Hearst Gets Into the E-Reader Game

Mac Slocum
February 27, 2009 | Permalink | Comments (0) | Listen

Hearst Corp. is developing its own wireless e-reader that may debut this year. From Fortune:

According to industry insiders, Hearst, which publishes magazines ranging from Cosmopolitan to Esquire and newspapers including the financially imperiled San Francisco Chronicle, has developed a wireless e-reader with a large-format screen suited to the reading and advertising requirements of newspapers and magazines. The device and underlying technology, which other publishers will be allowed to adapt, is likely to debut this year.

The larger screen size will put the Hearst reader in the same class as devices from Plastic Logic and iRex.

Fortune says Hearst isn't discussing product specs, but the company has a longtime association with E Ink. Last September, Esquire published the first E Ink magazine cover.

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Indigo's Shortcovers Launched Today: A Good Start, But Room for Reader Improvement

Andrew Savikas
February 26, 2009 | Permalink | Comments (4) | Listen

The Shortcovers website and companion iPhone and Blackberry apps launched today (we posted a sneak preview back in January). Put simply, it's a website for buying ebooks. But there's a few interesting twists that (for now) set it apart.

Though most of the current content is books, the primary unit of the service is the "shortcover" -- things like an article, a blog post, and a book chapter. That means publishers have the option of making individual chapters available for sale (or as free samples). But perhaps the more interesting consequence of that is something they're calling "mixes," where readers can combine multiple shortcovers into a single "mix" (think iTunes playlist), and share that with other readers. Though my search was admittedly brief, I wasn't able to find any for-pay content available for inclusion in a mix.

They also definitely understand the social aspect of reading. Beyond the mixes, readers can also upload their own content, rate content, and share content (via Twitter or email).

On the downside, right now although some content is downloaded locally to the iPhone, most of the service only really works when you're online. Also, the navigation within books isn't very intuitive, and the interfaced doesn't drop away while reading (the navigation and settings bars at the top and bottom remain on screen while reading).

And (sadly unsurprisingly), the reader appears to have trouble displaying complex content like lists and tables, and computer code (the ones I looked at either didn't display the code at all, or displayed it in regular variable-width font). I've sent a note to the Shortcovers folks to try and learn more, but I'm continually surprised with how poorly many of these reading systems (including the Kindle, until very recently) have handled kinds of content that have been part of standard HTML for well over a decade. Here's some screenshots of the problem:

I'd be more sympathetic if the iPhone SDK didn't already include the WebKit framework for rendering HTML. Sigh.

But overall it's a decent start, and an impressive first real entry into the mobile reading space from an existing print retailer.

Several more iPhone screenshots are below:

Expectation of Fair Pricing, Not Free

Peter Brantley
February 23, 2009 | Permalink | Comments (7) | Listen

At Dear Author, a post stating that not all content should be expected to be free; rather it must be provided, free or not, in a realistic understanding of consumer needs and expectations, which might mean changing the way you do business.

What content providers must realize is that a changing business model wherein revenues are no longer captured in the same way does not mean that content is not without value or that people will not pay, in some way, to use that content. I think many people recognize that in order to have worthwhile content, we must pay in some way for it. Consumers have reduced the value of the album, but have not determined that music itself is without value. Consumers might believe that digital books have reduced cost given the costs of production, distribution and warehousing; but it is not our belief that books are without value altogether or that all books must be provided for free. I think what consumers are looking for is a fair trade. Content creators provide the best content they possibly can and for a fair price allow the consumers to utilize it in the way that it fits into their lives.

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Are Ebook Device Makers Missing the Market?

Andrew Savikas
February 16, 2009 | Permalink | Comments (1) | Listen

Over on Dear Author, Jane Litte suggests current ebook device marketers aren't effectively targeting what is likely the most influential segment of their market -- women:

The idea is to get women thinking that the vehicle fits into their lives, rather than the woman fitting her life around the vehicle. The most recent Kindle 2.0 ad shows a business man leaning up against the post reading a Kindle and a woman on the beach reading her Kindle, all alone. Seriously? What woman has frequent escapes to the beach where she is alone!

...

Ads need to show women reading on the bus, train, subway. Ads should show a woman leaning against a post waiting for a ride or in her SUV waiting to pick up the kids from practice or in the lunch line or grocery store line or waiting at the post office or in the doctor's waiting room. The point of the ads should be that the device is there whereever a woman is, whenever a woman wants it. It should not point out that the only time you can read an ebook is when you are alone and in the park.

Lot of great stuff -- the full post is well worth a read (and props to the Dear Author folks for a killer iPhone version of their blog).

Google Opens Mobile Access to Public-Domain Books

Andrew Savikas
February 5, 2009 | Permalink | Comments (2) | Listen

Via a Google press release, word that visiting books.google.com/m provides mobile access to 1.5 million public-domain books from within Google Book Search:

Today, we're making it possible for anyone with an Android or an iPhone to find and read more than 1.5 million public domain books in the US (more than half a million outside the US) in the Google Book Search index for free on their mobile phone, from anywhere with Internet access. It's possible for a commuter on a passenger train to read classics like Pride and Prejudice right along with lesser known works like Novels and Letters of Jane Austen, or for a student in India to read Shakespeare's "Hamlet" on her iPhone, all via a simple website accessible from your mobile phone.

So far, the mobile edition only offers browser-based access (Web-style scrolling, no offline access, no remember-my-place), but an interesting addition to the emerging and important mobile reading space. Screenshot below (or click here if you can't see the screenshot).

Google will be at next week's TOC Conference talking about the past, present and future of GBS.

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Good Company Culture Comes in Small Packages

Kate Eltham
February 5, 2009 | Permalink | Comments (8) | Listen

Common wisdom says that small companies are more nimble, responsive and adaptable than their larger cousins.

My personal experience reflects this. I've worked in large organisations -- FMCG corporates, international aid organisations and government -- and I've worked in small ones -- private consulting firms and small non-profits. In each case I've found that small enterprises outperform large ones when it comes to transformation. Smaller companies are faster to identify industry trends and respond to new business opportunities. They also punch above their weight on some forms of R&D, particularly business process innovation. Put simply, small companies are more fleet of foot.

But why?

We're seeing a lot of reports come through about how small publishers are responding to trends and opportunities. MediaBistro and The Christian Science Monitor have both reported small publishers are leading the charge when it comes to digitization. In his article, "E-book revolution favors the agile", Matthew Shaer said:

But it's not the bigger houses, such as Macmillan or HarperCollins, that are moving the fastest. Instead, some of the most extensive restructuring efforts are being undertaken in the independent publishing world, traditionally a hotbed for innovation and experimentation.

Soft Skull Press, Canongate, Akashic are all good examples. Shaer also points out that publishing is emulating the music industry in this pattern and, I'd wager, other industries as well.

Again, I ask why?

The obvious reasons are the ones people usually point to. Smaller companies are like the canary in the coal mine. They are first to feel the effects of major shifts within an industry and may need to move faster to find solutions. On the other hand, small publishers also have an incentive to exploit technological efficiencies that might even up the playing field against big competitors.

Small size also helps with changing direction. This week Wheatland Press announced it is taking a publishing hiatus in 2009:

What this means is that I will publish no new books during 2009 (including Polyphony 7). I will continue to fill orders on existing titles and will keep those titles available through Amazon and Barnes & Noble.com ... I will explore ways to put Wheatland Press on a firmer financial footing including, but not limited to, seeking external funding via arts councils, seeking partnerships with other presses, etc. I hope the break will allow me to return to a regular publishing schedule in 2010.

On one level this could be regarded as just another volley of bad news from a publisher affected by global economic conditions. But it's worth noting that only a small publisher could make this kind of decision. HarperCollins and Random House can't make the choice to stop publishing books for a year to sort out their business model and make necessary changes. They can cut costs through staff layoffs and tightening budgets, but their operational overheads are way too large to ever get off the treadmill of publishing hundreds of titles a year.

Underneath it all, though, the one thing that has the biggest impact on a company's ability to transform is the one thing that almost never gets talked about in the publishing industry: organizational culture. Paul Biba of TeleRead, quoted in the Shaer article, hints at this but doesn't quite nail it down:

"In general, I'd say the big publishers tend to be really dinosaurs, intrigued by e-books but afraid of them ... [Younger readers] have grown up with a whole different way of looking at the world, and I don't think many publishers understand this. They think people are just sitting down in leather chairs and reading hardcopy books."

I'm not sure this is a fair characterization of publisher attitudes today, but I do think it alludes to a bigger problem that is stopping large publishers from embracing new opportunities.

Big trade publishers are fighting a losing battle against their own organizational cultures. The history of business is littered with examples of companies that couldn't transition from one paradigm to the next, not because they couldn't see the necessity, but because they couldn't undertake the necessary internal change.

The larger a company is, the harder organisational change is to effect. The big trade publishers are now subsidiaries of the largest media companies in the world with thousands of employees, hundreds of offices and decades of crusted-on beliefs, traditions and systems. Small teams, by virtue of scale, can change their organisational culture quickly, sometimes through shifts in personnel, other times by the sheer force of personality from a charismatic leader. In any case, smaller teams tend to adopt a tenacious, can-do, try-anything culture because they have to.

Organisational culture is the bedrock of performance. This, more than any problem of physical infrastructure or technical or financial systems, makes big publishers slow to adapt. Too slow, I fear, to survive the speed of change within the cultural and economic ecology of which they are a part.

New experiments are popping up, such as HarperStudio, which could be the exception that proves the rule. Only by hiving itself off as a separate, entrepreneurial unit within HarperCollins, with its own small-team culture, has HarperStudio been able to achieve the clear-eyed perspective and momentum to try really different and new ways of publishing.

Paul Biba may have called it right by using the word "dinosaur." After all, it was the small dinosaurs, with modern-day descendants still thriving, who made the successful adaptation that evolution requires. The big guys fell hard and fast and it's increasingly rare to find any evidence of their impact on us at all.

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