Links to All Articles/Posts from Best of TOC eBook

Andrew Savikas
February 15, 2009 | Permalink | Listen

Some of you interested in the "Best of TOC" ebook have objected to having to go through the O'Reilly shopping cart process to get the free ebook. Point taken, and thank you for the feedback. Other readers are looking for a place to comment on the pieces; because these were all published blog posts, many already have rich comment threads of conversation. To address both concerns, here's a full linked list of all the pieces we included in the Best of TOC ebook:

1. Digital Rights Management Versus Enforcement
2. Amazon Ups the Ante on Platform Lock-In
   
3. Ebook Format Primer
   
4. Ergonomics and Ebook Success
   
5. Responsibly Assuaging Author Concerns About File Sharing and “Piracy”
   
6. It’s Time to Accept an Ambiguous Digital Fate
7. Storytelling 2.0: Alternate Reality Games
   
8. Content Owners and Consumers Need Digital Quid Pro Quo
   
9. The Pitfalls of Publishing’s E-Reader Guessing Game
   
10. Treating Ebooks Like Software
    
11. On Publishers and Software Development
    
12. Ebooks and Print Books Are Not Mutually Exclusive
    
13. POD Opens Door to Magazine Experiments and Customization
    
14. Web Community Management Tips
    
15. Reinventing the Book and Killing It are Separate Things
    
16. Q&A with Developer Who Turns Ebooks into iPhone Applications
17. Terry Goodkind Follows The Money
18. Web Analytics Primer for Publishers
    
19. A Unified Field Theory of Publishing in the Networked Era
    
20. How Many Publishing CEOs Know What an API Is?
    
21. Why You Should Care About XML
    
22. Publisher as Brand?
    
23. Regulating the Google Settlement
    
24. Point-Counterpoint: On Digital Book DRM
    
25. Point-Counterpoint: Digital Book DRM, the Least Worst Solution
    
26. Interstitial Publishing: A New Market from Wasted Time
    
27. The Once and Future Ebook: On Reading in the Digital Age
    

According to our ecommerce data, several hundred of you have "purchased" the free ebook. I'm thrilled there's so much interest -- this is definitely something we'll be looking to do again with this and other conferences.

Best of TOC Collection Now Available as Free Ebook Bundle

Andrew Savikas
February 11, 2009 | Permalink | Comments (20) | Listen

Hit a glitch with the cover image, but the full ebook bundle (PDF, EPUB, and Kindle-compatible Mobipocket) is now posted for the Best of TOC collection (details on the content here). They're also shutting the Espresso machine down within the hour, so you can still try to grab a print one while/if they're available (no promises, sorry).

At TOC: Best of TOC Writing

Andrew Savikas
February 10, 2009 | Permalink | Comments (9) | Listen

One of my favorite books of 2007 was The Best of Technology Writing, edited by Steven Levy. We decided to try something similar for this year's TOC Conference, and over at the O'Reilly booth we have (hot off the Espresso Book Machine) the Best of TOC, a collection of writing from on publishing from around the Web:

It includes writing from TOC speakers:

• Bob Stein
• Kate Eltham
• Kassia Krozser
• Peter Brantley

... and more from around the Web, like John Siracusa.

Because all of the writing in here was born on the Web, it's full of hyperlinks, which we've presented in the print version as footnotes (done automatically, BTW). The shear number of links (there are more than 600 in 126 pages) illustrates how differently we write when it's for the web. Now that all writing is really writing for the web, it's important to both incorporate more links within the content you create, and be sure your print designs and workflow can easily accommodate those links in print (footnotes is one way, but not the only way).

For the digital/production geeks among you, we used DocBook XML and a customization layer of the open-source DocBook XSL Stylesheets. That means we can use the same source to get print, web-friendly PDF, and EPUB, here's a snippet of the source XML:

As soon as we can, we'll also make this available for free download, so don't worry if you don't get a copy from the booth. Thanks to all the writers who agreed to let us share their work.

Why You Should Care About XML

Andrew Savikas
September 25, 2008 | Permalink | Comments (26) | Listen

Since we began talking about the StartWithXML project, a few offline comments have come in suggesting that imposing XML on authors (and editors for that matter) won't work.

When framed that way, I'm in violent agreement. I would never argue that authors and editors should or will become fluent in XML or be expected to manually mark-up their content. I naively tried fighting that battle before, and was consistently defeated soundly. It is simply too much "extra" work that gets in the way of the writing process.

But there are several reasons why it's really really important for publishers to start paying attention to XML right now, and across their entire workflow:

• XML is here to stay, for the reasonably forseeable future. While it's always dangerous to attempt to predict expiration dates on technology, I think it's fair to assume XML will have a shelf life at least as long as ASCII, which has been with us for more than 40 years, and isn't going anywhere soon.
• Web publishing and print publishing are converging, and writing and production for print will be much more influenced by the Web than vice-versa. It will only get harder to succeed in publishing without putting the Web on par with (or ahead of) print as the primary target. The longer you wait to get that content into Web-friendly and re-usable XML, the worse.

Many in publishing balk at bringing XML "up the stack" to the production, editing, or even the authoring stage. And with good reason; XML isn't really meant to be created or edited by hand (though a nice feature is that in a pinch it easily can be). There are two places to look for useful clues about how XML will actually fit into a publisher's workflow: Web publishing and the "alpha geeks."

Web Analytics Primer for Publishers

Mac Slocum
September 2, 2008 | Permalink | Comments (3) | Listen

Web content allows for a level of tracking and analysis unseen in other forms of media, but I get the sense some publishers are a little hazy when it comes to the established analytic measurements. This primer touches on the main measures I've used in my own efforts, but it is not exhaustive. I encourage other analytics folks to chime in with their thoughts and techniques in the comments area.

A few notes before we get into it:

• Note #1: If you check stats religiously and you're a whiz with your analytics tools, this post will be elementary and quite dull. You're better off perusing the excellent conversations at Webmaster World.
• Note #2: The term "hits" was outdated in 1999. I won't be using it here and I implore you to avoid this word -- and anyone using it within a Web traffic context -- at all costs.

With that out of the way, let's dive in ...

Visits -- When you access a specific Web site, that counts as one visit. If you leave and return, that usually counts as a second visit. I say "usually" because most analytics tools use a timer. For example: If you leave and return to a site running Google Analytics within 30 minutes, one visit is logged. But if you return after 30 minutes, a second visit is added to the tally.

• Caveat -- "Visits" should not be equated with "people." Even with a timer in place, it's possible for a single person to rack up multiple visits to your site.
• Recommendation -- Track visits over a period of months, not weeks. Long stretches will reveal the overall growth of your site and your audience.

Unique Visitors -- Unique visitors represent individual visitors to your site (in theory). This is an important metric because it gives you a sense of your audience size.

• Caveat -- Analytics tools rely on cookies to track unique visits, but cookies can be deleted or rejected by the user. There's also no way to differentiate between people using the same Web browser. Public terminals, lab computers and family PCs will all register as single users.
• Recommendation -- Limits on privacy (a good thing) and technology (not so good) prevent analytics tools from achieving the 1:1 visitor tracking utopia. For the foreseeable future, the unique visitors metric offers the best approximation of audience size. Just make sure bosses and advertisers understand the limits.

Page Views -- A page view represents a single view of a single page under a certain Web domain. If you click to another site and then click back to the original site, you'll log another page view. If you refresh the page you're viewing, another page view will be counted.

• Caveat -- A single visitor can log dozens of page views, especially if they've got an itchy refresh finger.
• Recommendation -- Page view figures should be used for general analysis. Their real value comes from the manual parsing of page view data. Close examination will reveal popular pages and topics, which can help guide future editorial efforts.

Pages Per Visit -- The Web's built-in context makes it possible to attract visitors with one piece of content, then present them with additional material on the same site through related links, embedded links, recommendations, etc. A high pages per visit average (3+ pages is quite good) means visitors are interacting with your content. A low average means visitors are viewing one page and quickly moving on to other sites.

• Caveat -- Want to see how the pages per visit average can be manipulated? Visit any major media site and look for the photo galleries. Placing a single photo on a single page and then encouraging users to click the "Next" button is an easy way to boost the pages per visit number. Pages per visit is also influenced by traffic spikes. If you receive an inbound link from a popular recommendation site (Slashdot, Digg), you'll likely see a huge increase in page views but a dramatic drop in pages per visit. Most visitors from these sites look at one piece of content and then move on to the next popular destination.
• Recommendation -- Like most analytics measurements, the pages per visit average should be examined over multi-month stretches. Traffic spikes should be disregarded -- not ignored outright, just disregarded in this case. If you see the average go up by a full page over the course of 3-6 months, you're doing something right.

Average Time on Site -- The more time users spend on your site, the more you can assume they're engaged with your content and your brand ... and your sponsors' brands. Given the hyperactive nature of Web browsing, holding visitor attention for a full minute or more is considered a success.

• Caveat -- As the Google Analytics FAQ notes, some visitors leave unattended browser windows open. Analytics tools make no distinction between an engaged viewer and a distracted viewer with messy browsing habits.
• Recommendation -- Analysis over a multi-month period is the best use for this measurement (sound familiar?). Consistent growth = good. Consistent decrease = bad.

Again, this primer is the tip of the analytics iceberg. There are many related topics worth further discussion and inquiry, including search engine optimization and Web advertising models.

There's an interesting shift that's also worth monitoring. Some publishers are looking beyond site-based statistics to gauge their overall reach across social networks, recommendation engines, RSS, mobile applications and other distributed platforms. Douglas McLennan, the founder and editor of ArtsJournal, touched on this topic in a recent interview:

I've come to the realization that ArtsJournal is not just a Web site anymore. Only 25 percent of our users ever come to the Web site, the rest get it through newsletters. We have 35,000 newsletter subscribers. Others get ArtsJournal through "newsbeats" that we provide on other Web sites. Some people get ArtsJournal through RSS feeds. In the course of an average day, there are 45,000 to 50,000 visitors -- people who use Artsjournal every day. The unique visitors per month is probably 250,000. We probably get 500,000 to 600,000 visits a month and a few million page views. So ArtsJournal is not huge by the scale of large Web sites, but it's substantial.

We may eventually see Q scores -- or a variation on that concept -- integrated into future analytics toolsets.

Related Stories:

• Google Analytics FAQ
• About.com: "Web Analytics Basics: Learn to Measure Your Web Site"
• Avinash Kaushik: "Data Quality Sucks, Let's Just Get Over It"
• Matt Belkin: "Unique Visitors or Visits - which metric should you use?"
• Joe Wikert: "The Booksquare on ePublishing"
• TOC DVD: "Search Engine Optimization for Book Publishers"
• Digital Experiments and Useful Analytics Must Go Hand-in-Hand

Q&A; with Developer Who Turns Ebooks into iPhone Applications

Mac Slocum
August 21, 2008 | Permalink | Comments (4) | Listen

Ebook files and e-reader software usually exist as separate entities, but Tom Peck of AppEngines merged the two to create individual ebook applications for the iPhone App Store. In the following Q&A;, Peck discusses his ebook software development process, consumer response to his apps, and future ebook projects.

Why did you opt to bundle individual ebooks as software applications rather than create a single e-reader program?

I have been reading ebooks (mostly from eReader.com) for many years. I wanted to make a book reader program for the iPhone that was as simple to use as possible. I feel that the way existing ebook solutions work is too complex for many users: they have to download the ebook software, then go to a separate Web site and create an account, enter credit card data, and then find and purchase content.

The iPhone App Store sales and distribution process makes it simpler and more convenient to have an ebook reader as part of an ebook itself. Developers can only distribute applications through the App Store; there is no way to distribute data files like ebooks. Therefore, it made sense to me that each book had to be a complete application.

Although this is more convenient for App Store customers to get a book, the process of making each book into an app takes more time for development. Each book becomes its own Xcode project, requires testing, and requires time to load all of the data (descriptions, screen shots, application file) to the App Store. I have developed tools and techniques that automate as much as possible, but each book takes several hours to complete, not counting the many hours spent writing the ebook reader itself.

Have you used any of the e-reader applications available through the App Store (e.g. Stanza, eReader, etc.)? If so, how do these compare to your own apps?

I have used the eReader software. I am a long-time eReader customer, having purchased dozens of their books and read them on my Treo. I have not used Stanza.

The biggest difference is that those products let the user download content from the Internet. Some let users create their own content and download it to the iPhone, which is nice. My reader is purely a book reader.

The eReader app supports a bookshelf list, showing all the ebooks. With my apps, each ebook appears as its own icon on the home screen.

My current reader program compares nicely to eReader. At the moment, I do not support landscape mode, which eReader does. Both offer text search and table of contents. I admit that the search function in my first batch of books was not very usable; newer books have a much better implementation, even better than eReader's. Both programs support different font sizes, images embedded within the text, layout options such as indenting and centering, and font styles.

One feature my reader has is instant repagination when the user changes font size. Using my reader, the user can increase or decrease font size using the "pinch" gesture, similar to zooming in and out of photos, and the results are immediate. I spent a lot of time to make this very, very fast. Changing the font size in eReader requires the program to repaginate in the background, a process that can take over 30 seconds for the entire book.

How many ebooks have you made available through the App Store?

Currently, about 140. More are in the pipeline; all newer, copyrighted works from other publishers and authors.

What has the response been like?

Response has been very good. My current download numbers for all books (not counting several free books) is almost 1,000 books a day. The numbers per book vary day by day, with some books having as many as 50 downloads a day. Most of the public domain titles have counts around five per day.

Most encouraging are that the newer works are selling just as well as the classic stuff. iPulp, a publisher of science-fiction and adventure short stories for young adults, has four works in the store right now with six more in review. These are priced at $0.99 and $1.99 and have sales of about 10 per day. The two Max Quick novels sell for $5.99 each. Currently they are selling about 13 copies per day and the numbers are increasing (they've been in the store for less than two weeks).

Are you selling ebooks or ebook applications through other platforms?

Right now, I am only working with the App Store. I am watching to see what other cell phone vendors and carriers do. As some of your blog postings have noted, the success of the App Store is making other carriers look at copying Apple.

I have spent time with Google's Android platform and have a version of the ebook software that runs on Android.

How much of your ebook content comes from Project Gutenberg?

My initial group of books, about 110, were all from Project Gutenberg. I constantly get requests from customers to add new books, so I have added more Project Gutenberg stuff. Now that I am working with publishers and authors to produce their works as ebooks, I will focus primarily on new works.

Can you list some of these publishers/authors? How did your relationships with these publishers and authors come together?

In the store now are a book on computer security by Neal Puff and a memoir by Teresa Wright. All relationships came about because of my presence in the App Store with the initial set of ebooks. I've been contacted by small publishers and individual authors to turn their works into ebooks for the iPhone. I work with them to get the content in an appropriate format, get the various graphic elements (cover art, icons, etc.), produce the ebook app, have them review the app, and put the app into the App Store.

Do publishers pay you a flat fee to prep App Store titles or is it a revenue share?

Revenue share.

Did you anticipate this type of publisher response?

I was a bit surprised at how quickly publishers contacted me. I thought I would have to market to them.

Are there other content sources or types you'd like to incorporate?

One publisher I am working with offers textbooks. That would be an interesting type of content. A textbook could take advantage of the ebook being a standalone app, offering more interactive content for quizzes that would appear within the book.

Some App Store reviewers complain that you're making money off of public domain content. How do you address these complaints?

The Project Gutenberg license clearly allows people to sell works based on the Gutenberg files. I am following the license, and I do send 20 percent of the revenue earned to the Project Gutenberg Foundation. Mobipocket, eReader and Amazon Kindle all sell public domain works for much more than $0.99.

Each book requires a lot of manual work. The Project Gutenberg text files are a good starting point, but I have to edit each one to add information about chapter starts, poems, songs, emphasized text, etc. Many files have extra data like page numbers that have to be cleaned up. I tried to automate this part, but there is so much variety in the files that only hand editing can get the correct results.

Since your ebooks are applications, and iPhone apps are stored on the device's docking screens, is there a concern about clutter? Do you have any organization tips for people who buy multiple ebook apps?

I would say that this is a general problem with the iPhone Home Screen user interface. iPhone blog sites describe users with 100 apps or more on their devices, and finding a specific app can become a problem.

iTunes does allow users to selectively install apps on individual devices. This is probably the best way to deal with lots of apps: for users to only install the apps they need, and keep the rest on their desktop machine. Personally, I tend to read about two books at a time, then I remove them from the device when finished.

What near-term features or products are you planning?

I am working on a new version of the reader software that adds many new features: bookmarks, notes, landscape mode, etc. Once completed, I will re-release all existing books with the new features. Customers will get the updates for free.

I also am working on several non-ebook iPhone apps.

Related Stories:

• iPhone Apps Developer "Shell Shocked" by Outsized Payday
• Books Fail to Crack Top 100 in iTunes App Store
• Treating Ebooks Like Software
• Survey of Book Industry Reaction to New iPhone and App Store
• Open Question: Should Publishers Develop Software Apps?
• Commentary: Apple Could Own the Ebook Category

Reinventing the Book and Killing It are Separate Things

Mac Slocum
August 11, 2008 | Permalink | Comments (0) | Listen

Richard Cohen has a bone to pick with Amazon, the Kindle, digital books, and anyone who threatens the welfare of bookstores, children and unknown literature. From Cohen's Washington Post column:

... over at Amazon they are inadvertently thinking of ways to make the world worse for children and for the grown-ups who love them to pieces. What Jeffrey P. Bezos, Amazon's founder, wants more than anything is to do away with the book as we know it. "Jeff once said that he couldn't imagine anything more important than reinventing the book," said Steven Kessel, one of Bezos's top guys. Kessel is in charge of digitizing everything in sight.

Nothing more important than reinventing the book? Not ending world hunger? Not taking Rush Limbaugh off the air? None of these? What's wrong with the book? I understand that it's bulky and expensive to ship and that it entails the consumption of paper, which is probably not green, but then what is? The book has been around for a very long time (Google the exact number of years, please), and I love it so.

Cohen's column adheres to the "book lover overreaction" we've discussed previously. Market forces and changing consumer tastes may indeed signal the end of traditional bookstores, and that's something to lament and fight against. But this idea that digital books have been set loose by entrepreneurial masterminds -- diabolical sorts intent on destroying the print universe -- is overwrought. "Reinventing" the book is not synonymous with "killing the print book." Digital books are nothing more than alternative delivery mechanisms for content. Their intent (if ebooks can have intent) is to expand choice, not eradicate the printed volume.

I can't tell if Cohen is saying goodbye to print books or bookstores or some combination of the two. His column is clearly a cathartic exercise, not a market analysis, but the association he seems to make between a downturn in bookstores and the rise of digital books is incorrect. Bookstores are in decline partly because consumers are purchasing their core product -- print books -- through online retailers like Amazon. Ebooks may eventually achieve widespread adoption and, by extension, lead to the shuttering of traditional bookstores, but that's not currently the case.

(Via Shelf Awareness)

Related Stories:

• Joe Wikert: "No, Amazon Doesn't Want to "Do Away with the Book as We Know It"
• Ebooks and Print Books are Not Mutually Exclusive
• Buy Where You Shop
• What if Ebooks Were the Dominant Platform?
• Open Question: When Will Digital Books Overtake Print Books?

Web Community Management Tips

Mac Slocum
August 4, 2008 | Permalink | Comments (3) | Listen

Whether intentional or not, Bob Garfield from NPR's "On the Media" reopened an old wound when he questioned the need for user comments on newspaper Web sites.

The "comments issue" is polarizing. Die-hard community advocates believe comments are an integral part of the online experience. Detractors draw a straight line between user comments and the apocalypse. It's a contentious topic with very little middle ground.

For our purposes, there's no point in looking at all the arguments and counter-arguments. The comments debate has been going on for at least 10 years (much longer, if you count Usenet), and it will persist as long as trolls continue to lower the conversational bar. That's just the way it is.

However, this latest flare up offers an opportunity to redirect the focus to some of the time-tested best practices for managing Web communities. Derek Powazek (whom we recently interviewed for an unrelated piece) offers an excellent starting point with "10 Ways Newspapers Can Improve Comments," and Cory Doctorow's "How To Keep Hostile Jerks From Taking Over Your Online Community" is also recommended reading.

I've also picked up a few bits of wisdom from my own experiences as a community manager:

1. Nurture the Good -- The majority of people want to do the right thing. They want to engage in fruitful and fulfilling conversations. They want to build and protect special communities. These are the people you focus on.
2. Push Trolls to the Margins -- All popular communities will eventually suffer through a troll infestation. The trick is the minimize a troll's impact by not taking the bait. Moderators should never engage in a public argument, and key community members should be encouraged via private messages and back channels to ignore troll attacks. A marginalized troll is a useless troll, and they know it.
3. Share Ownership -- I focused on inclusiveness in my first community because I was unsure about my own voice and opinions. In a serendipitous twist, the "we're all equal and we're all in this together" perspective led to a shared sense of ownership. It took a while for folks to buy what I was selling, but a consistent focus on collaboration and equality eventually led to individual responsibility and effective self-policing. I've used this same technique on subsequent communities and the results have always been positive.
4. Calm by Example -- Experienced community managers know that the Web is a fickle place; today's egregious opinion often evaporates within a matter of days. A measured community manager allows fiery debates to run their course without spilling out of control, and on those rare occasions when guidance is required, a calm force is far more powerful.

What community tips do you have? Please share your thoughts in the comments area (unless you're a troll).

Related Stories:

• BuzzMachine: "Open Letter to Bob Garfield"
• Gawker: "Why Newspapers Shouldn't Allow Comments"
• New York Times: "Malwebolence"
• Techdirt: "You Don't Build Communities, You Enable Them"
• Readers Already Picking Up the Interactive Slack

POD Opens Door to Magazine Experiments and Customization

Mac Slocum
July 28, 2008 | Permalink | Comments (0) | Listen

MagCloud is a new print-on-demand (POD) service targeting the magazine industry. In the following Q&A;, MagCloud consultant Derek Powazek -- co-founder of JPG Magazine and founder of Fray -- discusses the utility of POD and the evolving relationship between print and Web content.

How did you get involved with MagCloud?

I came into the project over a year ago -- it had been percolating in HP Labs for a long time before that, led by Andy Fitzhugh, Udi Chatow, and Andrew Bolwell. Andy is the one who brought me in. We had this meet and greet lunch to talk about the future of publishing and it turned out we had the same vision. He kept saying, "Right, now push that further."

When did you first encounter POD?

Years ago, when Heather [Champ] and I were exploring ways to make a photography magazine, Lulu was really the only game in town. We learned so much creating JPG there, and starting with a POD service allowed us to experiment, develop the voice and vision of the magazine, and build an audience. I think it's a very natural way to start a magazine.

How did you gravitate toward a POD model for magazines?

It's all about the Giant Pile. I've worked on a lot of newspaper and magazine projects, and they all had one thing in common: A huge print run, followed by the slow, terrible realization that you've gotta get rid of all that paper.

POD banishes the Giant Pile to the dustbin of history where it belongs. Because, with a POD system, you don't print it until somebody wants it. It avoids the pile. It avoids creating trash (70 percent of all magazines are never bought). It brings some of the elegance of the Internet to this very old industry.

But mostly it was just a financial decision. Heather and I weren't out to become publishing magnates. We just had an idea that we thought people would like. We wouldn't have been able to do it at all if not for POD.

What types of magazine publishers (large, small, individuals, etc.) are best suited for MagCloud?

I think that magazines are about nurturing a community. If you look at the most successful magazines (Rolling Stone in the '60s, Wired in the '90s, Make now), they've always been the ones that surfed the zeitgeist. They found a growing community of people and reflected it, and in that reflection, began to lead it for a time.

But if you tell people in the publishing industry that they're really in the community business, they'll say "shut up, hippy" and go back to monetizing their audience metrics.

So the trick is to find those niche audiences that need a voice. And there are a lot of them. And the truth is, they know who they are better than we do. So, with MagCloud, the idea is to open up the tools so that those communities can create their own magazines. We think they're going to make amazing things.

Do you see larger magazine publishers eventually moving to POD, or will this be a niche option?

Not only do I think that large magazine publishers will move to digital printing, but I think that the idea that we used to print millions of things that were exactly the same will someday be seen as a cute historical artifact. "You mean every copy of this magazine was the same for everyone, Grandpa? Weird!"

For the biggies, it's just a matter of economics. As soon as the price per page for printing on digital is cheaper than traditional offset printing, the biggies will move. The quality of POD is already the same or better than offset.

It'll start with smaller publications because they're the most agile, and they don't see the real price savings of scale anyway. Right now, if you're printing a few thousand copies, digital printing is the same cost as traditional offset. (I've been wrestling with this for Fray.com -- we're right at the cusp. Our first issue was printed via traditional offset, but issue two will be printed with MagCloud.)

And once magazines move to POD, they'll realize it opens up opportunities they never had before. When you can really tailor each issue for each subscriber, what will you do? Exciting, huh?

Book publishers often focus on the short-term elements of POD, most notably POD's higher cost per page. Some industry folks try to cite the long-range benefits, such as efficiency, higher retail prices via customization, etc., but the per-page discrepancy continues to be a sticking point. Have you encountered similar obstacles on the magazine side?

Magazines are a better fit for POD because, unlike books, they're usually all color and timeliness is much more of a factor. Plus, the price per page for digital print is falling fast, while the price per page of traditional offset has remained very steady. Still, the exciting part is all the opportunities digital printing enables. Ultimately, POD services like MagCloud will enable a degree of customization that is not only cheaper, but just plain impossible to do via traditional means.

Beyond strict numbers, what do you see as the upside to print editions? Does a print product carry a higher level of esteem for a writer or consumer?

I love the Web. I think it's still a publisher's dream come true. But, inconveniently, we humans are still real world creatures. And no matter how much connectivity blankets the planet, and how good our devices get, there will still be a role for print.

I don't say this because I'm some ancient technology fetishist. I don't own a tube amp. I sold all my CDs. It's just that print is a really good delivery mechanism for some kinds of experiences. Reading a physical magazine is a different experience than surfing hypertext online.

And, yes, I think the scarcity of print does give it a higher level of importance for its creators and consumers. On the Web, where every page is just a click away from any other, there's no relative importance communicated. But in a magazine, you know that a team of writers and editors picked this story to go here. That has a profound effect on how that media is consumed.

Related Stories:

• HP Indigo On-Demand Digital Presses
• Open Question: What is the Best Use for Print on Demand?
• Magazine POD Service Looks to Help Publishers Experiment
• Time Inc. Prepping Mix and Match Magazine Service
• Budding Authors Use Espresso Book Machine to Publish

Ebooks and Print Books are Not Mutually Exclusive

Mac Slocum
July 16, 2008 | Permalink | Comments (0) | Listen

Ebook discussions invariably lead to the "tactile experience" counter argument. Many folks love the sensory associations of a printed book, and they'll defend those feelings vociferously -- even when no one is challenging them. The simple suggestion that an ebook could offer functionality beyond the scope of a printed book causes some book lovers to pull up the castle gates and light the moat on fire.

But here's the odd thing: A small group of bleeding edgers believe print's demise is imminent, but in many more instances the people taking a pro-ebook stance are also fans of printed books. They're not looking for printed books to go away, rather, they want to consume content in the best possible format for their particular needs.

I've witnessed a number of lively discussions in which the sensory argument overwhelms a broader analysis of future reading behaviors, and that's where the problem lies. In each case, the print defenders run through the "sensory checklist":

• Reading in bed
• Reading to your children
• Slowing down, sitting down, curling up ...
• Holding, feeling, smelling, experiencing ...

All of these are excellent print book defenses, but each is a counterpoint to debates that were never raised. The bigger conversation -- and something that often gets pushed to the back burner -- is about the reading ecosystem. Print books, ebooks, Web sites, mobile and whatever emerges down the road are merely conduits for content. Unnecessary defense of one format of another obscures the opportunity to customize and improve the reading experience on a title by title and consumer by consumer basis.

Sara Nelson summed up this same idea in a recent column:

... the e-worriers are, I predict, way wrong, just as those who worried that audiobooks would supplant "real" books, and DVDs would demolish cinemas were wrong. Sure, there is some cannibalizing and crossover, but just as there are certain books you would rather listen to than read (and vice versa) and some movies you'll rush to the theater to see, there is room in the world for another way to enjoy written narrative.

Related Stories:

• Open Question: When Will Digital Books Overtake Print Books?
• Ebooks: False Sense of Security for Publishers?
• Treating Ebooks Like Software
• What Would Your Ideal E-Reader Look Like?
• Ergonomics and Ebook Success

Treating Ebooks Like Software

Mac Slocum
June 5, 2008 | Permalink | Comments (3) | Listen

Peter Kent, DNAML's senior vice president for U.S. operations, brings a software-centric perspective to ebooks. In the following Q&A;, Kent discusses the merits of in-book transactions, affiliate marketing, and other digital initiatives that can benefit book publishers.

Q: In your presentation at last month's IDPF Digital Book '08 you discussed treating ebooks like software. Do you feel the software model is directly related to ebooks, or are there specific aspects of the software model ("try before you buy" trialware, download ebooks through multiple outlets, etc.) that are more in line with ebook/publishing goals?

Not sure of the distinction you're making here. I think that there's much about software distribution that applies to ebooks, and why not? Ebooks are, of course, pieces of software. In particular, providing ebooks in a trialware format makes a lot of sense, and is a proven model. That's why Amazon let's people view a portion of a book, that's why Barnes & Noble likes having people in their stores hanging out reading. And of course, download through multiple outlets makes a lot of sense, too. Why wouldn't you distribute your products as widely as possible? If trialware works -- and it does -- then you naturally want as many people as possible to get the books in their hands. The large, established publishers are going to have a shock when they see the new book-distribution world. It's no longer a gentleman's game in which everyone hands over their books to a bookstore, and then they all compete on the same level. In the future the more aggressive publishers are going to go out and find book buyers even before the buyers have thought about buying!

Q: Do publishers focus too much on the "book" aspect of ebooks? Would a shift toward a file/software perspective open things up?

Some do. The more advanced publishers understand what's going on, but I do think there's still a bias toward the old method of distributing books: give your books to a retailer who puts the books on shelves. Certainly up until recently most publishers have had the idea in their mind that in order to sell ebooks they have to create the ebooks and then give them to Amazon and other retailers to sell. Little thought has gone into new methods of distribution. What may save the publishers is that new distributors will come on the scene: distributors who understand the new landscape and go out and push the books.

Q: Are ebooks available through sites like Download.com, Tucows.com and other software-specific hubs? If not, should they be?

You can already find ebooks in many software download sites, though most do not yet have specific ebook categories. ZDNet's download site doesn't have an ebook category, for instance, though it does have an ebook "tag." Download.com has a music category and a games category, why wouldn't they have a book category? Of course they will eventually, as more and more books become available. But one thing holding back the creation of ebook categories is that only free books, or trialware books, will fit. Once books from major publishers are commonly sold as trialware, you'll see the download sites pay more attention.

Q: What about ebook availability through P2P sites/mechanisms, such as BitTorrent?

Trialware books are perfect for this form of distribution.

Q: In your conversations with publishers and others in the industry, do you feel most people understand the basics of internal ebook transactions and affiliate tagging? How do you describe these concepts to newcomers?

Most publishers haven't the slightest idea about this. When I ask publishers "do you know what affiliate marketing is?" I typically get a response such as "um, well ...". So if they don't understand what affiliate marketing is, they certainly don't understand affiliate tagging. This isn't true of all publishers; Harlequin, for instance, is really good at online marketing, and certainly understands affiliate-marketing well.

So, how do I explain these things? Well, by internal transactions, I mean that each ebook is its own shopping-cart system. You reach a point inside the book that you cannot get past without paying. You enter your credit card information into the book itself (though the actual form is retrieved from a server so, for instance, the book price can be changed at any time), and when you submit your card and it's approved, the server automatically unlocks the book, so you can continue reading.

As for affiliate tagging, this is the ability to add a code to each book you distribute -- one code for each specific distribution channel -- so the publisher or distributor knows where that book came from. If you distribute through Web Site A, 10,000 people download the book, and 500 buy it, you know that those 500 people came from Web Site A. If you put the book in a magazine insert, 100,000 people buy the magazine, 10,000 copy the book to their computers, and 500 buy it, then you know that those 500 customers came from that particular magazine insert. Thus you can pay the right company the required affiliate commissions.

So these two components, along with the ability to partially lock a book, allow you to create trialware books -- try-before-you-buy books -- that can be distributed widely, through many different channels.

Q: Is there an opportunity for competing publishers to generate affiliate revenue by selling other publishers' books?

Absolutely! Books can be bundled within books -- certainly our DNL format allows this -- so a publisher might bundle several locked books at the end of the book. Those books might belong to the publisher or, in appropriate cases, from another publisher. In particular, of course, small publishers could benefit from these sorts of relationships with other publishers.

Q: What is the upside of "try before you buy" in ebooks?

A try-before-you-buy book with built-in transaction processing, and built-in affiliate tagging, opens up a whole new world of distribution options. All of a sudden, the book can go anywhere. Sell computer books? Talk with computer manufacturers about putting your books on the desktop of every new computer sold, and talk to software manufacturers about bundling the books in their software downloads. Sell photography books? Put them on the software CDs inside digital-camera packaging. Sell wine books? Give away try-before-you-buy books on wine Web sites. Science fiction novels? Give books away on fan sites. Those three things -- try-before-you-buy, internal transaction processing, and affiliate tagging -- free books from ecommerce Web sites, and provide almost limitless marketing opportunities.

Q: What viral/social aspects does your company include in ebooks? (Email to a friend, etc.)

We include Email-to-a-Friend, of course. If you try a book, like it, and buy it, that book is now unlocked. But if you email it to a friend or colleague, when it lands on the recipient's computer it's now locked. Word of mouth is hugely important in book sales; it always has been. Email-to-a-Friend is essentially a modern-day word-of-mouth feature. We also allow people to share notes. Members of a book club could highlight areas of the books, add notes, then email the highlights and notes to each other. Members can import these things, and see who said what based on the name at the top of the notes.

Q: Are ebook giveaways useful?

Of course. Companies such as Harlequin use giveaways to build interest. I think, though, that these giveaways will get more sophisticated, as publishers learn more about try-before-you-buy books. For instance, if you're giving away a book, you're hoping that the reader will come to your site and buy another one at some point. But why not create a giveaway book, a single file, that includes a book for sale at the end of the free book? Or several books from which the reader can choose?

Q: Do you recommend user tracking and registration? How in-depth should this tracking/registration be?

Of course you want as much information as possible; we're in business, after all, so we need to create relationships with buyers. Amazon does this. I like to point out to publishers that someone owns the relationship, it's just not them. If you sell photography books and someone buys one of your books through Amazon today, tomorrow Amazon will start promoting other photography books to this buyer. Some of these books will be yours, perhaps, but most won't! So Amazon's tracking, and Amazon's benefiting. Publishers are going to learn to do the same for themselves, and some already are.

Related Stories:

• This Way to the Egress, er, Ebooks
• Author Notes Risks and Opportunities in Free Ebooks
• Open Question: When Will Digital Books Overtake Print Books?
• Commentary on Penguin's Missed Ebook Opportunity

The Pitfalls of Publishing's E-Reader Guessing Game

Mac Slocum
June 3, 2008 | Permalink | Comments (3) | Listen

A parlor game is working its way through the publishing industry: "Guess E-Reader Sales."

Neither Amazon nor Sony will reveal sales figures for Kindles or Readers, so publishing professionals and prognosticators are relying on ambiguous data -- e.g. financial line items, or the amount and tone of user comments on the Kindle's Amazon listing -- to squeak out guesstimates.

Parlor games are generally innocuous, but two short paragraphs in the New York Times' BEA roundup touch on the competitive disadvantages stemming from e-reader ambiguity:

But neither Amazon nor Sony will say how many of their products they have sold, making it impossible for publishers to assess the size of the market or for bookstore owners to evaluate the threat.

One publisher estimated that Amazon had sold roughly 10,000 Kindles, while another estimated that as many as 50,000 electronic-book readers of all types are in general circulation. But both publishers, who spoke on the condition of anonymity, said that those figures were little more than educated guesses. [Emphasis added.]

Again, this guessing game may seem harmless on first blush, but closer inspection reveals three business pitfalls bubbling beneath the surface:

1. False response through vapor messages: Amazon's two recent Kindle "announcements" (here and here) are intricately developed statements, each of which requires second and third looks to realize there's no "there," there. Combine these official announcements with customer comments and sales guesses already in circulation, and soon we're all amplifying messages that don't actually exist. Meanwhile, Amazon receives attention without ever showing its hand.

2. As the Times notes, ambiguous threats are impossible to evaluate: The default response to closely guarded sales figures is to assume those figures are low. But the longer the e-reader guessing game goes on, the easier it becomes for imagination and fear to creep into the equation. These emotional responses, if taken to an extreme, may actually hinder publishers from developing their own digital gameplans.

But there's a flip side to extended ambiguity: If/when Amazon and Sony ever reveal reliable information, publishers might breath a sign of relief because they finally know what they're dealing with. The anxious shuffling we're currently witnessing could finally turn into definitive business strategies -- and this is a prime reason why we may never see hard data from either of these companies.

3. The distraction component: All this talk about Kindles and Readers and the impending doom heralded by electronic formats distracts everyone from the larger digital issue: It's not the device that matters, it's the platform.

Making books available in digital formats ("the platform") is vital to sustained and future growth because digital is both a way to take advantage of current devices like the Kindle and the Reader, and it's a way around hardware lock-in. Popularity defines the power of a content device (this is why the iPod is infinitely more powerful than the Zune), but if a content provider cannot accurately gauge popularity, then the focus needs to elevate to a broader level of analysis: How can my company take advantage of digital as a whole? How can we best position ourselves to adapt if/when the electronic book tipping point emerges? How do we make the platform work for us?

Distraction from these core questions makes it easier for a third party to swoop in and grab the platform itself, which, as we've seen on the music side, is where the real power lies.

Related Stories:

• OUP Blog: "How I Realized that Amazon's Kindle and Sony's E-Reader Were Exceeding Sales Estimates"
• Amazon: Kindle Owners Buy More Books
• Kindle Bits: Price Drop and Rough Title Sales Figures
• An Educated Guess at Kindle's Impact
• Amazon Ups the Ante on Platform Lock-In

Content Owners and Consumers Need Digital Quid Pro Quo

Mac Slocum
May 28, 2008 | Permalink | Comments (1) | Listen

Recent comments from Jeff Gaspin, president and chief operating officer of NBC Universal Television Group, illustrate the one-step-forward / one-step-back mindset plaguing mainstream media organizations.

First, the step forward:

On-demand viewing is a key component of the increase in viewers, Gaspin asserted. "I believe the ability for consumers to sample content elsewhere, whether it's VOD [video on demand], DVD or [online] streaming, helps build a new fan base. So when hit shows come back, I believe more people come back than in prior seasons. That has all contributed to growth in cable."

Using VOD and other technologies to increase awareness and woo viewers to an established platform -- such as a TV show -- is a progressive perspective. Incorporation of VOD and online access also builds good will with consumers because it works with their usage patterns, rather them forcing them into specific programming at specific times.

But then there's the step back:

"I think it's [VOD] a smart offering for the [cable] operators and for us," Gaspin said. "But a couple of things have to happen: Fast-forward has to be disabled, we have to have dynamic ad insertion, and we have to have legitimate measurement of the viewership."

Flexible advertising and reliable measurement tools are reasonable requests, but disabling the fast-forward button contradicts the consumer-friendly perspective in the first quote (hence, "step back"). Granted, the same article containing the Gaspin quotes also notes a VOD pilot program that disabled fast-forward and was still well received among consumers, but the overall inconsistency in these messages is what's troubling. Gaspin seems to understand the value of consumer empowerment to an extent, but the old command-and-control mindset creeps back in when it comes to the details.

That said, the success of digital efforts -- whether it's video-on-demand, online access, or distribution of free ebooks -- does require concessions from content owners and consumers. But these concessions need to be marked by consistency. If a content owner, such as NBC, wants to use VOD to drive viewers back to its primary platform, then the VOD material should have all the functionality consumers have grown to expect (i.e. keep your paws off my remote ... and my computer ... and my e-reader). But in exchange for easy access and availability, consumers shouldn't be offended by in-episode advertising, visible sponsorship branding, or requests for demographic data (with opt-out options, of course). Ultimately, a reasonable amount of quid pro quo -- defined by consistency -- allows both sides to take advantage of digital platforms.

Related Stories:

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• Web Community Lessons from Stephen Colbert
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• The (Online) World of the Economist
• New Publishing Models

Storytelling 2.0: Alternate Reality Games

Liza Daly
May 21, 2008 | Permalink | Comments (2) | Listen

Publishers are experimenting with an emerging form of interactive entertainment known as Alternate Reality Games (ARG). ARGs are mediated by the Web but they also extend into the real world, with players traveling to physical places and interacting with game characters via email, text messaging, Twitter, and even "old-fashioned" telephones.

I spoke to the founders of ARG design firm Fourth Wall Studios, the company that created the first publishing ARG, Cathy's Book. I wanted to know if ARGs are a viable form of commercial storytelling, if they can be packaged up after the experience has ended, and if they can engage with a wider audience beyond hard-core gamers.

Q: Do you think the high level of engagement required of an ARG limits the audience? Is there such a thing as a "casual" ARG, that can be enjoyed in the spare moments between soccer practice and dinner time?

A: Elan Lee, Fourth Wall Studios Founder/Chief Designer: ARGs up until now have been like rock concerts. Thousands (if not millions) of people come together at one point in time to collectively experience something incredible. They have a good time, sing along, maybe buy a t-shirt, but when they go home to tell their friends about it, there's no action their friends can take other than to hope they don't miss the next one. The traditional ARG is an experience that exists between the start and end date of the campaign, and if you weren't there at the right time, you simply miss out.

To continue the metaphor, think of our games [at Fourth Wall] as ARG "albums" instead of concerts: something you can play when, where, and how you want. Ultimately, it is only through this "album" approach that this new form of entertainment is going to evolve into a mainstream genre of storytelling.

Q: Many ARGs have been developed as promotional tools for other media: music releases, films, TV series, video games, and now books. Is there a perception that ARGs have to be in support of something else, rather than entertainment themselves?

A: Elan Lee: ARGs have had their roots in marketing because frankly, at this early stage, that's a great place to find money. Marketers have a tougher job every day of finding ways to get their message heard above the noise, and they have a lot of money to throw at the problem. It's a great situation for both sides: marketers get to engage their audience in a way that attracts, involves, and maintains an audience around a product. ARGs benefit in that we get to run wild and ground-breaking experiments as we birth this new art form.

Also, at least in the case of Nine Inch Nail's Year Zero and Cathy's Book, the ARG elements were not conceived as marketing, but as an inextricable part of the content. An album or a book was the spine of the experience, but the work of art itself was conceived as an interactive multimedia whole.

Q: Cathy's Book was targeted at a young adult (YA) audience. Do you think YA is a strong market for this kind of interactive entertainment? Would it be possible to engage even younger children?

A: Sean Stewart, Fourth Wall Studios Founder/Chief Creative: Cathy's Book and the new hardcover, Cathy's Key, are designed to be first and foremost a fun (and funny) adventure story. We've added a lot of "fourth wall" elements -- you can call Cathy's phone number and leave her a message, investigate clues she doesn't have time to investigate or write to email addresses you find in the book and see what responses come back to you. Cathy even hosts a gallery where readers can submit their own artwork -- the best of which will be published in the paperback of Cathy's Key. The basic impulse behind this series is to make books -- a traditionally passive, solitary activity -- something with an active, social component as well.

"Fourth Wall" fiction -- experiences that play out at least partly over your browser, your phone, your life -- feels somehow very right for this new age; it's a kind of storytelling that arises naturally from the world of three-way calls, instant messenger, text messaging, and shooting a friend an email with a link to something cool you saw on the Web. To that extent, it's going to feel the most natural to the people most comfortable with that kind of wired world.

When I was in New York last year, meeting with the publisher of Cathy's Book, my 12-year-old daughter emailed me a PowerPoint slide deck, complete with music and animations, explaining why I should get her a Mac laptop for Christmas. Yeah, I think her generation finds interactive entertainment more natural than mine. And yes, I think it would be not only possible, but really effective to build interactive, exploratory stories for even younger kids -- but to do that, we need to get away from the traditional ARGs willingness to be confusing. Most people like to have some clue what the heck they are supposed to do next. It won't surprise you to learn that this is another crucial design issue Fourth Wall Studios has set out to solve.

Q: Reading is usually a solitary pursuit, but there's an almost universal desire to "live" in some genres, whether it's idealized period romances, spy novels, or detective stories (murder mystery parties, especially popular in the 1980s, illustrate this). How important are traditional fiction genres in ARG? Can there be an element of role-playing involved? Are there genres that haven't been explored yet that have potential?

A: Sean Stewart: The first paid writing I ever did, actually, was for live action role playing games and murder mystery dinner parties in the '80s. I never would have guessed that writing for those things would turn out to be extremely important training for me, but in fact the intersection of writing and theater, where you try to find ways for the audience to participate in the story, lies at the heart, I think, of the next evolution in storytelling.

We believe that immersing yourself in a world is a fundamental part of what makes fiction fun. Any time I follow a character -- whether in a Jane Austen novel or a "Matrix" movie -- I am imagining what that must be like. One of the biggest pay-offs in an ARG is that you don't just imagine a fictional world, as in a book, or see it, as in a movie: you actually inhabit it. When I read a Harry Potter novel, I get to go to Hogwarts vicariously; when I play an ARG, I get to go myself. I am finding Web sites on my browser, I am talking to characters on my phone: the world of the fiction has reached out to me.

That proposition, by the way, shouldn't be limited by genre. ARGs have often had a thriller/science fiction slant to them, but even inside our games we've done romantic comedies, spy plots, documentary-style slice-of-life experiences, tragedies, and even Westerns. Fourth-wall fiction isn't about a given genre: it's a set of tools and approaches for letting the audience participate in any kind of story.

Q: What happens when the game is over? Is it possible to package up an ARG as a complete work (whether online or in print) to be experienced linearly? Or is the experience meaningless without real-time participation?

A: Elan Lee: Here's where I'm going to try to get as much mileage out of the "rock concert" metaphor as I can. There is no denying the electric energy present at a concert and there is absolutely no substitute for "being there." However, there are only so many available seats per venue, and only so many venues you can play before exhaustion sets in (both for the artist and the audience). For ARGs to evolve into a mainstream form of entertainment, they must create their own version of "albums" to complement the "concert." Don't get me wrong, I'm not saying we have to find a way to put a package around these things and call it a day; I only suggest that both pieces of the experience must exist for the real potential of the form to be realized.

Related Stories:

• What Makes a Collaborative Writing Project Successful?
• Nabokov's Final Novel: The Perfect Mash-Up Source
• Do Publishers Have the Stomach for Innovation?

It's Time to Accept an Ambiguous Digital Fate

Mac Slocum
May 15, 2008 | Permalink | Comments (0) | Listen

"Digital transition" articles and discussions tend to fall into one of two camps:

1. The "change is inevitable and/or positive" camp -- These pieces are typically marked by an enthusiastic tone and broad generalizations about the rosy future of digital industries, but firm numbers and case studies are in short supply. (I tend to write and gravitate toward this camp).
2. The "path is murky; the money isn't there" camp -- Few of these stories fully embrace a sky is falling mentality, but they do plant themselves between the old rock (the current system is broken) and the new hard place (most digital business models aren't viable).

But lately I've noticed a third camp emerging amidst the discourse, and I think this one might hold the most promise: It's the "embrace ambiguity" position.

Chris O'Brien from Media Shift touches on this perspective in his report from the National Association of Music Retailers conference:

I listened hard for any obvious lessons or strategies that newspapers should consider, and I didn't necessarily hear any. Experiment wildly. Study the audience. Be platform agnostic. Embrace any format or device where users get their music. [Emphasis added.]

Not exactly a "Braveheart"-esque call to arms, but O'Brien's practical standpoint is thematically related to the forward-thinking "Valley of Death" concept developed by Michael Cairns from PersonaNonData:

The 'valley of death' is the graphic depiction of what will happen to your revenue line as you proactively make a transition from print to digital. If you are lucky, after 3-4yrs you will regain the revenue you had in the year before you attempted to transform your business. Ultimately, the business becomes stronger and more flexible in the manner in which the publisher can seek new markets and business development. It's just that the valley looks so horrible (and no one will make their bonus) that discourages the publisher.

I'm sure many people would place both of these excerpts squarely in the negative camp, but I see it differently. They share an undercurrent of reality -- a shoulder shrug toward acceptance -- that says, "If ambiguity is the best we can hope for, then ambiguity is what we'll work with." At this point, as Web revenue continues to find its footing and the path toward digital sustainability is still being built, an embrace of ambiguity is the best available option.

Related Stories:

• BISG Study: Publishing Experimentation Catching On
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Responsibly Assuaging Author Concerns about File Sharing and "Piracy"

Andrew Savikas
April 28, 2008 | Permalink | Comments (7) | Listen

Eric Freeman, co-author of O'Reilly's Head First HTML with CSS & XHTML and Head First Design Patterns, recently asked via email about a rise in activity for Head First books on a popular file-sharing site. His query sparked an interesting thread on the Radar back-channel that I thought worth sharing here.

The original question (sent to Tim O'Reilly, who passed it along to the Radar list):

Tim

Any thoughts on the rise of Head First titles (mostly HFDP and HTML) on Pirate Bay? I'm trying to just take it as a sign there is strong interest in the books still ;)

Hope all is well,

Eric

First to respond was Nat Torkington, who nicely summarizes the "Piracy is Progressive Taxation" argument (emphasis added):

Fantastic! There's absolutely nothing you can do about it, and unless you see sales dipping off then I don't think there's anything you *should* do about it. The HF books work really well as books, so at best the torrents act as advertisements for the superior print product (not often you can say that with a straight face). At worst most of your downloads are going to people who wouldn't have bought the book at cover price and who will, if they enjoy it, rave about it to others.

So long as the royalty checks are strong, take BitTorrent as a sign of success rather than a problem. A wise dog doesn't let his fleas bother him.

Nikolaj Nyholm followed up referencing Make Magazine's experience:

I agree with Nat. Tim, this is your own "my problem isn’t piracy, it's obscurity." PT [Phil Torrone] has made the argument that he tracks Make popularity based on number of seeders on Pirate Bay (correct me if i'm wrong, PT). However, I'm starting to see O'Reilly books in Poland, printed in China, but with a different cover. While it's a market that you probably wouldn't reach with their current buying power, it's something I'd look into nonetheless. I'll pick up a couple of books next time I'm there and bring them next time I'm stateside.

... and then Make's own Phil Torrone weighed in (again, emphasis added):

Yup - seeing your books / magazines on Pirate Bay is always a good thing - You're current, you're interesting, if you're lucky your content transforms in to advertising for other things - for Make, the magazines become a campaign for our kits and events.

Authors are rightfully concerned to see their work pop up on peer-to-peer file sharing sites (though on occasion they're the ones who put them there), but the answer should not be to reflexively seek to stop it (you can't anyway).

Related Stories:

• BitTorrent as a Book Publicity Tool
• Piracy is Progressive Taxation ...
• Do Publishers Have the Stomach for Innovation?
• How Do Publishers and Authors Get Paid in a "Free" World?

Ergonomics and Ebook Success

Mac Slocum
April 22, 2008 | Permalink | Comments (0) | Listen

Lee Gomes of the Wall Street Journal discusses the pleasant surprise of reading ebooks on his BlackBerry:

Your thumb doesn't fall off turning teeny-tiny digital pages thousands of times to get through even the most fleeting novella. In fact, the ergonomics almost beats that of books.

Some will argue that mobile screen sizes don't encourage extended ebook experiences, but there's something to be said for the convenience of flicking through pages with your fingers or zooming along on a track ball (or if you're old school, a click wheel). In fact, e-reader manufacturers might want to look at popular handheld devices for design inspiration -- and by "handheld" I mean anything that can be held in your hand, not just mobile gadgets.

Take the TiVo remote. In 2004, the New York Times did a feature story on this device:

Because of the nature of the TiVo video recorder, the remote is held for long periods as users continually choose shows to record, skip commercials, fast-forward and rewind recorded shows, rate programs by pressing the thumbs-up or thumbs-down buttons, and even pause live TV. Designing a remote that consumers would find comfortable was a high priority.

An e-reader doesn't have much in common with a TV remote, but that's not really the point. It's all about core use. The TiVo remote works because the oversized pause button -- embodying the essence of a DVR -- is impossible to miss. The iPhone works because the touchscreen gives you maneuverability in a small space, thereby narrowing the gap between a mobile device and a PC. And the BlackBerry works because the track ball lets you fly through menus and information. Moreover, each of these design elements is now second nature to users, so manufacturers can safely incorporate similar (not stolen; similar) functionality while avoiding user-interface re-education.

It could be that touchscreens and intuitively placed buttons/wheels/balls don't enhance the ebook experience (although I think they might), but the current insistence on meshing traditional books with ebooks isn't a design nirvana, either. As Gomes notes, the book-ebook connection isn't really necessary:

Until a few weeks ago, my assumption had been that a useable electronic book would need to resemble a Gutenberg book as much as possible, with, for example, pages of screen text about the same size as pages of print ... The Sony Reader, however, turned out to be a gateway device. Once you've experienced its great rush of convenience, choice and portability, you just have to have more. It's then that you cross the line and start downloading British novels onto a BlackBerry. [Emphasis added.]

If "convenience, choice, portability" and other core ebook attributes define e-reader hardware design, then the resulting ergonomics could be the key attribute that reinvents the established market.

(Via Teleread.)

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• BlackBerry Reading
• Why Amazon's Kindle Doesn't Light My Fire

Ebook Format Primer

Liza Daly
April 21, 2008 | Permalink | Comments (7) | Listen

The simplest solution, of course, is to partner directly with the ebook manufacturers and let them take care of the details. These partnerships must be drawn up for each new platform and publishers are at the whims of the device-makers' terms of use. Innovative publishers may want to first experiment on their own and be prepared to shift platforms strategically: this means ebook distribution must fit into existing workflows. Although some of the formats below support digital rights management, consider eschewing DRM in favor of flexibility and cross-platform support.

Let's start with the major devices first:

1. The Sony Reader primarily uses Sony's proprietary Broadband eBooks (BBeB) format for documents with DRM but also supports RTF and non-DRM PDF. Sony does not provide any official tools for end users to convert to BBeB although at least one unofficial open source tool can convert HTML to BBeB. The most flexible non-DRM formats are RTF and PDF. Microsoft Word can readily save to RTF and Microsoft offers detailed instructions on converting from XML to RTF, but pure open-source alternatives are not mature. XML to PDF conversion has stronger open source support but files may need to be specially tweaked for optimum display on the Reader.
2. The Amazon Kindle uses Amazon's proprietary AZW format, which supports DRM. There are no tools available to directly convert to AZW, but AZW is a wrapper around the Mobipocket format and DRM-free Mobipocket files can be read on the device. Mobipocket documents can be created using a free (but not open-source) tool called Mobipocket Creator. As if the format wars weren't confusing enough already, "Mobipocket DRM" is not the same as AZW, and files created as Mobipocket DRM cannot be read on the Kindle. Mobipocket Creator does have a "batch" creation mode which could be integrated into an existing workflow, but the software is Windows-only. The Kindle also supports HTML and Word documents, but not PDF.

Specialized readers aren't the only way consumers may be viewing ebook content. Ultra-portable laptops like the Eee PC and OLPC XO are price-competitive with standalone readers. (I have an OLPC and reading by the pool in bright sunlight is quite a joy.) The next version of the iPhone is expected soon, and while the first edition was already a serviceable reader, the next version is likely to be more so, and to reach a wider audience.

All the devices listed above, except the Sony Reader, can read a common format: HTML. If XML is already a part of your workflow, converting to HTML is trivial.  If not, HTML is a worthwhile investment for a number of reasons:

1. XHTML is the standard markup for book content in OPS/.epub. .epub support is just getting off the ground but is expected to become widespread.
   
2. If your publishing workflow includes HTML, your organization is able to distribute content to dozens of devices in addition to the open Web.

HTML is also the lingua franca of online search engines, and inclusion of partial or full HTML books will attract casual surfers and can drive community engagement with your content. Whether it's BBeB or AZW that becomes the Betamax of the next decade (and one, if not both, will be obsolete by then), HTML conversion is guaranteed to pay off in the foreseeable future.

Related Stories:

• Keep Your Eye on the epub Ball (But Do Play Nice)
• Penguin's Missed Ebook Opportunity
• Bad Math Among Ebook Enthusiasts

Amazon Ups the Ante on Platform Lock-In

Andrew Savikas
March 28, 2008 | Permalink | Comments (0) | Listen

UPDATED with additional related reading links.

We often hold up Amazon as an example of one of the original Web 2.0 companies. Their survival amid the tech meltdown was driven largely by the value of the data they'd acquired through thousands of reader reviews, recommendations, and "people who bought this bought that" collaborative filtering. Amazon was a system that grew more valuable with more users: a network-effect-driven data lock-in.

That kind of lock-in is implicit: publishers were free to sell their books elsewhere, and readers were free to buy them elsewhere. Such implicit lock-in is characteristic of other Web 2.0 success stories, like eBay and craigslist. These sites relied on the value of the unique data/marketplace they were building to implicitly raise enormous barriers of entry. Not much fun if you're a newspaper, but a boon for buyers and sellers.

But today's news from Amazon about Print-on-Demand is the latest move from Amazon revealing a trend toward much more aggressive explicit lock-in attempts. (Not that it's an entirely new strategy from the folks that brought you the "one-click" patent). Amazon has effectively told publishers that if they wish to sell POD books on Amazon, they must use Amazon as the POD printer. Small/self publishers are unsurprisingly feeling bullied.

Let's look at four levels of lock-in at play here:

Digital Rights Management vs. Enforcement

Andrew Savikas
February 21, 2008 | Permalink | Comments (0) | Listen

On his blog, Bob DuCharme makes the point that what we usually refer to as Digital Rights Management really refers to Enforcement, and that the actual management of rights is both more complex and more important:

The management of digital rights, as opposed to their enforcement, is a real problem in the publishing industry, but discussion is usually drowned out by the shouting matches about digital rights enforcement. Here's a typical use case: an editor wants to take an article with six pictures from her magazine's print edition and put it online. Two of the pictures come from a cookbook being reviewed by the article, two were shot for the article by a freelancer, and two come from a stock photo house. Which images can the editor use in the online version?

This is an issue we wrestle with regularly at O'Reilly, especially in the context of digital distribution. For Safari Books Online, royalties are calculated with a fairly straightforward formula involving print MSRP, page views, and a few other variables. Recently, we've added video content to Safari, which presented the challenge of applying the concept of "page views" to video (we settled in part on using time increments as an analog).

Remix application SafariU also presented a more nuanced set of use-cases. The original intent was to calculate based on the proportion of pages a particular work represented within a custom book. But this potentially favored books with smaller trim sizes, where the same amount of content would usually require more pages. So in the end we normalized all the content to the same trim size (using XML, XQuery, and XSL-FO) prior to rendering out as PDF.

Part of the problem is a lack of systems and standards for dealing with this stuff sanely, as Bob rightly notes:

Whether you build or buy a system to track this, there are three basic approaches, but first, a note on software: there are vendors who will tell you "our fabulous product takes care of all that! Simply check in the pictures or other content and enter the re-use terms, and then you can look it up any time!" I'm not interested in this unless the software can read and write the re-use terms in a standard format whose specs are independent of the software.

(That last sentence could really be applied to nearly every vendor evaluation you do: "I'm not interested in this unless the software can read and write _____ in a standard format whose specs are independent of the software")

It'd be great to see a constructive dialog on these crucial rights management issues that sets aside the highly-charged topic of enforcement.