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Showing posts with label digital publishing. Show all posts
Showing posts with label digital publishing. Show all posts

Sunday, October 16, 2016

The Explosion From Desktop to Mobile Publishing

I the past twenty years (+ or -) the publishing industry has been bombarded into new business models due to the transition from print (traditional) to digital publishing and now it is blasting into new directions again due to the inner digital transition from desktop to mobile.

Damn the constant change and associated drama and stress this has heaped upon, not only publishing entities, but writers, authors and other content producers as well! :(

Different ways to manage ad dependent revenue or lack of, different advertising avenues, different distribution ways and means, different angles for this and that, etc., etc.

Anyway, according to Kunal Guptafounder and CEO of Polar, a branded content platform provider, due to the rapid jump from desktop to mobile the desktop has become the new print for publishers.    

The following insight by Kunal Gupta gives an interesting and knowledgeable understanding of this latest aspect of the publishing phenomenon:

Publishers are missing the jump from desktop to mobile


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Tuesday, November 10, 2015

2015 Digital Publishing Trends

The Data Conversion Laboratory (DCL) and Bowker have teamed up for their second annual survey on digital publishing trends and stats. Some cool data.

The results will be shown in colorful charts and graphs indicating statistics Re just who in the industry has published digitally, what genres were published more frequently digitally, the quality of digital works compared to print, etc.

Useful info that delves into some actual numbers. An interesting look-see into the digital publishing landscape.    

This news from E-ContentXtra: "The “2015 Digital Publishing Survey” shows that about 73% of respondents have published digitally (up from about 64% in 2014) and that about 45% have self-published. About 13% of respondents feel that ebooks are held to a lower standard than print books, but about 53% believe that the quality of digitally published content is improving.
Publishers are including quality assurance (QA) measures in their workflows: About 36% are performing self-checks, 36% are hiring editors, and 23% are performing QA before conversion." 

Excerpts from tonight's research article:









Many more categories of 2015 digital publishing data are presented in the 2015 Digital Publishing Survey

Please go read, ingest and enjoy :)

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Friday, May 2, 2014

Publishing Today is Multidimensional --- AND The Rise of the Shadow Publishing Industry

John R. Austin
Today, successful publishers are no longer one-dimensional, anchored in print and where the main challenge was finding (or creating for books) the information - they must curate that information and present it to the reader/s in the most desired and useful format/s; AND publishers are expected to know about print, digital, mobile, tablet and social media.

Multidimensional? Indeed. And the new publishers' backgrounds are not necessarily in the traditional journalism and publishing areas, but, rather, in the fine arts and drama fields - Can you believe that? Actually, I can - many in the visual and performing arts have great writing skills; coming from articulation talents in one form or the other.

Tonight I am addressing two different but related subjects because they do crossover in areas.

The shadow publishing industry that is popping up is simply the tech, mobile and device companies that are now publishing their own content to entertain and better brand utilizing technology that is better understood, at this point, by 'techies' and others outside the normal writing and publishing channels. Some are hiring experienced writers and editors to produce their content, but these writers/editors must be retrained to a degree --- and some writers/editors do not accept that degree --- depending on how much independence is lost.

It is a very interesting and intriguing (but more demanding) time to be in the publishing industry - as the following two resources will attest.

This by Cassidy Liz in The Daily Pennsylvanian:


In an increasingly digital publishing industry, alums innovate and compete

In 2012, some 600,000 digital subscriptions raised the New York Times' circulation by 40 percent


Key excerpts:

“The challenge before was finding the information. The value [in publishing] now is in curating that information and presenting it in a format that is useful and usable,” Luh said.

"Rachel Gogel, a 2009 College graduate who recently participated in a Penn Traditions’ panel on careers for liberal arts graduates, now serves as the creative director at The New York Times. Gogel, who has previously worked with Travel + Leisure and GQ, believes that the print industry is benefiting from the digital age, rather than dying."

"It is also harder than ever to find work in the publishing industry, she added. “I am where I am today as a result of freelancing, working hard and being open-minded about taking on all sorts of projects in order to build my portfolio,” she said. “Being in the publishing industry doesn’t mean what it used to — you’re expected to know about print, digital, mobile, tablet, social media. It’s no longer one-dimensional. Having a diverse range of experiences will set you apart.”" - Rachel Gogel

“I think people going into publishing hopefully have a very different idea than I did 10 years ago or someone else did 20 years ago,” Palmer said. “If you’re going to work at a traditional magazine now, you have to think about writing for a different media — how are you writing for the web, how are you thinking about the brand and social media?”

“You really do need to kind of brand yourself ... which is really one of the things that drove me away from publishing.” - Lindsey Palmer

Note from John: Yes, today all (successful) authors must 'brand' themselves on the Net and social media to become known and acquire fans who are loyal and want to buy and promote their works to others.

Continue reading here 


And this by D. B. Hebbard in Talking New Media: 


The intersection of publishing and consumer electronics

Key excerpts:


"The first earnings reports of the new year from the big tech companies came out this week (Google was last week) and despite some concern that sales growth would slow they showed that the sector is still strong. Apple, Amazon and Google all came in with solid revenue growth, while Microsoft came in soft, but promised better performance going forward --- In contrast, the publishing world continues, for the most part, to see falling sales. The NYT report was a bright spot, though even the Gray Lady provided guidance that seemed to caution investors – though hopefully they are pulling an Apple and setting themselves up for a “beat” next quarter".

"It is, of course, silly to compare tech with publishing, gadget makers with news makers. But today there is an intersection between the two thanks to mobile, tablets and digital advertising. The devices makers need to continue to broaden the market for their devices to provide publishers with a bigger market for eBooks and digital publications. At the same time, the two sectors compete for digital advertising. It is an odd dance that occurs."

"Unfortunately, while publishing is reliant on the device makers, the same is not as true for the device makers**. Sure, they sell subscriptions and merchandise that are produced by publishers; but more and more they are publishers themselves. Additionally, they are creating a whole new shadow publishing industry, one that I have watched grow up here at TNM these past three years." - D. B. Hebbard

"This new, shadow publishing industry produces digital magazines and eBooks, yet doesn’t see themselves as part of the traditional publishing industry – they don’t belong to the MPA and don’t even know it exists. Many of these digital publishers see the print guys and their new digital products as their competitors. Many digital magazine producers using MagCast or PressPad or even Adobe DPS do not have backgrounds in the publishing world – one reason why many of those inside the industry look at these products and are aghast at their design work --- Art Woo Magazine is probably a good example of this trend. The new magazine launched this week and is available exclusively for iOS and Android devices (the iOS version is live in the Apple Newsstand, the Google Play version will be soon). It is created using PressPad which limits the risk to only a few hundred dollars a month, though forces the magazine to appear under the vendor’s name and allows them to plaster their logo on the app’s icon."











     


Sunday, November 17, 2013

Future Publishing Growth Depends On Pricing And Sourcing Of Subscription Models

Faisal Galaria: 'The digitisation of books should not be
seen as a threat for publishers, rather a new way forward.
Subscription models? How in the hell do they figure into future publishing growth? Well, let's see if we can figure it out.

To start, picture the current publishing landscape as a sort of post-apocalyptic publishing scene; where old publishing models and formats have been devastated by some dastardly digital interruptive menace. 

Things are in disarray - and although old forms are still commanding majority bucks - the old form tail is slowly eating its own head and the incoming bucks, while not diminishing rapidly, have flattened and steadily losing growth.

Meanwhile, over in the digital camp, their new form champion is pulling record increases in rates of unit sales. Increasing to the point where digital books represent 10 to 20 percent of total book sales (depending on the data source).

Now, let's bring in a little reminder of what happened to the music industry when it went digital. In the name of convenience, aggregation and immediacy Napster, iTunes and Torrents blew up the inner core of the music industry and the iPod finally caused the decline of the CD business. But, after a long period of revenue losses, the music industry eventually figured out just how to properly price and source the new streaming music format that would provide an unlimited source of music for a subscription fee. This injected growth back into the music industry (e.g. Subscription and ad-supported streaming services accounted for $1.2bn of the global music industry revenues in 2012, up from $700m in 2011).           

The publishing industry's equivalent to the music industry's Napster, iTunes and iPod are the tablets and e-readers. These will eventually do the same to the publishing industry as the iPod did to the music industry, providing readers with aggregation, convenience, social discovery and immediacy.

There are signs that the way in which books are consumed could be going the same way; that is, in a convenient streaming format available to the consumer for a subscription fee.

'ScribdOyster and 24Symbols are all services that provide access to ebooks in return for a monthly payment, much in the same way that music and film streaming services operate.'

More details provided in The Guardian by Faisal Galaria, senior director at Alvarez & Marsal:


Publishing crisis? Time to create a Spotify for books

Publishers must learn the lessons from music streaming services around pricing and sourcing for their subscription models to work

Dark clouds appear to be looming over the publishing industry. Figures released last week by accountants Wilkins Kennedy revealed that 98 UK publishers went bust over the last year, a rise of 42% on the previous year. Though this figure is stark, there's evidence elsewhere to believe that all is not necessarily lost for the publishing industry.
While print sales of books stayed fairly static in 2012, falling just 1% to £2.9bn, the real success story was the ebook, rising 134% to £216m,according to the UK Publishers Association. The huge rise can be explained by a low base, but the reality is that ebooks now represent nearly 10% of book publishers' total sales.
Publishers have been hit by the rise of the second-hand book market, but the fact that print sales have remained steady shows the opportunity in the sector. Along with the rise in ebooks, the signs actually look positive.
Not everyone has taken to ebooks. They don't feel the same as books, nor do they look like books. Essentially, to some people, they simply do not provide the same satisfaction as a printed volume.
There are parallels with the music industry, where a similar argument was made for vinyl rather than the compact discs which followed in the 1980s. And it could actually be argued that the critics had more of a point - vinyl was widely accepted to be of much better quality than its successors.
But that didn't stop the rise of digital music.
Indeed there are lessons to be learned from the disruption witnessed in the music industry. Napster, iTunes and torrents all shook the inner core of the music industry, but it was eventually the iPod that caused the decline of the CD business.





Sunday, September 22, 2013

Publishers Need To Determine User Personas on Mobiles For Better Book Marketing/Sales

Mobile devices hold audiences for
your book sales
In today's expanding digital publishing world with ever increasing mobile devices --- publishers need to figure out just where in the hell their most probable customers reside among the mobile community.

Of all the mobile users (fastest growing digital doers) where (or on which device) are most of the readers of my particular genre?

Why is this important? Because each category of mobile device are separate entities with their own design and utility needs that need to be customized for each.

Just how do we decipher this useful bit of information?

It's often damn hard, I'll tell you that --- But, one way (and maybe the only way for publishers/writers outside the digital device manufacturing industry) is through research done by digital device manufacturers to determine best business practices within their own industry.

Tonight's post is research done by Flurry, a mobile ad firm, that analyzed the usage data from more than 44,000 devices - grouped under the two major categories of iPhone (Smartphone) and iPad (Tablet).

Great results depicted on a pretty 'persona usage' chart:




Looking at the persona or demographic groups depicted in the chart above, on which device would you say the audience for your book genre is mostly located?

Get more info from the original FOLIO magazine article :

iPad and iPhone Uses Differ Sharply



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Wednesday, July 3, 2013

More Insights Re The Penguin Random House Mega-Merger

Penguin is known for classics, but has updated its design
Why the 'mega-merger' between Penguin and Random House? Whatever you may have heard, it is simply to try and muster enough leverage to compete primarily with Amazon but ALSO to compete with self-publishing authors who are achieving success by initially self-publishing --- Amanda Hocking and E.L. James are just two who come to mind --- and bypassing big publishing altogether.

How is this so-called mega-merger going to enable big publishing to compete more efficiently with Amazon and/or self-publishing? I honestly don't know, unless they can build or replace lost bookstores for print books and sell them at profitable prices. Perhaps they actually plan to get into the new publishing model and sell more digital books. But, that wouldn't require any mergers, would it?

Anyone have any idea how just being a bigger 'big traditional publisher' is going to allow them to compete with the new, open-landscape, publishing business model?

The freedom to publish quickly in immediately accessible marketplaces is a cat that is already out of the proverbial bag.

Believe it or not, Amazon sells more printed books in America than all the other booksellers combined! I did not realize that. And they have 60% of the e-book market.

My insight into this merger is that it will not enhance big publishing's power or competitiveness --- but only probably result in further restrictions in an already shrinking publishing medium.

I do not believe that print will ever go away completely. It will be here as long as there is a demand and the publishers continue to develop more cost-effective print publishing means.

Holger Erling writes this for Deutsche Welle (DW):



Penguin Random House Mega-Merger Alters International Book Market


Readers buy e-books on Amazon and writers self-publish online. So why do we still need publishing houses? The recent Penguin Random House mega-merger is one answer to a troubled market.
When media giants Bertelsmann and Pearson in late 2012 announced plans to merge their subsidiaries into what would become the Penguin Random House group, the publishing industry was speechless. With global revenues of 2.5 billion euros ($3.3 billion), the combined company would control a huge portion of the English and Spanish book markets.
High-volume authors like Michael Crichton and E.L. James would share the shelves with respected literary figures like Orhan Pamuk, Salman Rushdie and Gabriel García Marquez. And Penguin Random House's scope would stretch from China to Chile and from New Delhi to New York.
Across continents
A global approach has long been part of the company culture on both sides of the merger, with both having been well positioned in the traditional English-speaking markets in the US, UK, Canada, Australia and New Zealand. Penguin, owned by Pearson, has also been a strong brand in India and China, while Bertelsmann's Random House ranks third on the Latin American book market.
But it's not just market position that makes this merger significant. Penguin dates back to the period between the World Wars, while Bertelsmann and Random House have a nearly 180-year tradition. Many readers who grew up in the UK or in former British colonies know Penguin's inexpensive classics.
Both publishing houses have shown a commitment not only to the mainstream audience but also to supporting the best contemporary authors. Together they have published works by 70 Nobel Prize winners, including German writer Günter Grass.
Since neither the European nor the American cartel authorities had qualms with the merger, it went through more quickly than expected, concluding earlier this week. Both houses had largely been active in the entertainment area, which is strictly regulated by the cartel authorities.





Wednesday, March 13, 2013

A Legal Used Ebook Market? Who Would This Screw the Most?

Used ebooks may
be a coming
Who do you think would get screwed over the most if the powers that be navigated the legal maze, ironed out the fine points and actually established a used ebook market?

Make no mistake about it, selling used digital books commercially is not legal now.

Contracts, copyrights, digital rights, royalty splits, etc. have not been worked out yet --- Hell, these documents and agreements are barely in place for new digital content.

Readers (consumers), publishers, authors, retailers, etc. would all be affected --- but, who would probably take it on the chin the most?

You might be surprised. Maybe no one if they get the right negotiated clauses established.

Let's get into some scenarios and numbers with Jeremy Greenfield of Forbes:


What Happens to Publishers and Authors If a Used Ebook Market Becomes Legal?

Amazon has a patent to develop a market for used digital content. Apple has filed for a similar patent and ReDigi, a self-styled marketplace for used digital content, is currently embroiled in a legal battle with Capitol Records over the resale of digital music files.

Basically, it looks like a used ebook marketplace might become a reality.

For consumers, this could be very good news indeed. Imagine seeing on an ebook’s Kindle page a link that will take you to a sell page for the exact same product for half the price. Same ebook, same user experience, even lower cost.

For publishers, this would undoubtedly be very bad news.

Put simply, “This will wreak havoc with the business model,” said New York-based copyright lawyer Lloyd Jassin, adding, “this shows just how creaky the publishing business model is.”

The publishing business model is predicated in part on copyright law, which gives publishers the ability to control the scarcity of a piece of content, according to Jassin. Basically, by buying the right to produce and distribute a work, a publisher can control the number of copies out in the marketplace and monetize them accordingly. Under the doctrine of first sale, once a publisher sells that copy, it is relinquishing its rights to sell that copy again and whoever bought it can do so. That’s how it’s possible (and legal) to sell used copies of physical books.

In this scenario, the publisher (and author) get no compensation. If the same were true for the resale of digital goods, it could be devastating for publishers.

However, Apple‘s ebook patent and ReDigi’s business model, for instance, factor in these fears. Under their systems, publishers (and, perhaps, by extension authors) would get a piece of the resale.

“If the publisher can’t control the resale of a book but they get compensated, perhaps that’s good enough,” said Jassin.

But what about the authors?

There are often provisions in publishing agreements which provide for a split of proceeds resulting in fees from licensing or from any other profits associated with the work, a lawyer who specializes in ebook contracts who did not want to be named, told me.

“There are potentially catchall licensing agreements in publishing contracts that might apply to a resale,” the lawyer said, adding that if not, “authors may now want to negotiate a provision for that purpose.”

Read and learn more

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Saturday, November 24, 2012

Navigating the Many Roads of Alternate Publishing

Which Publishing Path
Should I Take?
In numerous previous posts I often said something to the affect that traditional publishing wasn't dying or dead but merely wasn't the only kid on the block anymore.

Publishing has indeed been changing --- BUT, it has always been changing --- since the beginning of parchment and quill (you get my drift; by the way the history of paper is interesting as well as writing instruments).

We have just been caught up in (experiencing) a link of time in the long chain of publishing change. Call it the digital link, if you will.

So, in this particular publishing link (change-cycle) we call digital publishing alternate publishing. Simply because it's new.

The new, faster and cheaper paths to publishing has caused confusion among writers.

What should a writer do? How should s/he publish? Traditional, digital, self-publish or otherwise?

Well, it depends on who your audience is and what purpose your writing serves.

You see, publishing has grown more hands and legs to shake hands with or dance with :)

This interesting insight is from Sharon Short and David Braughler writing in the Dayton Daily News :

Alternate publishing: What should a writer do?

Many writers wonder about the various paths to publication. Is pursuing a traditional publisher the best route for their work, or should they consider the alternate paths that have become seemingly more accessible with the digital age?

Those alternate paths include publishing e-books (electronic books) or self-publishing print books with a company like Amazon.com or with a more traditional printer. I’ve received numerous e-mails about this subject and thought it was time to pursue the answer on behalf of interested Literary Life readers.

Well, the answer depends … on the work, the writer, the writer’s goals and interests, say two alternate publishing experts. They spoke at Books & Co. on Nov. 18 as part of the Antioch Writers’ Workshop’s (www.antiochwritersworkshop.com) on-going free mini-workshop series.

“The most important questions we ask writers are ‘why do you write’ and ‘who did you write this for,’ ” says David Braughler, publishing advisor for Greyden Press (www.greydenpress.com) in Dayton. “Truly thinking about honestly answering those questions helps writers focus on their goals.”

For example, a writer who has a specific target audience, or a specific goal, such as capturing expertise in a book that would be made available at speaking engagements, might do well with self-publishing. “Not every solution is right for every writer,” Braughler says.

His company helps authors with their work, from editing to cover design to printing; the cost to the author varies by project. Although Greyden also helps authors find distribution through online vendors such as Amazon.com, and finds “grassroots” opportunities for promotion such as signing booths for authors at local festivals, the bulk of marketing and distribution rests with the writers. That’s why, Braughler says, it’s so important to embark on this path with clear answer to those two all-important questions.

Read and learn more

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Monday, October 22, 2012

Amazon Overtaxing? Screwing With Publishers?


Amazon:
Business Shark
 Amazon has a base in Luxembourg which requires that Amazon only has to pay a 3% VAT (Value Added Tax) to the government for UK ebook sales.

So why is Amazon making British publishers pay 20% VAT on ebook sales? And is this even legal? Seems to me no private company can be a taxing authority. Right or wrong?

Every time I get HALFway convinced that Amazon is really not all that bad and just employs aggressive (but hopefully legal) business practices, they do something devoid of good ethics.

On top of abusing the VAT subsidy, Amazon is always negotiating other discounts that often result in publishers/writers receiving less than 10% of the ebook price.

Amazon is just NOT a friend of publishers/writers --- Yet, many believe they are the best thing next to sex. I just don't get it.

More details provided by Telegraph.co.uk, the online daily:

Amazon forces ebook VAT on publishers

The online retailer Amazon charges publishers a UK tax rate despite having a tax dispensation because it is based in Luxembourg.

Amazon is making British publishers pay 20 per cent VAT on ebook sales, despite their true VAT cost for UK ebook sales being closer to 3 per cent.
From 2006, the online retailer has been based in Luxembourg, where the company only has to pass 3 per cent VAT to the government for UK ebook sales. (There is no VAT on printed books in this country.) Despite this, Amazon starts negotiations with UK publishers on the basis that the UK VAT rate of 20 per cent must be lifted from the cost price.

The difference between the UK VAT levy imposed on publishers and the actual 3 per cent that Amazon pays amounts to an extra £1.38 of profit every time it sells a £10 ebook in the UK.

The company negotiates further discounts on top of the VAT subsidy, which in some cases can result in publishers receiving less than 10 per cent of the price paid by the online customer.

Richard Murphy, founder of the Tax Justice Network, told Sky News Luxembourg's 3 per cent tax rate on ebooks is being taken advantage of by Amazon.

Read and learn more 









Tuesday, September 25, 2012

Digital Publishing: New York Magazine Grabs Digital Ad Revenue - Scores Online Success

In the newly arrived digital age (really NOT so new, anymore) one of the great mysteries that has confronted magazines' digitization has been how to make money online --- A MUST for survival and transition from the sagging print editions.

Well, New York Magazine, once on the brink of failure itself, has solved this perplexing puzzle and should be a beacon of hope for other brethren of their competitive industry.

How did NYMag accomplish this? With intelligent foresight from a new, pioneering editor-in-chief AND a nimble business team that's equally adept at selling print and digital advertising.

Matthew Flamm, Crain's New York Business, takes us inside the minds and business decisions of the owners, managing staff and other players that not only rescued NYMag, but pushed it to the front of the pack:

Mags to riches

New York's Adam Moss is having his 'Approval Matrix' moment. The company's cashing in online. A publishing puzzle solved

To its groaning shelf of National Magazine Awards and bulging portfolio of stories extolling its business success, New York magazine can add one more credit: It's having its best year in a decade.

Both profits and revenue are the highest they've been since financier Bruce Wasserstein bought the barely profitable publication in late 2003 for $55 million and lured Adam Moss from The New York Times to become editor in chief. That move was among several that would make New York what it is now: a growth property at a time when much of the rest of the industry is struggling to hold its ground.

Observers also praise New York's owners for their willingness to invest for the long term and a nimble business team that's equally adept at selling print and digital advertising.

In addition, the magazine and website have racked up more National Magazine Awards since Mr. Moss' 2004 arrival than any other title during the same period.

The finishing touch has been an opportunistic approach to publishing, whether it's in print or online.

"We saw that we weren't just publishing a magazine, that we had a certain voice and way of looking at the world that could find expression in different products," Mr. Moss said. "Some would be distributed in print form and some digitally."

The editor in chief has gotten plenty of support from an A-list staff, including online Editorial Director Ben Williams, but veterans of the magazine cite Mr. Moss' vision as key to the company's success.
"He's got a really good balance between his own intense curiosities and a feel for what can resonate with a larger audience," said New York Times Magazine Editor in Chief Hugo Lindgren, who was Mr. Moss' longtime deputy at both the Times Magazine and New York.

Solving the mystery

Just as important, the company has solved the most pressing conundrum: how to make money online. Consumer magazines draw only about 5% to 15% of their ad sales from their digital operations, analysts and insiders say. New York's digital properties, by contrast, account for 40% of the company's total ad sales.

Read and learn more

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Thursday, September 13, 2012

Dissecting the Publishing Industry - A Revealing Autopsy

Dissecting publishing
old and new
The old, so-called literary gatekeepers have fallen on the trail of progression (or is that the 'trail of tears'?); book critics or reviewers have morphed into thousands of social networking bloggers; agent, editor and marketing duties have been taken over by the necessarily more entrepreneurial writer --- and, guess what?

The writer has, indeed, become the publisher!

Hell, the newbie writer did most of the publishers' work under the old TP system of publishing anyway. It's just a whole lot easier today thanks to technology.

This publishing industry upheaval has created many new self-publishing support services niches --- and, oddly enough, has not been totally negative to the traditional publishing industry.

Warren Adler, published author (War of the Roses), gives this intriguing insight in the HuffPost:

Decoding the Self-Published Author

Every author knows that producing a book requires an extreme act of concentration, discipline, organization and stamina. It is an achievement requiring enormous effort, time and isolation rarely matched by other forms of artistic creation.

Despite all the revolutionary changes that roil the publishing industry and are currently upending the old methods of presenting books to the public, the bedrock fact remains that a published book, whether presented on paper or on screen, still carries with it a measure of prestige and achievement.

Despite the difficulties involved in a book's creation, there is no shortage of people determined to produce works that reflect their own vision, whether they are motivated by chasing the false gods of fame and fortune or simply satisfying their overwhelming need to be heard and their views, talents and interests projected beyond the confines of their own minds and imagination. There are perhaps millions of people worldwide currently bent over their desks composing works they hope to share with others.

A few short years ago, the pipeline for these endeavors was strictly regulated by time-honored methods of filtering. A band of business-minded publishers, fed by a gaggle of first look agents, would submit choices to publishing houses whose editors and marketers filtered out their own choices. These choices were then cataloged seasonally, and an army of salespeople was dispatched to book buyers of independent and chain stores who subsequently made their own choices based upon past sales, and perhaps a few gut choices of their own.

The road to marketing and publicity channels was well rutted. Mass media outlets had their own filtering process to determine which books they would feature in their review columns, and advertising sections of books were well established. A few well-respected critics could be relied upon to filter their own choices to public scrutiny.

Media outlets hit upon the idea to record book sales as a kind of horse race of popularity, which helped them with their advertising, and kept the sales pot boiling for those authors lucky enough to be included.

Roughly, this is the way the system worked for many decades. Publishers supported their prolific authors with advances based on projected sales and future royalties, and those books that didn't sell went back to the publishers in an arcane system of consignment.

For those authors who didn't make the filtering cut, the only solution was "vanity" publishing, which meant that an author could pay to have his book published, and for the most part, try to get his book into the system. A camel through the eye of the needle is a good analogy. While there is no real statistic on author rejections by agents and publishers, the real figure based on the amount of self-published books being shoe-horned into the current offerings on e-readers indicates that those numbers must have been staggering.

That publishing system has been completely overturned by time, taste and most of all, technology. The industry itself has been sliced and diced into categories and sub-categories and sub, sub categories. In fiction, hundreds of genres and sub-genres have been created and built around categories to appeal to specific tastes; categories such as romance, mystery, fantasy, zombies, vampires, graphic novels, erotic, young adults, children, etc. with new categories emerging like ever thin slices of salami.

In non-fiction, the slicing and dicing has reached epic proportions in areas such as politics, religion, popular culture, race, memoirs, exposés, diatribes, self-help, pop psychology, nutrition, diet, health, and sex -- especially sex. On that latter subject the recent Fifty Shades of Grey category has jumped the fiction and non-fiction categories by building a kind of story around a 'how to' guide to sado-masochism performance.

Read and learn more

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Friday, September 7, 2012

You're Not Ready to Publish If ...

To Publish Or Not To Publish?
When you think you are ready to publish your masterpiece who should you turn to for advice/mentoring?

Someone who is an experienced, published author, for sure. And a successful published author is even better (you realize, of course, all published authors are not necessarily successful).

But, what if you could get a successful published author who also knows marketing? And possibly international marketing?

One person I've read about seems to fit those specs: Penny C. Sansevieri, Author and CEO, Marketing Experts, Inc.

She dishes out the following insightful wisdom in the HuffPost:

7 Signs That You're Not Ready to Publish

When I speak at events or read emails from authors, a lot of people say: "I'm ready to publish." In fact, many of them are, but the lion's share of these folks really aren't. Wondering which category you fall into? Here's a list of some ways to know that you're just not ready and what to do to improve your publishing game.

1.You haven't researched the (publishing) industry: This is pretty important. You need to understand your industry, what's going on and what changes are going to affect your book and publishing experience. How can you do that? Get to know the trades that report on publishing, read them, read blogs, know what is happening in the industry. Believe me, it's not only good to stay current but it could save you a lot of time and money. And who knows, you might even learn a thing or two about this often chaotic market!

2.You haven't researched your market or genre: This is another biggie and oddly enough, very often overlooked. Do you know what's selling in your industry? Who else is writing about your topic? Have you bought or read their books? It's important to know what's trending in your market, what's selling and what isn't. It's always good to read other people's work because you really want to know how others are addressing the topic that you're going to be writing about. Not only that, but these could be great people to network with.

3.You hope to get famous: Another hot button. First, who really wants to be famous in the age of Twitter and YouTube? Okay, well, maybe you really do. If that's the case, don't spend too much time dreaming about it in publishing because fame is always preceded by hard work, and a lot of it. The problem with best-selling authors such as Amanda Hocking and others who have started with nothing and become success stories is that everyone wants to emulate them. It's wonderful to have a goal but it's not always realistic. Most authors who have attained great success didn't just show up at the fame-party ready to sign autographs. Most of them probably spent months working tirelessly to get the word out about their book. Could fame happen? Maybe. But first focus on the work.

4.You believe that book sales are what it's all about: It's not the end-game, trust me. Book sales are often elusive and never, ever guaranteed. We recently had an author say that she was considering hiring a marketing firm who promised her X number of book sales. Unless they planned to buy the books themselves there's no way anyone can know how many copies of a book will sell. Create other goals or other mile markers. Yes, we all want to sell books and sure, at some point that will happen, but much like point No. 3, this is always preceded by a lot of hard work.

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Friday, June 15, 2012

Famous Holdout Authors are Finally Agreeing to Digital Formatting

Some of the most famous and complex writers have resisted the ebook medium.

One of them, Thomas Pynchon [writer of V. (1963), The Crying of Lot 49 (1966), Gravity's Rainbow (1973), and Mason & Dixon (1997)], has finally relented.

His motivation ? The same as most intelligent authors when they think it through --- readership and lots of it. Aside from all else, writers want their work read by as many people as possible.

Something to do with strengthening and ensuring their legacy, I'm sure.

Julie Bosman reports details, along with interesting insights into Mr. Pynchon, in the New York Times:

After Long Resistance, Pynchon Allows Novels to Be Sold as E-Books

Thomas Pynchon was one of the last great holdouts: the rare writer who had refused to allow his work to be sold in e-book format.

Now he’s changed his mind.

Mr. Pynchon, the author of “The Crying of Lot 49,” “Gravity’s Rainbow” and “V.,” has struck a deal with the Penguin Press to publish his entire backlist in digital form.

The announcement is another step toward the ubiquity of the e-book, even for authors who stubbornly resisted.

A few years ago, e-book sales were tiny when compared with print sales, but in the last six months, it has not been uncommon for a new novel to sell more e-book copies than print ones. Authors whose work is not for sale in that format risk missing a large and growing segment of the reading population.

Older titles have been especially tantalizing for publishers, who have turned them into e-books and made easy sales.

Mr. Pynchon has avoided the press for most of his life and, characteristically, declined to speak about his decision. But Ann Godoff, the president and editor in chief of the Penguin Press, said in an interview that Mr. Pynchon had agreed that it was time to get on board.

“It wasn’t exactly the elephant in the drawing room, but we just felt that the moment was right,” Ms. Godoff said. “There has been a great desire to have all of Tom’s books in digital format now, for many years. He didn’t want to not be part of that.”

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Saturday, June 2, 2012

Deeper Inside Amazon and Owner Jeff Bezos - And Publishing Statistics Overall

"Monopolies are always problematic in a free society, and they are more so when we are dealing with the dissemination of ideas, which is what book publishing is about.” ...Andy Ross

Jeff Bezos got what he wanted: Amazon got big fast and is getting bigger, dwarfing all rivals. To fully appreciate the fear that is sucking the oxygen out of publishers’ suites, it is important to understand what a steamroller Amazon has become. Last year it had $48 billion in revenue, more than all six of the major American publishing conglomerates combined, with a cash reserve of $5 billion. The company is valued at nearly $100 billion and employs more than 65,000 workers (all nonunion) ...
Intrigue abounds in modern publishing ... or what will become modern publishing.

In the beginning, predatory chain store booksellers took out the small, independent booksellers; then, predatory digital e-book sellers took out the predatory chain store booksellers (except one {B&N} left badly wounded) and later booksellers even started to become publishers themselves etc., etc., etc --- all this while blocking open a big hole in the front line of previous writer/author obstacles and providing an open path to easier direct publishing touchdowns.

But, beware, underbelly agendas also abound.

An in-depth look at the major players, thinking, visions and hiccups leading us to the present state of publishing clusterfuckness and some interesting statistics is provided by Steve Wasserman, Nation Magazine:

The Amazon Effect

From the start, Jeff Bezos wanted to “get big fast.” He was never a “small is beautiful” kind of guy. The Brobdingnagian numbers tell much of the story. In 1994, four years after the first Internet browser was created, Bezos stumbled upon a startling statistic: the Internet had been growing at the rate of 2,300 percent annually. In 1995, the year Bezos, then 31, started Amazon, just 16 million people used the Internet. A year later, the number was 36 million, a figure that would multiply at a furious rate. Today, more than 1.7 billion people, or almost one out of every four humans on the planet, are online. Bezos understood two things. One was the way the Internet made it possible to banish geography, enabling anyone with an Internet connection and a computer to browse a seemingly limitless universe of goods with a precision never previously known and then buy them directly from the comfort of their homes. The second was how the Internet allowed merchants to gather vast amounts of personal information on individual customers.

The Internet permitted a kind of bespoke selling. James Marcus, who was hired by Bezos in 1996 and would work at Amazon for five years, later published a revealing memoir of his time as Employee #55. He recalls Bezos insisting that the Internet, with “its bottomless capacity for data collection,” would “allow you to sort through entire populations with a fine-tooth comb. Affinity would call out to affinity: your likes and dislikes—from Beethoven to barbecue sauce, shampoo to shoe polish to Laverne & Shirley—were as distinctive as your DNA, and would make it a snap to match you up with your 9,999 cousins.” This prospect, Marcus felt, “was either a utopian daydream or a targeted-marketing nightmare.”

Whichever one it was, Bezos didn’t much care. “You know, things just don’t grow that fast,” he observed. “It’s highly unusual, and that started me thinking, ‘What kind of business plan might make sense in the context of that growth?’” Bezos decided selling books would be the best way to get big fast on the Internet. This was not immediately obvious: book selling in the United States had always been less of a business than a calling. Profit margins were notoriously thin, and most independent stores depended on low rents. Walk-in traffic was often sporadic, the public’s taste fickle; reliance on a steady stream of bestsellers to keep the landlord at bay was not exactly a sure-fire strategy for remaining solvent.

Still, overall, selling books was a big business. In 1994 Americans bought $19 billion worth of books. Barnes & Noble and the Borders Group had by then captured a quarter of the market, with independent stores struggling to make up just over another fifth and a skein of book clubs, supermarkets and other outlets accounting for the rest. That same year, 513 million individual books were sold, and seventeen bestsellers each sold more than 1 million copies. Bezos knew that two national distributors, Ingram Book Group and Baker & Taylor, had warehouses holding about 400,000 titles and in the late 1980s had begun converting their inventory list from microfiche to a digital format accessible by computer. Bezos also knew that in 1992 the Supreme Court had ruled in Quill Corp. v. North Dakota that retailers were exempt from charging sales tax in states where they didn’t have a physical presence. (For years, he would use this advantage to avoid collecting hundreds of millions of dollars in state sales taxes, giving Amazon an enormous edge over retailers of every kind, from bookstores to Best Buy and Home Depot. In recent months, however, Amazon, under mounting pressure, has eased its opposition and reached agreements with twelve states, including California and Texas, to collect sales tax.) “Books are incredibly unusual in one respect,” Bezos said, “and that is that there are more items in the book category than there are items in any other category by far.” A devotee of the Culture of Metrics, Bezos was undaunted. He was sure that the algorithms of computerized search and access would provide the keys to a consumer kingdom whose riches were as yet undiscovered and barely dreamed of, and so he set out to construct a twenty-first-century ordering mechanism that, at least for the short term, would deliver goods the old-fashioned way: by hand, from warehouses via the Postal Service and commercial shippers.

* * *

One of Amazon’s consultants was publishing visionary Jason Epstein. In 1952 Epstein founded Anchor Books, the highbrow trade paperback publisher; eleven years later he was one of the founders of the New York Review of Books, and for many decades was an eminence at Random House. His admiration for Bezos was mixed with a certain bemusement; he knew that for Amazon to really revolutionize bookselling, physical books would have to be transformed into bits and bytes capable of being delivered seamlessly. Otherwise, Bezos would have built only a virtual contraption hostage to the Age of Gutenberg, with all its cumbersome inefficiencies. But Epstein could not fathom that the appeal of holding a physical book in one’s hand would ever diminish. Instead, he dreamed of machines that would print on demand, drawing upon a virtual library of digitized books and delivering physical copies in, say, Kinkos all across the country. The bookstores that might survive in this scenario would be essentially stocking examination copies of a representative selection of titles, which could be individually printed while customers lingered at coffee bars awaiting the arrival of their order. Ultimately, Epstein would devote himself to this vision.

Bezos looked elsewhere, convinced that one day he could fashion an unbroken chain of ordering and delivering books, despite the deep losses Epstein warned he’d have to sustain to do so. But first he had to insert the name of his new company into the frontal lobe of America’s (and not only America’s) consumers. Like all great and obsessed entrepreneurs, his ambitions were imperial, his optimism rooted in an overweening confidence in his own rectitude. He aimed to build a brand that was, in Marcus’s phrase, “both ubiquitous and irresistible.” A decade before, while a student at Princeton in the mid-1980s, he had adopted as his credo a line from Ray Bradbury, the author of Fahrenheit 451: “The Universe says No to us. We in answer fire a broadside of flesh at it and cry Yes!” (Many years later, the octogenarian Bradbury would decry the closing of his beloved Acres of Books in Long Beach, California, which had been unable to compete with the ever-expanding empire of online bookselling.) A slightly built, balding gnome of a man, Bezos often struck others as enigmatic, remote and odd. If not exactly cuddly, he was charismatic in an otherworldly sort of way. A Columbia University economics professor who was an early boss of Bezos’ said of him: “He was not warm…. It was like he could be a Martian for all I knew. A well-meaning, nice Martian.” Bill Gates, another Martian, would welcome Bezos’ arrival to Seattle, saying, “I buy books from Amazon.com because time is short and they have a big inventory and they’re very reliable.” Millions of book-buyers would soon agree.

As the editor of the Los Angeles Times Book Review, I had watched Bezos’ early rise with admiration, believing that whatever complications he was bringing to the world of bookselling were more than compensated for by the many ways he was extending reader access to a greater diversity of books. After all, even the larger 60,000-square-foot emporiums of Barnes & Noble and Borders could carry no more than 175,000 titles. Amazon, by contrast, was virtually limitless in its offerings. Bezos was then, as he has been ever since, at pains to assure independent bookstores that his new business was no threat to them. He claimed that Amazon simply provided a different service and wasn’t trying to snuff bricks-and-mortar stores. Independent booksellers weren’t so sure.

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Saturday, May 5, 2012

Publishing Not Evolving -- It's Going Away

Gone With The Wind ?
So says Clay Shirky, a professor at the Interactive Telecommunications Program at NYU.

"Publishing is not a job anymore. It's a button. There's a button that says `publish,' and when you press it, it's done.'' This also attributed to professor Clay Shirky.

I love both of these statements :)

The publishing industry is definitely morphing into something totally unrecognizable, but into what?

I believe that all the big and little digital screens that more and more people are reading on are just a way station in a longer journey to some as yet undiscovered reading media.

Jason Magder, Canada.com, gives us a peek into a possible future state of (what used to be called) publishing:

What will become of publishing industry now that anyone can do it?

When Johannes Gutenberg invented the printing press in the 15th century, it was a marvel of modern technology.

Publishing became a major industry, as books, newspapers and magazines were the primary means for ideas to be shared.

Today, publishing is in everyone's power: anyone can write their opinion on Facebook, start a blog, shoot a video or even put together an online newspaper - with instant access to a mass audience.

``Publishing is not evolving. Publishing is going away,'' argues Clay Shirky, a professor at the Interactive Telecommunications Program at NYU. ``Because the word `publishing' means a cadre of professionals who are taking on the incredible difficulty and complexity and expense of making something public. That's not a job anymore. That's a button. There's a button that says `publish,' and when you press it, it's done.''

With publishing gone, the post-publishing era means reading will be done on screens, from iPads to Kindles, smartphones and perhaps one day eyeglasses, with Google working on a prototype to bring the Net to your bifocals.

In this era, the dinosaurs of publishing - newspapers, magazines and books - have not yet figured out what role they will play.

That's why when the iPad came out two years ago, followed by a multitude of tablets, many hailed it as the shot in the arm newspapers needed. By creating their own applications, newspapers can once again do what they do best: create informational packages in an easy-to-read format. But with more resources being poured in to create iPad or Android tablet editions, will the new newspapers simply become apps? Can tablets alone save the industry?

Ken Doctor, a former executive with Knight Ridder newspapers, believes tablets can help newspapers make the transition away from ink and paper. Now an industry analyst, he said tablets have helped to bring about a shift in the mentalities of readers, making it acceptable to pay for news.

``Kind of by historical coincidence, the tablet came out at the same time newspapers started experimenting with paywalls,'' Doctor said.

He said many newspaper companies have been able to use their tablet editions as selling points for digital subscriptions, or print subscriptions that include digital access.

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