that sells anti-piracy services. I've previously written critically about Attributor's report that purported to find evidence that "Online Book Piracy Costs U.S. Publishers Nearly $3 Billion".

In their most recent report, Attributor has taken a rather clever approach to the measurement of ebook piracy. Instead of trying to track downloads, Attributor has begun to use Google Trends to gain an understanding of consumer demand for ebooks. Although there are many potential difficulties in using Google for this purpose, Google Trends is a powerful and useful tool for gaining insight into the things that web users around the world are looking for.

Attributor presents their data along with an alarming narrative of growing and pervasive ebook piracy, and points to the iPad as a contributing factor to an increase in demand for pirated ebooks. After playing around with Google Trends for a while, I've come to the conclusion that Attributor has narrowly selected data to fit their narrative; taken as a whole, Google Trends data broadly supports a rather different narrative: that the growth of consumer interest in pirated ebooks slowed significantly in 2009 and stopped in early 2010.

To understand how Google Trends informs the debate about the prevalence of ebook piracy, it helps to understand what activity is being measured. Google Trends measures the frequency that search terms are used. A consumer looking for a free copy of a particular work will typically search on the book title, adding  terms like "free" or "download" or "pdf" to locate downloadable files. A more sophisticated strategy, one that is quickly learned, is to add the name of a preferred download site. If the user prefers peer-to-peer networks, the word "torrent" can be added to locate "seed" files for the item. The file sharing sites most commonly used for this purpose are currently RapidShare, Megaupload, 4shared, and Hotfile. To use Google trends to measure the demand for a pirated ebook, you give it keywords that reproduce these searches. For example, demand for Stephanie Meyer's book Breaking Dawn can be assessed with a query such as this one.

To assess the overall state of ebook piracy, I used data from this query. Note that since the search is for ebooks generically, there's no telling for sure that the ebooks being searched for are really pirated; for the purposes of this study, I assumed that none of the ebooks being searched for are legally available on these sites. Calling them "pirated books" may be inaccurate, but I'll use that term anyway.

Some features of the data are immediately apparent. First of all, searches for pirated ebooks have increased a great deal over the past 5 years. It's worth noting however, that the most intense interest measured by Google occurs in India, the Philippines, Indonesia, Vietnam, Malaysia, Singapore, and eastern Europe. Less than half the search volume comes from the US. It's also easy to see seasonal peaks that obscure the shorter term trends. The peak periods for pirate ebook seeking are the December holidays and the beginning of September, presumably because of the start of school.
To eliminate seasonal variations, I computed the year over prior year growth of pirate ebook search activity. The resulting plot is quite smooth. After a few years of 100% per year growth, 2008 showed a clear slowing of growth. This slowing of growth continued up to the beginning of 2010, and then  flat-lined. Since February of 2010, the growth of interest in pirated ebooks has stopped completely.

It should be noted that this stabilization has occurred during a period of strong sales of ebook reader devices, including Kindle, Nook, and the iPad. Indeed, the unveiling of the iPad was coincident with the stabilization of demand for pirate ebooks.

It's hard to know for sure what's happening, but one interpretation of these patterns is that a broad increase in consumer-friendly availability of properly licensed ebooks over the last 2 years has squelched the growth of demand for ebooks from illicit sources. In that light, the remaining demand can be interpreted as a sign of poor availability for appropriately priced ebooks on college campuses and in developing countries.

While this data has to be seen as an encouraging sign for the book publishing industry, it's too soon to know if it will last. It's entirely possible that too-high prices, cumbersome DRM, or new technologies could reinvigorate the demand for illicitly shared ebook files. For the moment at least, the book publishing industry can exhale.
Enhanced by Zemanta

Article any source

Tuesday, October 5, 2010

Aggregating Deep Discount Readers of eBooks

The book publishing industry should be terrified of readers like me. Over the last year, I have purchased a grand total of one new book. Why only one? I have a huge stack of books, both print and digital, in my aspirational reading queue. I read plenty of books, but there are many more books that I would like to read; so many in fact that I see no reason to spend $30 on a book when there are plenty of minimal-outlay books already waiting to fill my hours.

The books on this stack come from a variety of sources. I read ebooks from my wife's Kindle account. The print books are almost all purchased at used book sales, typically for $1 or $2 each. The publisher's revenue from all of this book enjoyment is $0, and of course the author gets only a small fraction of that in royalties.

No matter how terrifying the idea is, discount readers like me represent a big opportunity for book publishers as they move there properties onto digital platforms. Discount readers come in many forms; it's safe to say that the billions of books lent by libraries went to people unwilling to pay full retail price for books. Libraries contribute modestly to the income streams of publishers and authors; used book sellers not at all. In their print businesses, publishers have learned to segment their markets by offering paperback versions as well as remaindered books, but they have largely neglected the deep discount end of the demand curve.

There's a huge amount of value to society in deep discount demand, and it not just in the benefit to readers like me. Libraries include the preservation of our written culture in their mission; this activity wouldn't happen if the first-sale and fair use doctrines didn't limit the control that publishers and authors could exert over the use of their works. We need to think about how to do preservation as we translate the book business into a digital industry.

I've been thinking a lot about business models for ebook publishing, and a lot of my thinking has surrounded market segmentation methods. I've been looking for ways ways that discount readers like me can be aggregated into sustainable revenue streams to sustain institutions such as libraries.

One obvious model to serve the discount reader is to offer subscription packages. I've come to the conclusion that ebook subscription packages have many structural problems. Subscription packages inevitably cannibalize sales of the items they contain, and there's a lot of incentive for the package to exclude items that readers would really want.

In the course of studying academic publishing models, I think I've found a  way for the book business to serve deep discount readers, to reinvigorate libraries, and to create a new, sustainable revenue stream for publishing: public acquisitions of ebook rights.

Here's how it might work for me. There are lots of books I aspire to read, many more than I have time for. There are also lots of books that I'd like to have on my reading devices, because I've read them once in print. I want to use these books in many ways, on many devices, at any time in the future. I want to be able to search them, and have others read them. I don't want to have to mess with DRM. And I want them to be preserved and available forever in public libraries.  I also like the one new book I've purchased (Clay Shirky's Cognitive Surplus: Creativity and Generosity in a Connected Age) enough that I would also pay something towards letting you read it too! Imagine that I could offer $1 for each title on my list to have this magic occur. (Cognitive Surplus is a thought-provoking meditation on the things that happen when the barriers to collective action are lowered, among other things. You should read it!)

OK, here's a stretch, imagine that millions of other people feel the same way!

If millions of people feel this way, there's absolutely no reason this magic can't happen. I have advocated that libraries should work together to collectively acquire ebook assets. The same mechanisms that would allow libraries to act collectively could be used by individuals to act collectively on behalf of books that they care about.

 If a hundred thousand people offered a dollar to Clay Shirky (and Penguin, his publisher) for Cognitive Surplus to be released as a creative commons licensed ebook, certainly at some point they would examine their prospects for future sales and figure out how to say "yes". Once a book is liberated in this way, all the magic just happens.

 I'm not expecting J.K. Rowling to cash in her Harry Potter rights anytime soon, but I think there are many types of works and many types of authors who would find it financially advantageous to monetize their work in this way if it became popular. I also think that it's very common for readers to be passionate about the books they read in ways that transcend their narrow financial self interest.

 If you agree with me that mechanisms for public ebook acquisition by readers should be developed, I would very much like to to hear from you, either privately or in the comments!

Article any source

Wednesday, September 29, 2010

Philosopher Tim O'Reilly Lights Up Publishing

Tim O'Reilly, Founder and CEO of O'Reilly Media, didn't mean to become a publisher, he just fell into it. He started out doing technical documentation by accident because a friend who was a programmer was asked to write a manual but didn't know how. O'Reilly had written a book about Frank Herbert, and agreed to help. After doing consulting for a while, he noticed that all his clients wanted manuals for the same software, so he started to retain his rights so he could sell the same manual over and over again. He never wanted to be a publisher; the job he wanted to do was to "spread the knowledge of innovators".

That single-minded attention to "doing a job" has set him apart from many of his colleagues in publishing, because it has led his company into efforts that focus on spreading knowledge rather than selling books. He recognized that by publishing books, he was taking an oral culture around technology and translating it into a written culture.

Programming Perl (3rd Edition)Early on, O'Reilly expanded into conferences. He found that despite the strong sales of "Programming Perl", no one was talking about or spreading the word about Perl. He organized a "Party for Perl" and a lot of people showed up. The resulting conference business built on the realization that his best selling books were being written by innovators who had no place to get to know each other and spread their innovations.

Another direction that grew naturally out of O'Reilly's focus on spreading knowledge was a digital distribution business. O'Reilly had taken the trouble to figure out how to do some of the messy bits in selling digital versions of their books, so when other publishers saw what they had, they were happy to have O'Reilly help them do the same.

O'Reilly was interviewed in front of a room full of New York publishers on Wednesday as part of a series of interviews produced by the Publishing Point group. He  combined an enthusiasm for the changes sweeping publishing with a missional faith in its practicality. Yet many of his themes were deeply at odds with the conventional wisdom of traditional publishers, and he claims not to be a publisher at all from a philosophical point of view. O'Reilly wants to see more innovation in pricing, and thinks that people will buy more books - and spend more, if ebooks are more moderately priced. Publishers trying to preserve the pricing of print books in the shift to ebooks are not following a winning strategy, according to O'Reilly.

O'Reilly's notions of what's NOT important for publishing were surprising to hear. They're shaped by O'Reilly's formative experiences in publishing. He claims to fight the notion that publishing is about quality. His first books sold even though they didn't have an index or an ISBN, or even a spine. They didn't have pretty formatting, but they had good information, and they paid attention to the things that mattered for the job they were meant to do. In a book about programming, the code samples needn't look good, but they do need to be correct, without extra spaces that break syntax. They were selling  books for $5, and people would call up from Europe asking them to overnight a copy.

He's also skeptical of the notion that an important role of publishers is curation.
In the old days, we had a long period where it was fairly clear what were the hard things that publishers did. To be quite honest, It was NOT curating the content and finding great stuff. I think that's certainly part of what a publisher does, you know winnow through the chaff and find something really great. It's still part of what you have to do. But I think It's seductive to think 'we're really good at that'.
O'Reilly learned not to overvalue curation the hard way. At the very start of the internet, O'Reilly developed a website called GNN (for Global Network Navigator) which selected the very best websites from the internet and organized them into categories. "We had a publisher's mindset. We said: we're going to winnow through all these emerging world-wide web sites, and we're going to pick out the ones that are the best." You've probably not heard of GNN; that's because Yahoo came along and categorized all the websites it could find, not just the good ones. Google then came along and made Yahoo's categorization irrelevant by indexing all the pages on the web without even bothering to categorizing the web sites.

According to O'Reilly, "Manual curation is going to get it wrong a lot." He mentioned that Frank Herbert's bestseller "Dune" was turned down by over 50 publishers until it was finally published by Chilton's, a publisher of automobile repair manuals, of all things!

Michael Healy, the interviewer for the day, wanted to clarify what he heard O'Reilly saying. "With the notion of curation having been disrupted, if you're a general trade publisher and you're relying on curation as your value-add, are you screwed, or have I missed something?"

"It's certainly true that alot of my thinking is biased by the fact that I publish stuff that people need rather than the stuff that they just want, so I'm not sure how deep my insight goes into the problems of general trade publishing."

Audience member Bill Glass expressed concern about the low prices for ebooks. He pointed to the room (in the Random House building overlooking Broadway), and asked "In the ebook world of the future, will we still be able to afford THIS?"
To me, you gotta care about something more than preserving your business. Because, obviously companies have made these types of transitions, and this is just my personal response. We're all gonna die one day anyway and we'll lose all our stuff. So don't worry too much about it. Just do something that lights you up, and lights up your customers, and lights up the world and scale to that. Because what's going to happen is people who are lit up by the future are going to be pursuing that future, and the people who hold onto the past are going to hold on too long.
Amen.
Enhanced by Zemanta

Article any source

Thursday, June 24, 2010

Inter-Library Loan Reinvented for eBooks and Just-In-Time

My graduate school training was in engineering and in physics. In engineering, you put things together and try to get them to work. In physics, you smash things (the polite term is "perturbation") to help you understand how they had been working. I still use these approaches to help me understand the things I write about. You can learn a lot about a system be noting the bits that squawk when faced with a perturbation of the system.

I got a lot of interesting feedback on my article on patron-driven ebook acquisition. It seems that this perturbation in library processes could have wide ranging effects far outside of libraries and book publishing. Coincidentally, the patron-driven model, along with other changes in the library/publisher ecosystem, was discussed last weekend at a meeting of the American Association of University Publishers (AAUP). Publishers Weekly has a nice report. (See also a report in the Chronicle of Higher Education.

The biggest perturbation being imposed on this system is of course the reduction of library budgets, which has come down quite painfully on university presses and their monograph businesses. Still, speaker Joe Esposito was surprised that the strongest reaction to his talk was to his prediction that libraries would make up a shrinking fraction of the university presses' sales.

It seems that there is worry that a contraction or restructuring of monograph publishing could have repercussions for how scholars obtain tenure in the humanities:
The fact that monograph publishing exists to support tenure and the structure of academic employment is an inconvenient truth that can no longer be glossed by either the Academy its associated University Presses. At some point the Academy is either going to have to stop expecting University Presses to fulfill this need, or find a more honest and transparent way of funding it.
if that's the worst thing that happens, well, what's the big deal?

It won't be a shift to patron-driven acquisition that kills off monograph publishing, however. My reasoning is that from the point of view of economics, patron driven acquisition is roughly isomorphic with the current system of just-in-case purchasing coupled with inter-library loan (ILL).

Here's how things work for print monographs. Suppose a university press published an obscure but brilliant scholarly monograph five years ago. It might have sold 100 copies for $100 apiece, most of them to libraries. At $10,000 gross revenue, it was hard for the press to make much profit, but occasionally they get lucky and make enough to cover the losses on the rest of their catalog. Now here's the problem: Over the five years, there were only about 100 scholars in the entire world that really wanted to read the monograph. Unfortunately, only 50 of them worked at institutions that purchased the book. The libraries of the other 50 didn't purchase the book because the selectors in their libraries weren't omniscient or perfect, and they didn't have mind-reading abilities or the power of divination. Or maybe the libraries used an approval plan that hadn't been crafted with the obscure field of this monograph in mind.

But those 50 others still got to read the monograph, because of inter-library loan. For some libraries, ILL is even a revenue center, because their costs to lend are less than the fees they charge. Although publishers made money from the 50 libraries that bought the book and didn't use it, they don't capture any of the revenue from ILL activity. The libraries that spent money to buy the book right away are partially compensated for that expenditure by ILL revenue or reciprocal loans.

Now let's think about what happens in a future where just-in-time ebook acquisition dominates. The 100 users still get to use the monograph, but none of them need to wait for an ILL transaction to go through. The costs are assigned to the institutions that actually use the work. If we assume that the price of the monograph is unchanged, the publisher's revenue is also unchanged; except it's pushed out to the time of usage, which can be many years, especially in the humanities. The time value of this revenue stream is reduced- it takes longer to make back the money spent on producing the book.

The compensation for the publisher is that the revenue continues for as long as the work is still used. The book doesn't go out of print. In addition, since users can discover the monograph more widely, and obtain it immediately, there is the possibility of making additional sales to users who would never have requested the title via ILL.

In a sense, the patron-driven acquisition model is souped-up ILL, with usage fees accruing to the publisher. The comments of Macmillan's John Sargent earlier this year that publishers would like to see fees for library ebook lending don't seem so controversial when examined under this lens.

It's worth thinking through a publisher's pricing strategy. If libraries persist in their preference to remove price as a factor in the patron's decision to use an ebook, then publishers have no incentive to cut costs and keep prices moderate. If libraries allow automatic purchase of any ebook under $100, then publishers will price all of their products at $99. A similar dynamic in the US health care industry has not worked well for consumers, to say the least. Indeed, one university press publisher writing about patron-driven acquisition and the AAUP meeting has opined that patron selection will lead to higher monograph prices:
What this Patron Driven Access model means to university presses is that our future is likely to include two things—higher prices and fewer titles.

It's clear that there would be winners and losers under a just-in-time acquisition system. Librarians don't always select what their patrons really want to read. Controversial works might do quite well, as should engaging but hard-to-categorize works and works that don't break new ground but are readable and useful. Dry, unreadable, redundant works that sell well today because of the author's fame or because they fit into a "hot" field of research will be losers. A work that today is unread because it's too innovative and ahead of its time will eventually find its time under the just-in-time acquisition.

The huge change for monograph publishers will be in the way they market their products. The emphasis will shift from pre-publication marketing to libraries towards search engine optimization and post-publication marketing directly to users. Famous professors may find themselves awash in free ebooks as monograph publishers jockey for key citations and mentions; social networks and subject specific communities will be prime targets of monograph promotion. Publishers will abandon library convention exhibits like ALA in droves; parties and receptions for librarians will disappear.

I suppose we should have fun with the current system while it lasts, even as there are new and more efficient things to build.
Enhanced by Zemanta

Article any source

Thursday, June 10, 2010

How Electronic Resources Really Get Priced

The recent letter (pdf) from the University of California Digital Library (CDL) about price increases  proposed by Nature Publishing Group (NPG) and the response from NPG have raised a storm of controversy and rebuttal (pdf). To me, the mess is symptomatic of a communications failure between publishers and librarians.

In the interests of promoting better library-publisher understanding, I've decided to reveal some secrets from both sides.

Libraries: Here's how publishers set pricing for electronic resources.

Once upon a time, pricing for library materials had a relation to the cost of their production. Even before the internet came along, this started to change. Printing costs fell, and more and more of the production costs of a good-quality journal were "first-copy" expenses. With electronic materials, the marginal cost of servicing an additional subscription became almost zero. Pricing then became a game whose object was to sustain existing pricing, along with "reasonable" annual increases of a few percent per year or so. (Nature Publishing translates "a few" to "7".)

The game was most difficult for very large or complex institutions. The value of a top medical journal to a US medical school is huge; the value of the same journal to a vo-tech school would be much smaller, but still significant. A medical school in a developing country will also need the journal, but it's not fair to ask them to pay the same as a US school. Differential pricing helps a publisher capture value while still extending access to customers who might otherwise be able to afford the journal. But how, then, to set pricing?

I learned the secret of e-resource pricing through long hours of research (spent mostly in bars). Here's how it works:
  1. Find out how much money the customer has.
  2. Set price somewhat higher than that.
  3. After hard bargaining by customer, offer discount to closely match customer's available funds.
  4. Swear customer to secrecy; you can't give that price to everybody!
In times of budgetary cutbacks, this pricing mechanism works to a library's advantage. A library that needs to cut its electronic resource expenditure in half simply needs to disclose to salespeople the fact that their funding has been cut in half, cancel the subscription...and wait for panic to set in.

The library's leverage will never be greater. It's much more painful for a digital publisher to lose an digital customer than it is to lose a print customer. That's because the publisher has to spend money on digital publishing infrastructure when its customer base grows, but doesn't get anything back when a the customers go away. If anything, the publisher will have to spend more on sales to try replace the customers.

Oh and by the way, libraries, this all works easier if things are quiet- when you agree to give a publisher a higher price than you wanted to, swear them to secrecy- you can't afford to give the same deal to every one of your publishers!

Publishers: Here's how to get libraries to cave on pricing

Many librarians suffer from feelings of powerlessness. They are prisoners of their patrons' needs and desires. They are captive to changing technologies and archaic standards. They are trapped in arbitrary budget gaps. And they are stuck in endless committee meetings.

Libraries are thus willing to spend a great deal on things which offer escape from powerlessness. They dislike monolithic packages that bundle content together, even if they save money. The current reality in libraries is that budgets have been cut. Publishers need to give their library customers options that help them deal with budget cuts. The smartest publishers can figure out ways to help libraries cut costs and free up funds currently spent in other areas.

Cool Hand Luke [Blu-ray]When I was developing an electronic resource management service for libraries, I had this recurring nightmare that e-journal publishers would someday make it as easy for libraries to activate and maintain an e-journal subscription as Apple's iTunes makes it to buy and maintain a song. My software would instantly become worthless. Just kidding- I slept soundly knowing it would never happen in a million years.

Perhaps NPG confused powerlessness with weakness and saw an opportunity to force CDL to act like the other prisoners. Perhaps NPG never saw the movie "Cool Hand Luke".
Article any source