I’m very pleased to announce that all five Bookkake titles are now available direct from Apple’s iBookstore, and several are available on the Kindle. In addition, all Artists’ eBooks titles are also available free in the iBookstore.

This has not been the simplest process, but I think it’s really important to make ebooks available in as wide a number of ways as possible, and in particular in ways that make it easy for people to find them—an issue I recently addressed in the discussion of Tony Blair’s multiformat memoir.

Initially, I made ebook editions of all Bookkake titles available for free. This was in part because I wanted to see what would happen, but also because I was dissatisfied with then-current ebook distribution and display systems. Times have changed, and so in making these books available more easily, I’ve also removed the free ebooks. Bookkake has always been an experiment, and I’m looking forward to seeing the response to more easily available, if priced, editions.

Artists’ eBooks is similarly experimental, and the free ebooks are still available from the website, as well as available as free downloads for iPhone/iPad users in the iBookstore.

With respect to the process, here’s how it breaks down:

To get books into the iBookstore directly (as opposed to going through an aggregator) you need an account with iTunes Connect, which in turn requires a US Tax ID, a non-trivial process that required some very complicated forms and quite a lot of time on the phone to someone in an IRS office, somewhere in the Midwest.

When you’ve got this, you upload your files—a slightly modified ePub format, which Lisa has covered in detail over at Threepress—via Apple’s iTunes Producer application. This part is pretty straightforward, once you’ve worked out the formatting kinks, but then the fun starts.

Submitted books are “under review” for about a week on average. And then, in my case, they’re all marked “Withdrawn from sale”. And that’s it: no message, no feedback, no information. So you email Apple, several times, and after a week to ten days you get an email from someone telling you what’s wrong—in the first case, it was cover images at the wrong resolution. So you resubmit, wait out the review period, and then repeat the whole process again, several times, for a series of very minor but critical issues.

The upshot is that it’s taken almost two months to get all the books submitted correctly—only a couple of hours of actual work, but a lot of waiting and sending emails and hoping. Still, the books are now available (search iBooks for Bookkake, Artists’ eBooks or any of the authors or titles), and Apple support staff have promised that they’re aware of and looking into the notification system. It’s a new programme, and this sort of thing will undoubtedly improve, if not, as we’ve seen with the App Store, ever be fully transparent.

The Kindle application process has been simpler, if slightly less successful. Although some have reported difficulties, Amazon’s Digital Text Platform happily converted my existing ePub files to Kindle platform, and made them available very quickly—although I’ve been unable to convince them of the rights status of a couple of the titles, so only three are available. Still.

I happen to like both reading experiences very much, and will be writing more about them soon. Both stores are OK, but it’s very annoying you can’t link directly to products in the iBookstore [Update: see comments] as you can for the Kindle store (or, indeed, for iTunes).

Please, go read the Artists’ eBooks titles if you’re interested, and the Bookkake titles if you’re so inclined, and I look forward to hearing your feedback.

Tomorrow is T-day. Or iDay. Or whatever. It’ll be fun. Nobody knows *anything* yet. Well, apart from the folks at McGraw-Hill and Hachette, probably Kobo, and a whole host of others. But for the purposes of this discussion: nobody *knows* *anything*.

About the Tablet, that is. Because, actually, we know quite a lot. We know about authors and writing, and editing and publishing, and bookselling and reading. We know and understand the long-form narrative and its place between people, and in society. And I’m more comfortable with Apple getting in on the act than I am about Amazon, because Apple aren’t in the content game, and Amazon definitely are. And if Apple swoop in and solve ebook distribution like they solved (legal, paid-for, mainstream) music distribution with iTunes, then great. Amazon are having a pretty good crack at that with Kindle too, but I’d like to see more involvement from someone without such an aggressive history of pressuring publishers until their bones show (although I’m under no illusions), and Apple have a history of producing devices and interfaces that make people go “Oh, OK. I get it now. Neat.” Amazon are also showing signs of a more open, mulitplatform approach (iPhone app, epub, etc) but that’s another conversation.

Publishers have been confused about their roles for some time. And I’m trying very hard not to be inconsistent on this, because I’ve spent several years urging publishers to get on board with new technologies and try new things, but equally I hope there’s space for a lot of publishers to get back to concentrating on what they do best: acquiring, editing, producing and publishing books. I’d like to have seen more happen in the last few years, but if it hasn’t, we should probably stop scrambling to get on the latest bandwagon (vanilla Books-as-Apps, I’m looking at you), and concentrate on the basics: ebook production, metadata, integrated marketing, quality and consideration. There is a lot to be done, but this or that device will never be the be-all-and-end-all of the future of publishing.

From August 15th, Amazon requires all API requests to be signed, which to the layman means that you need to add a timestamp, and a ‘signature’, which is a hash of the entire request, and your private Amazon key.

There are a bunch of PHP examples for doing this on the web, but because I had to tweak them all slightly to get them to work, I thought I’d put it out there to be helpful – I’ve just implemented this on bkkeepr and Bookseer and a few other places…

<?php

// Build your request string, e.g.
$request = 'Service=AWSECommerceService&'.'AWSAccessKeyId=[YOUR AWS ACCESS KEY]&'.'Timestamp='.gmdate("Y-m-d\TH:i:s\Z").'&Operation=ItemSearch&Title='.$title.'&SearchIndex=Books';

// Encode and sort the request string
$request = str_replace(',','%2C', $request);
$request = str_replace(':','%3A', $request);
$reqarr = explode('&',$request);
sort($reqarr);
$string_to_sign = implode("&", $reqarr);

// Append endpoint
$string_to_sign = "GET\necs.amazonaws.co.uk\n/onca/xml\n".$string_to_sign;

// Create signature hash
$signature = urlencode(base64_encode(hash_hmac("sha256", $string_to_sign, '[YOUR AWS PRIVATE KEY]', True)));

// Append signature to original request
$request .= '&Signature='.$signature;

// Append endpoint to original request
$request = 'http://ecs.amazonaws.co.uk/onca/xml?'.$request;

// Make request
Append signature to original request
$curl_handle = curl_init();
curl_setopt($curl_handle, CURLOPT_URL, $request);
curl_setopt($curl_handle, CURLOPT_RETURNTRANSFER, 1);
$book_data = curl_exec($curl_handle);
curl_close($curl_handle);
return $book_data;
?>

It’s actually pretty simple when you get your head round it, although Amazon has done an atrocious job of helping people make the change. You need to be quite the developer – or, in my case, read piles of unhelpful documentation and a hell of a lot of helpful blogs – to get your head round it, but I hope that helps someone.

Remember, you can make your own changes to the $request string in the example above – don’t forget the Timestamp, it’s important – and change the endpoint from .co.uk to .com, .fr etc. There’s also a slightly helpful Amazon helper here.

If anyone has questions, I’ll try to help – but not promising anything…

Amazon have just announced AmazonEncore: “a new program whereby Amazon will use information such as customer reviews on Amazon.com to identify exceptional, overlooked books and authors with more potential than their sales may indicate.” They’re now a publisher.

It’s been a while coming, but some of us have been predicting this move for some time: Amazon have finally made it to the penultimate step on the publishing chain. I say penultimate, because although they are now, by any definition, a publisher, they still appear to be cherry-picking from existing books rather than seeking out their own authors.

Their opening salvo comes in the form of Legacy, a YA fantasy novel by sixteen-year-old novelist Cayla Kluver. Legacy was originally published by Winsconsin-based Forsooth Publishing, in paperback in April 2008, when it garnered 5-star reviews and generated a teen cult. Amazon have noticed this, so they’ve bought the rights, and are putting out a hardback, Kindle and audio editions across their channels, as well as swinging the full weight of their not inconsiderable publicity machine behind it.

This is all very interesting, and we’ll see where they go next. Knowing Amazon: upwards and outwards. Those who suggest they’ll just keep picking stuff up from the little guys hasn’t been paying attention. In the last five years Amazon have, in addition to dominating online bookselling, bought a book social network, a major print-on-demand supplier, a complete end-to-end self-publishing system, pretty much the entire used books marketplace, the biggest audiobook distributor, the best iPhone ereader, and designed, built and delivered the only truly mass-market dedicated ereading device, with a proprietary format that sets them up to be the iTunes of eBooks.*

It’s big, it’s scary, it’s Amazon. But the publishing industry is under so many different pressures at the moment, this is unlikely to be as big as it could be: Amazon don’t want to annoy their major suppliers, not too much, and not yet. They will though, and by that point, they’ll be past caring. Like Google with their ebooks programme, they’ve been given so much leeway for so long, they think they can do whatever they like, and chances are, they’re right.

Still, look on the bright side: what this does suggest is that while corporate publishers will be – are – fighting for their lives, there’s still a lot of scope for the little guys, the ones who’ve always found the interesting stuff first. AmazonEncore, as it stands now, is a very good way of making out on a little book with a lot of promise, as Ms Kluver and Forsooth have been the first to find out. Here’s hoping.

*

* Updated this list as people remind me about all the other stuff Amazon own…

P.S. Amusingly though, the first result for “kindle” on amazon.co.uk is the Sony Reader.

It’s a thought, isn’t it?

After initial doubts – why would Amazon deliberately waste all that investment in the Kindle hardware? – I did come to the conclusion that the Kindle and iPhone demographics, while they certainly overlap, are by no means mutually inclusive. I don’t have figures on this, but my presumption is that the iPhone’s younger and/or early-adopter audience is not quite the same as the Kindle’s slightly older, less techy, but more hardcore booky audience (heavy genre readers, in romance and sci-fi, reading up to several books a week, are the core Kindle audience, I’ve heard). The Kindle’s larger screen and seamless connection to Amazon speak to a different audience than the iPhone’s portability and rootlessness.

Thoughts?

Last week Amazon announced that it would be requiring that all books that it sells that are produced through on-demand means be printed by BookSurge, their in-house on-demand printer/publisher. Amazon pitched this as a customer service matter, a means for more speedily delivering print-on-demand books and allowing for the bundling of shipments with other items purchased at the same time from Amazon. It also put a bit of environmental spin on the move, claiming less transportation fuel is used (this is unlikely, but that’s another story) when all items are shipped directly from Amazon.

We, and many others, think something else is afoot. Ingram Industries’ Lightning Source is currently the dominant printer for on-demand titles, and appears to be quite efficient at its task. They ship on-demand titles shortly after they are ordered through Amazon directly to the customer. It’s a nice business for Ingram, since they get a percentage of the sales and a printing fee for every on-demand book they ship. Amazon would be foolish not to covet that business.

What’s the rub? Once Amazon owns the supply chain, it has effective control of much of the “long tail” of publishing — the enormous number of titles that sell in low volumes but which, in aggregate, make a lot of money for the aggregator. Since Amazon has a firm grip on the retailing of these books (it’s uneconomic for physical book stores to stock many of these titles), owning the supply chain would allow it to easily increase its profit margins on these books: it need only insist on buying at a deeper discount — or it can choose to charge more for its printing of the books — to increase its profits. Most publishers could do little but grumble and comply.

We suspect this maneuver by Amazon is far more about profit margin than it is about customer service or fossil fuels. The potential big losers (other than Ingram) if Amazon does impose greater discounts on the industry, are authors — since many are paid for on-demand sales based on the publisher’s gross revenues — and publishers.

We’re reviewing the antitrust and other legal implications of Amazon’s bold move. If you have any information on this matter that you think could be helpful to us, please call us at (212) 563-5904 and ask for the legal services department, or send an e-mail to legalservices@authorsguild.org.

Feel free to post or forward this message in its entirety.

*

Copyright 2008, The Authors Guild. The Authors Guild is the [US] nation’s largest society of published book authors.

This is a pretty big deal. Amazon has around 15%-20% of the total book market (in the UK), but the vast majority of the online book market, which is growing all the time. Meanwhile, POD has been turning from a vanity publisher’s niche into a mainstream printing option – Cambridge University Press recently passed the 10,000 title mark (pdf news release) with Lightning Source. Big publishers are increasingly turning to POD to support backlist titles, while new publishers use the technology to bypass the industry’s traditional (and traditionally expensive) high print run, warehousing and return mechanisms (and yes, this is personal: an upcoming project of mine uses POD extensively – and not BookSurge).

Have no doubt that POD is only going to grow. 50% of all books printed are never read – that figure, coupled with the growth of ebooks (another potential monopoly for Amazon), ensures that POD will account for the majority of books published at some not-too-distant point in the future. At the moment, there are price and quality issues, but these are rapidly changing.

What Amazon is attempting to do is build a print/bookseller monopoly as POD enters the mainstream. As Amazon is the largest online bookseller, POD publishers are going to have to use BookSurge even if there books are sold in plenty of other places. And using BookSurge involves higher costs, and being locked into Amazon’s crippling discount rates. Some may say it’s time to boycott Amazon, but most won’t have that option.

It’s an incredibly retrograde step. All our recent talk about mass customisation entirely depends on open, independent manufacturing and distribution platforms – the opposite of what Amazon is trying to force on its suppliers. I have to say that we did see this coming, but it doesn’t excuse a clearly monopolistic and unethical action on Amazon’s part. We’ve yet to hear anything in the UK, but we’re going to be watching developments in the US with a keen interest.

UPDATE: I’ve already heard from one POD publsher who has 30,000 books with Lightning Source, and an exclusive contract. Over a third of their sales are through Amazon, so if this happened to them…

UPDATE 2: The same POD publisher has been back in touch, and according to Lightning Source UK, Amazon hasn’t done anything on this side of the pond yet, and they “don’t think” they will, which isn’t terribly reassuring.

UPDATE 3: Teleread’s up with it’s usual high standard of analysis.

UPDATE 29/3/07: In the comments, an anonymous POD publisher says they’ve had the buy-button removed from their Lightning Sourced books by Amazon UK. Anyone else?

I was at a symposium some years back with my friends Joseph Heller and William Styron, both dead now, and we were talking about the death of the novel and the death of poetry, and Styron pointed out that the novel has always been an elitist art form. It’s an art form for very few people, because only a few can read very well. I’ve said that to open a novel is to arrive in a music hall and be handed a viola. You have to perform. [Laughs.] To stare at horizontal lines of phonetic symbols and Arabic numbers and to be able to put a show on in your head, it requires the reader to perform. If you can do it, you can go whaling in the South Pacific with Herman Melville, or you can watch Madame Bovary make a mess of her life in Paris. With pictures and movies, all you have to do is sit there and look at them and it happens to you.
—Kurt Vonnegut, in his very last interview (via Iain Tait).

Vonnegut is of course, as ever, spot on. The novel as we understand it today hasn’t been with us very long (Wikipedia has a wonderfully dense page on the subject, I prefer Defoe’s Robinson Crusoe (1719) as a reasonable birth date), yet it is the point on which all debates about the future of literature turn; specifically, it is what we usually mean when we talk about “the book”.

It’s also what we mean when we discuss the ebook. Take legendary book designer Chip Kidd‘s response to the Kindle:

PEOPLE DON’T WANT TO READ BOOKS ON A SCREEN. Why is that so hard for someone as obviously smart as Jeff Bezos to accept? The reason the iPod took off is that music was never meant to be a “thing” in the first place. It was born as pure sound, and pure sound is what it has returned to. But books were always physical objects, and the printed book as a piece of technology has yet to be improved upon. [Source]

Well that’s just bullshit, frankly. Books are not born as ‘things’ either, but you can understand a designer of physical things choosing this side to shout about. Many books have already stopped being ‘things’ and migrated to the virtual: Wikipedia, for example. Wikipedia is not a book, but it was, really: it’s form comes from a book, from all encyclopædias, but it has evolved off the page. Likewise many, many STM titles, likewise many journals, likewise much poetry and short fiction. But the novel as object has a stranglehold on our imaginations.

Which is fine. Novels are great. And right now, there is no device which betters the traditional book in delivering it. Except, it saddens me that a designer of Kidd’s stature can’t see that the page is a screen. The uniqueness of the novel lies in that effort, that performance of the reader that Vonnegut talks about, not in a mode of reproduction. Bar a small number of extreme experimentalists (I’m thinking B.S. Johnson, and similar), the physical book has shaped the novel for the last 300 years – we are approaching a point where this will no longer be true. And I think that’s pretty exciting – elitist, performative novel-lover that I am.

So, it’s finally here, and damn, it’s still ugly. Really, really ugly. Go watch the video demos (short one at the top, longer one lower down). But it has some things going for it.

There are a lot of touches I really like, like easy ordering of low-price ebooks direct from Amazon without having to be near a computer. Online back-up of your books is very smart – one customer losing their whole library after dropping one of these in the bath would pretty much kill it. The big page-turner paddles on the side will be good for peoples’ frequently contorted, curled-up-on-the-sofa reading positions, and the dog-ear bookmark is nice and friendly, although the purists will probably hate it.

But there’s a lot not to like, even beyond the let’s-party-like-it’s-1989 styling. E-ink just still isn’t good enough: there’s the ‘black flash’ as you turn the page, and the snail-like refresh speed means they’ve had to put in that scroll-wheel barometer thing in the side, which is not good. The whole feeds thing is a misnomer: you have to pick ‘your feeds’ from an Amazon-approved list (currently numbering 308), which is great if you just want Boing Boing and the NYT, but pretty rubbish if your tastes are more eclectic – and you don’t want to pay 99 cents for the privilege (is that a one-off or a subscription?). And the killer for me is that you can only read your own documents by emailing them to Amazon, who’ll convert them and add them to the Kindle ‘for a small fee’. Whoa. That’s just stupid. It’s also such a waste of the rather clever connectivity hardware they’ve packed in there.

Still, Amazon aren’t making this for me – they’re making it for regular, heavy readers, who are book- and not computer-focussed, which is an excellent decision – they will certainly please more people – and explains the video endorsements from Toni Morrison, James Patterson and others. It’s not for techies. We’ll see if the $400 price tag is attractive to non-techies.

It is, without doubt, the best ebook reader out there because it has the iTunes-like connection to all the books you can get, built in. That’s the USP. But I still don’t think we’re going to see mass ebook take-up any time soon, not until e-ink improves and we sort out a format that can move seamlessly between different devices, like mp3. If I can read it on this, I should be able to read it on my laptop, phone and even TV too.

And could someone please explain why they used ‘profligate’ (adj. utterly and shamelessly immoral or dissipated; thoroughly dissolute, recklessly prodigal or extravagant.) as their example word from the dictionary? Reminds me of this story.

UPDATE: For more on the Kindle, you could do worse than Buzzfeed’s roundup.

Matt Webb, of Schulze and Webb, gives this explanation, which pretty much nails it:

A book is designed and manufactured… We discover a book, somehow. We wish for it. We select it, maybe out of a possible half dozen alternatives. We purchase it, then show it off. We discuss it, reviewing it if it’s great or if it’s terrible. We might sell it on.

A bookstore on the street, a traditional bookstore, now seems quite inadequate. Or at least, inadequate before they started doing evening book talks, supporting book clubs and having employee recommendations. But inadequate—it’s really only optimised for purchase.

Amazon’s success could be seen less about the convenience of being online, and more about the fact it is present in more of your moments of engagement with a book.

Amazon understand that we live alongside books. We cross paths with them at all of these points. If Amazon can be present in more of those, we like Amazon more, we encounter them more, and they do better.

Anyone want to argue with that? There’s a lot of work that needs to be done in making sure Amazon doesn’t become the next Tesco/Wal-Mart and control every aspect of our lives (The Book Depository‘s redesign is a small step in the right direction), but if you want to understand why traditional bookshops are failing, why in response publishers are being squeezed until the juice runs clear, and why Amazon seems to have so effortlessly inserted itself into the world; well, there you go.

This quote comes from a talk on Interaction Design. You can read the whole thing here. It’ll explain the picture at the top, too (which is Matt’s).

Why am I reading blogs and wikis and transcripts about Interaction Design and Planning and hacking (the good kind) so much lately? Well, it’s because I’m no longer involved in the acquisition, manufacture and distribution of books – publishing’s industrial age – and I’m trying to understand how we create, connect to and communicate literature – particularly, without just creating more ads. Book 2.0 is now my day job.

Once again, I point back towards booktwo’s opening statement, which I always re-read when I’m not sure what I’m doing. The need to think clearly and openly about these issues, and break from the past. Lagerfeld’s dictum: “Throw everything away!” I’m not quite going to do that, but I admire the sentiment.

“If some Javanese sorcerer or Native American shaman possesses some precious fragment I need for my own “medicine pouch,” should I sneer & quote Bakunin’s line about stringing up priests with bankers’ guts? or should I remember that anarchy knows no dogma, that Chaos cannot be mapped–& help myself to anything not nailed down?” – Hakim Bey