booktwo.org

Quote above from Alex Petridis’ review of the decade in music from Monday’s Guardian.

And it strikes me that this is increasingly true of the publishing business too, and perhaps it is something we should be concerned about. My own approach has always been: literature first, technology second. What are the needs of writers and readers, and how can publishers use technology to address these needs?

Increasingly, we seem to be flailing about in a sea of formats, models, and philosophical digressions into the meaning of publishing when what we should be saying is: we have writers, we have readers: how do we serve both sides of what we do?

The recent decision by Simon & Schuster and Hachette to hold back ebook publishing until four months after hardback (admirably, as always, investigated by Booksquare) is a good example of this. Technology allows us to serve readers and writers better than this, but the move is all about serving publishers themselves. “We’re doing this to preserve our industry,” says David Young (Hachette chief) but if all our efforts are spent fulminating over and attempting to corral technology, we’re going to lose sight of what our industry actually does.

A couple of weeks ago I took part in a panel at the Frontline Club on the future of publishing. It was an interesting evening, and I spoke alongside Tom Tivnan of the Bookseller and Chris Finnamore, test editor at WIRED. The whole thing’s now online if you’re so inclined:

During the talk, one particularly vocal member of the audience took issue with ebooks in general (standard trigger question: “will they smell like real books?”) and stated that vinyl was on the way back. I countered that, well, no it wasn’t – it has a growing status among collectors, but I wouldn’t stake my house on it. I stand by that, but I’m as pleased as anyone to see that David Sedaris (yes, I’m a fan) is releasing an abridged audiobook on vinyl:

“Albums are enjoying something of a renaissance, posting $57 million in sales in 2008, more than double the previous year and the best for the format since 1990, according to the Recording Industry Association of America. The format is so rare for audiobooks, however, that the Audiobook Publishers Association has never even tracked its sales. But Maja Thomas, senior vice president for digital and audio publishing at the Hachette Book Group, said she was drawn to the idea precisely because it was quirky. Mr. Sedaris’s ‘audience is very attuned to irony and is going to find this funny,’ Ms. Thomas said. The 31-minute album, which will be released on Jan. 5 and cost $24.98, will include only two of the five essays on the CD version of the audiobook, but will feature a code enabling purchasers to digitally download the entire program.” [Source: NYTimes]

Ms. Thomas is not wrong about Sedaris’ demographic, but I’m particularly intrigued by the addition of a code allowing purchasers to download the entire audiobook in digital format. This is a brilliant idea (assuming it’s for no extra cost, and not a mere discount), and one I’ve been suggesting to publishers for some time.

If we really want to grow the market for electronic books – as well as audiobooks – in order that, in future, this market is controlled by publishers and not by a third party (in the way that Apple has effectively taken control of the music market from record labels), the bundling of digital versions with physical copies is a very smart way to go. Imagine if every book you bought came with that sort of code to download the ebook. Sceptical consumers could try out the new technologies at no risk – and no extra cost to the publishers – and, who knows, perhaps they might actually like them.

I’m pleased to announce that Artists’ eBooks, a project first mooted in this post a couple of months ago, is now live at www.artistsebooks.org.

eBooks, as we’ve been saying for some time, have massive potential to revolutionise not only how we read, but what we read. The incorporation of audio and video, the possibilities for curation, quotation, linking and sharing, the vast scope of low-to-no-cost distribution and the low barriers to entry should excite us all.

In particular, I’m fascinated to see how artists and writers respond to these new opportunites, platforms and technologies. It was in conversation with the writer Tony White that the idea for Artists’ eBooks first surfaced, and I’m very pleased and grateful that Tony has allowed three new short stories to form the opening line-up at Artists’ eBooks.

These stories, part of Tony’s ongoing “Balkanizing Bloomsbury” series, were written using a process which included cutting-up, remixing and renarrativising fragments from a number of sources including travel writing, Hague tribunal transcripts and mass media texts, to create completely new works of fiction which explore ideas of European identity. Each comes complete with notes on the text and links to the sources – allowing readers to explore beyond the boundaries of the traditional text, in ways unique to the eBook format.

This is but one example of the many conceivable routes the project could go down. We have more titles coming in the near future, and we’re very interested in hearing from artists and writers who would like advice, assistance, and collaborators to help them explore this territory. But for now, please visit the site, download the books – and send us your feedback.

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I’ll do a follow-up post at a later date about the ebooks, strategy and so on, but I’m indebted to Liza Daly at Threepress for some invaluable advice on ebook production. I also urge you to read Tony White’s other work if you haven’t: his widely acclaimed novel Foxy-T remains one of my personal favourites.

I’m working on a couple of eBook projects, and thinking about distribution. Sales figures are important: in the music world, we’ve already seen the move to recording downloads in addition to physical sales for compiling charts. (Chris Heathcote has some thoughts on the latter, and notes we’re not yet at the per-play stage – c.f. bkkeepr.)

My question is: how do you track, monitor and analyse downloads? Particularly of free ebooks?

Imagine this scenario: there’s a free ebook. It’s hosted in one place, and there’s a single addressable URL to access it. This will probably be a pointer, rather than a direct link to the actual file. This means the file can be delivered, but some analytic measure can also be triggered: recording number of downloads and their point of origin.

Yes, it’s perfectly possible someone will repost the file elsewhere, and this will be untrackable. Without imposing arcane and nasty DRM, we will have to ignore this. We’re also ignoring official (and presumably paid-for and therefore separately tracked) downloads avilable via eBook vendors elsewhere.

We’re talking about a single, canonical, trackable address for a single eBook. Are people doing this? How? Thoughts and answers in the comments, please.

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Associated with this, I’ve been thinking a lot about artists’ books. That is, works of art in the form of a book. Ready-mades. Uniques (although the term doesn’t apply in this context). And Zines.

I’m thinking of things like the work of Mark Pawson, and Book Works. And the whole history of artists’ books.

I think there are opportunities and affordances for doing things in the eBook space, with artists. Distribution. Links. Algorithmic transformations.

So, in the tradition of marking out the territory via the strategy of buying domain names, I’ve registered artists ebooks .org. There’s not much there yet. Consider it a starting point.

Thoughts welcome.

Re: today’s announcement about Google and Sony. It doesn’t appear to be a deal as such, but what’s clear is that half a million scanned books from Google Book Search will be made available as epub files, with millions more to come. Epubs. Ebooks.

Now, cast your mind back, if you will, to the London Book Fair 2007. I was there, twittering and liveblogging away. There were zombies and some book no one had heard of called White Tiger. All very good.

I went to a quite interesting Google presentation, on Google Book Search. Lots of publishers were very nervous about GBS, and Google, with the help of panellists from Berg, Springer and the Cambridge University Press, did a very good job of reassuring them. A lot of publishers went away reassured about Google’s aims and intentions, and no doubt signed up to GBS some time later.

A few weeks later I wrote a piece about this, and raised some questions. I was a bit doubtful when they assured publishers of their good, simple intentions, and felt they were taking advantage of publishers’ (then) fairly minimal comprehension of ebooks and the web. It was reposted at Teleread. Here’s the key quote:

This dilemma increases when you hear what Google are saying about the status of these files. Emphatically they state, and I’m directly quoting Google’s Jason Hanley (Strategic Partner Development Manager) here: “Google Book Search is not an ebook”.

Well, isn’t that interesting. As I said at the time:

This isn’t contrariness. I want digitisation to succeed, but I’ve got some worries about GBS, based on two main observations: Google Book Search isn’t the same as Google Web Search, and Google, if not actually, intentionally lying, is certainly wilfully misleading publishers about its intentions.

The first part of that statement has become obvious with time, although it was all a bit more confusing two years ago. The second part, well. Hello Google ePubs. Surprise!

I could rant on about this for ages, but the core point is simple: Google is not just a search engine, it’s a publisher. Every time I try to defend them, they do something like this, and pretty much justify all those people who want to sue them for copyright infringement for making a “copy” of their website in their index. Start thinking about that.

Last night I attended the launch of Semina, a new series of experimental novels from Book Works, at Housmans. The novels are the result of an open call for submissions, and are being selected by series Commissioning Editor Stewart Home.

The first two titles in the series, Bridget Penney’s Index, and Maki Kim’s One Break, A Thousand Blows!, are available now. Further titles in the series include Bubble Entendre (2009) by Mark Waugh and Blood Rites of the Bourgeoisie (2010) by Stewart himself, with another five titles still to be announced.

Both the event and the setting provide some hope for experimental and uncommercial literature. Bookworks is a publicly funded arts organisation, supported by the Arts Council and others, which gives it the freedom to publish work that would not see the light of day at a commercial publisher (although in the current climate even this survival may be endangered). Housmans, meanwhile, occupies the ground floor of a building gifted to Peace News in the 1940s, allowing it to remain true to its political and cultural aims without worrying about the steep rent rises and ecroaching gentrification that have forced out so many others (c.f. Compendium, Charing Cross Road).

I’ve written before about the growing necessity for finding other models for publishing literature, and public funding and private patronage are two possible routes. But they’re not always sustainable, and we shall continue to look, in technology and elsewhere, for other ways.

If you’ve not been keeping up, Amazon is making a massive and highly controversial land-grab for POD and the long tail of publishing. More info here. As this is a very big issue indeed, and no worthy body on this side of the pond seems to be making a fuss, I’m only too happy to reprint this statement and appeal from the US Authors’ Guild. Don’t think it won’t happen here.

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.

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

Kate Pullinger’s column in today’s Guardian – Writers deserve a better deal from digital publishing – is very good on why authors should get a better, not worse, deal from digital publishing, and on the role of publishers in the new digital world.

But it’s particularly priceless for this anecdote:

At the moment the entire infrastructure of the publishing industry is geared toward shifting retail units; the head of digital publishing at a large publishing house told me that because their accounting system is entirely warehouse-based, for a time they had to find a way to represent the units shifted through digital downloads. Their solution was to have empty pallets in the warehouse, with invisible digital content, thus enabling the system to count the units that had sold.

I think this stands as an exemplar of the industry’s problems adapting. Although it was a temporary solution, publishers need to recognise that the game has fundamentally changed – in supply, distribution, and in rights and royalties – and the old ways are just not applicable any more.

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.

Tony White, author of one of my favourite books, Foxy-T, and literary editor of The Idler, has just published a series of extracts from Balkanising Bloomsbury, a work in progress, in the Diffusion eBooks format. He writes:

The ebooks are the result of a residency with Proboscis that I’ve been undertaking in recent months, working with and exploring the potential of their new Diffusion ebook generator.

These stories have been created by cutting up, remixing and renarrativising fragments from a variety of sources to create completely new works. This process mines a particular seam of Balkanist fantasy in English language literature and media; ranging from E.M.Forster to contemporary free-sheet the London Paper. Alongside each story is full bibliographical information relating to the research process. In addition, these resources are also collected in a separate bibliography which will be refreshed and added-to each time a new work is uploaded.

Diffusion is a project to create an online ebook generator which people can use to produce small editions of their work. The term ebook is somewhat misleading as the final product is in fact a paper book, albeit one that can be quickly and reasonably easily assembled from an electronic file: the ebook engine generates a 4-up pdf that is printed and assembled into a chapbook:

The project is a direct response to the increasing difficulties of getting short and niche works into the bookshops, and the generator will shortly be made publicly available to all. All the titles are free to download.

It’s a good idea and a pretty good implementation, although it took me a couple of tries to get to grips with the assembly, largely because my printer chopped off the page numbers (suggestion: put these at the top of the minipages, not the bottom corner), and the instructions are not very clear (there are better ones on the site, but I only found these later). Anyway, it’s the new sharing age, so (largely inspired by Common Craft) I made my own instruction/demo:

P.S. Ooh, there’s some Stewart Home too!