Enhanced Ebooks

World’s first braille smartwatch is an ebook reader and more

4 August 2015

From Engadget:

On the surface, Dot sounds like a fairly standard smartwatch: It resembles a Fitbit and features a messaging system, navigation functions, Bluetooth 4.0, an alarm and, of course, a timepiece. Dot is remarkable because it’s a braille smartwatch — the world’s first braille smartwatch, in fact. Its face features a series of dull pins that rise and fall at customizable speeds, spelling out words in braille as the user places a finger on top. With this system, Dot allows users to read ebooks without throwing down thousands of dollars for a portable braille reader. The watch should hit the market for less than $300, with pre-orders staring this year. Plus, Dot has an active battery life of 10 hours, according to inhabitat, so get ready for some serious reading time.

. . . .

“90 percent of blind people become blind after birth, and there’s nothing for them right now — they lose their access to information so suddenly,” Dot co-founder and CEO Eric Ju Yoon Kim tells Tech in Asia. “Dot can be their lifeline, so they can learn Braille and access everyday information through their fingers, which is the goal of Braille literacy.”

Link to the rest at Engadget and thanks to Nirmala for the tip.

Click to Tweet/Email/Share This Post

Library of Congress Ebooks Allow for Historical Documents on Tablets

17 June 2015

From Education World:

New efforts from the Library of Congress have made sources such as scrapbooks from women suffrage activists, political cartoons, and photos from throughout American history available in ebooks for tablets via Student Discovery Sets.

The Library of Congress have released three new interactive ebooks and “will bring together historical artifacts and one-of-a-kind documents on a wide range of topics, from history and science to literature. Interactive tools let students zoom in for close examination, draw to highlight interesting details and make notes about what they discover,” according to the press release.

The ebooks are currently available for download free of charge through iBooks and are in addition to nine already published ebooks that focus “on the U.S. Constitution, Symbols of the United States, Immigration, the Dust Bowl, the Harlem Renaissance, Understanding the Cosmos, the Industrial Revolution, Jim Crow and Segregation, and Children’s Lives at the Turn of the 20th Century,” the release said.

. . . .

The books are completely interactive, meaning students are immersed in the content through primary sources that come alive with “maps, songs, posters, pieces of sheet music and iconic images.”

Link to the rest at Education World

As PG was posting this, he was reminded that the Library of Congress provides both access to and copies of many portions of its visual arts collections. You can download a copy of an image at no charge or you can have the Library of Congress make a high-quality print of photographs or a high-quality copy of other items for a very reasonable fee.

While the description of each photo provides warnings about potential copyright issues, the photos, including some terrific Depression-era works, that were created by photographers under contracts from various government agencies, are generally in the public domain. For images that were not created under government contract, it is likely that asking for a copy for your personal use would fall under fair use.

The following iconic Depression photo of the wife of a migrant worker in California was taken by Dorothea Lange for the U.S. Farm Security Administration:


Here’s a link to more information about this and other prints and photographs available at The Library of Congress


A Boost for Enhanced E-books

18 February 2015

From Publishers Weekly:

For the first three weeks of the new year, the enhanced edition of Chris Kyle’s memoir, American Sniper, led Apple’s iBooks bestseller list, consistently landing several spots above the title’s standard e-book. Its hot streak was a rare victory for enhanced e-books (especially over their unenhanced counterparts). On the whole, sales of enhanced e-books have fallen short of expectations since publishers began investing in the format, which incorporates video and other interactive features, roughly five years ago.

Is American Sniper’s place at the top of Apple’s chart a one-off occurrence, owing to the popularity of the film adaptation (which raked in six Oscar nominations), or is it a harbinger of good things to come for enhanced e-books—pointing to a new trend, enhancing titles with TV and film adaptations, that may help publishers sell what has been a historically difficult format to market?

The enhanced e-book for American Sniper was released simultaneously with the hardcover in 2012, well before the film premiered on Jan. 16, 2015, and the supplemental material is not directly related to the movie. It contains 12 original interviews with Kyle interspersed between chapters, in which the NAVY Seal (who died in 2013) touches on the book’s themes—and it also includes a video with his wife, Taya Kyle.

“Instantly after publication [in 2012], American Sniperbecame a huge bestseller and the enhanced e-book sales were part of that frenzy, becoming the bestselling enhanced e-book of the time,” said Sharyn Rosenblum, v-p, senior director of media relations at HarperCollins. “With the explosion of book sales now that the movie is out and has become a blockbuster, it makes perfect sense that the e-book would be equally in demand again.” And it is—according to HarperCollins CEO Brian Murray, the enhanced e-book has now sold more than 166,000 copies.

. . . .

According to deGuzman, the enhanced movie tie-ins are a win for everyone involved. “The more marketing and exposure, the better the chances of success for the adaptations,” she said. “The bigger the success of these adaptations, the more likely we are to sell more copies of the underlying book. That’s a recipe for happiness for all parties—authors, agents, publishers, studios.”

Grand Central does rely, per deGuzman, on the movie studio’s recognition that movie tie-in editions serve as crucial marketing tools for the movie. “I cannot stress enough how appreciative we are that the movie studios spend time and effort and resources to provide us with [additional material],” noted deGuzman. The enhanced editions of Sparks’s novels include content from the studios, such as interviews with the actors in each film and behind-the-scenes footage.

Link to the rest at Publishers Weekly

Nate Hoffelder at Ink, Bits & Pixels points out that the price of the enhanced ebook of American Sniper is less than $6.00. When PG wrote this post it was $5.86 on Amazon.

It’s amazing how many ebooks you can sell when you stop setting your prices to prop up print sales.

Anticipating Change in the Myopic Publishing Industry

29 December 2014

From Book Business:

In 2006 the ebook marketplace mostly consisted of PDF files. There were a few other formats but none showed any signs of broad consumer adoption. The industry seemed to be growing weary of anticipating the ebook explosion that was always “just around the corner”.

I remember working at a large book publisher in those days. One of my former colleagues was very outspoken, noting that books aren’t like music (which had already made the shift from physical to digital), there’s no device that makes a digital version more interesting than a print version, consumers like holding and reading a print book, etc.

Then, in late 2007, Amazon launched the Kindle and everything changed.

Let’s fast-forward a few years for the second example… In 2011 I was co-chair of the Tools of Change publishing industry conference. One of the messages we communicated to attendees was the need for them to diversify their channel strategy and focus on the one channel they totally control: direct-to-consumer. Our pleas were met with rolling eyes, yawns, and responses like this one from a very high-level executive at one of the Big Six: “We don’t need to create a direct channel…that’s why we have retail partners like Amazon, for example.”

. . . .

For my third and final example, let’s look back to 2013, when some were suggesting a “Netflix for books” model would emerge. Most scoffed at the idea, suggesting books aren’t like movies and an all-you-can-read option would never take hold.

Earlier this year we saw the launch of Oyster Books, featuring that all-you-can-read model. Some publishers opted to experiment while consumers (like me) flocked to the service. Even Amazon has copied the model with their Kindle Unlimited program.

. . . .

Ebook revenues have plateaued for many book publishers. Some believe the market has reached equilibrium and that a roughly 75/25 split between print and digital is the future.

These publishers are quite comfortable living in the “print under glass” world, where they drive incremental revenue from digital editions that are identical to the print editions. They don’t like it that consumers expect to pay less for the digital edition (vs. the print edition price), but they’re growing comfortable with the model. Many of them briefly experimented with native apps and enriched ebooks; for the most part, their expenses exceeded revenue on these failed projects.

This is largely why these publishers have an allergic reaction when someone mentions the phrases “enriched ebook” or “enhanced ebook”.

Link to the rest at Book Business

Glose Is A New Ebook Reader That Turns Reading Into A Social Experience

14 November 2014

From TechCrunch:

Meet Glose, a brand new ebook reader for your phone, tablet and laptop. Glose is like the Kindle apps, but on steroids. Reading a book in Glose becomes a collective experience as you can discuss quotes with your friends and other Glose users, keep notes and more. You can also browse a feed of your friend’s annotations to get a taste of books you have yet to read. At heart, the team wants to create a small social network around inspiring books.

. . . .

For its first early adopters, Glose recommends a few startup books to read with the community. It works a lot like a book club as you will find a lot more annotations in these books than in the rest of the catalog.

I read the beginning of The Hard Things About Hard Things from Ben Horowitz. Beta users left annotations, and it made me want to read the rest of the book after this post. Glose makes a lot of sense for non-fiction. For example, people working in tech can comment with their personal first-hand experience on the topics of the book.

“I kept a notebook with handwritten notes and key quotes that I wanted to learn by heart or read later,” co-founder and CEO Nicolas Princen told me in a phone interview. “This notebook — I lost it.”

Link to the rest at TechCrunch and thanks to Joshua for the tip.

Is E-Reading to Your Toddler Story Time, or Simply Screen Time?

12 October 2014

From Douglas Quenqua at the New York Times

. . .

For years, child development experts have advised parents to read to their children early and often, citing studies showing its linguistic, verbal and social benefits. In June, the American Academy of Pediatrics advised doctors to remind parents at every visit that they should read to their children from birth, prescribing books as enthusiastically as vaccines and vegetables.

On the other hand, the academy strongly recommends no screen time for children under 2, and less than two hours a day for older children.

At a time when reading increasingly means swiping pages on a device, and app stores are bursting with reading programs and learning games aimed at infants and preschoolers, which bit of guidance should parents heed?

. . .

Part of the problem is the newness of the devices. Tablets and e-readers have not been in widespread use long enough for the sorts of extended studies that will reveal their effects on learning.

Dr. Pamela High, the pediatrician who wrote the June policy for the pediatrics group, said electronic books were intentionally not addressed. “We tried to do a strongly evidence-based policy statement on the issue of reading starting at a very young age,” she said. “And there isn’t any data, really, on e-books.”

But a handful of new studies suggest that reading to a child from an electronic device undercuts the dynamic that drives language development.

. . .

Of course, e-book publishers and app developers point to interactivity as an educational advantage, not a distraction. Many of those bells and whistles — Clifford’s bark, the sleepy narration of “Goodnight Moon,” the appearance of the word “ham” when a child taps the ham in the Green Eggs and Ham app — help the child pick up language, they say.

. . .

Read the full article at the New York Times

The criticisms in the article seem to be directed at enhanced e-books of the sort that feature animation, narration, and extras. Neither the author nor the experts he quotes seems to know that there is such a thing as electronic books for children that function pretty much like paper books.

Welcoming-a-returning-PG vacation guest post by Bridget McKenna

Changing the DNA of the reader

23 April 2014

From FutureBook:

Are readers fixed in how they read? One of the frustrations around the digital transition is that despite all of the under-the-hood changes to publishing, this digital re-wiring has stopped at the reader. Readers, by and large, read now how they did before e-books ever existed.

There have been valiant attempts to change this, of course. And many have foundered on the rocks of reader disinterest. Incredibly it is now more than three years since Evan Schnittman called time on the enhanced e-book during a speech at the London Book Fair which included within it a slide that featured a gravestone featuring the words “Enhanced E-books and Apps: 2009 to 2011”. He said: “Enhanced will have an incredibly big future in education, but the idea of innovation in the narrative reading process is just a non-starter, I’ve been smug about this, and now I’m even smugger.”

Despite, protestations at the time, Schnittman has yet to be proved wrong. As I wrote in my FutureBook blog last week, “What have we really found out from five years of Kindle? Readers like reading. And generally they like reading in an environment unencumbered by music, video and animation.”

. . . .

Most content innovations ‘fail’ not because the publisher or developer has done a bad job, but simply because the audience-size was not big enough to make the experiment scaleable. The CD-Rom failed not because those digital publishers got it wrong, but simply because the Internet came along and did a better job.

If publishers have learnt anything from the first enhanced e-book bubble then it was that even if you build it, they may not come. But equally they should know that they ought to be building it because inevitably change will come.

. . . .

According to Meyers, “most ebook experiments do a better job of showing off our devices rather than solving specific reader problems”. He wants digital to aid comprehension not, as Schnittman feared back in 2011, get in the way of the narrative.

Link to the rest at FutureBook

We Haven’t Even Started

22 April 2014

From Hugh Howey:

This is only the beginning, folks. Very few people appreciate where this is going. Projections for the future of e-books are wrong, and it’s because the people making these projections lack imagination. They seem to think all the advances in storytelling have already been made, and it’s just a question of how much current technology will scale.

But the advances have barely begun. I’d like to take you on a brief tour of our reading future to give you a glimpse of how much growth and possibility are left.

. . . .

Now imagine you have a book in your hands. A beautiful hardback with faux leather and a silk ribbon bookmark. There is no technology in this book. It’s just paper, the finest quality paper and binding money can buy. And every single page is perfectly blank. There is nothing written in the book. But you carry it everywhere you go.

When you open the book up, what do you see? The last page you read. Text is overlaid in your vision by your glasses or your contacts or implants. The quality of the text is just as high as a printed book. The words stick to the page. Even when you curl a page to turn to the next one, the text bends and warps just as you’d imagine. There is no way to distinguish this book from the printed kind. And yet it has many of the benefits of an e-book. Unlimited storage in the cloud. Immediate purchase of any book you want. Scalable fonts. And more.

You can watch video on any page if you like. You can look up words and make highlights. You can even write with your finger, and the camera captures the text you are drawing and adds the notes in the margin. You can turn footnotes and endnotes on or off. And if the book you’re reading is longer than your printed tome, it’ll direct you to turn back to the beginning when you run out of pages. Two people could read on the same book simultaneously, even if they were different books.

. . . .

Other developments will come from outside the book world. The biggest one on the immediate horizon is the self-driving car, which is less than a decade away. Consider how this will change our media habits: All of our commuting hours will now be open for the consumption of entertainment. Sure, most people will use this time to improve themselves and their lives with Candy Crush and all sorts of inanity. Others will watch TV or films. But many people will do what you see subway and train commuters doing: They’ll read.

Link to the rest at Hugh Howey and thanks to Sandra for the tip.

Will Atavist Books really ‘revolutionize book publishing’?

26 March 2014

From TeleRead:

PolicyMic has an article looking at a “digital platform that’s about to revolutionize book publishing.” I have my doubts.

The platform is actually none other than The Atavist, which we’vecovered a few times since it was launched a couple of years back. It started out as a multimedia-enabled e-magazine for long-form journalism, which it still largely is. But it’s decided to bring its multimedia and interactivity chops to the world of books, too, by publishing an interactive, web-enabled version of a fiction book first, then bringing out a “hybrid” print book—“a paperback with the production quality of a hardcover,” whatever that means—once the on-line version has built buzz.

The article talks about the publisher’s debut novella, Sleep Donation by Karen Russell, described as “a dystopian novella about an insomnia epidemic that sweeps America.” The book is told in the form of a series of news updates, which gave the publisher the idea to create a tie-in website featuring other news stories from the same world. Atavist sees its mission as creating “an e-book that does more than just replicate the text of the print.”

For all of that, the Sleep Donation book itself appears to be just that—a bog-standard plain text e-book, selling for $3.99 at Amazon, B&N, Kobo, and other such stores. Checking the sample reveals basically standard text, the same as any ordinary e-book. The article does admit that this is the case, but notes that future works are expected to include “multimedia, multi-level storytelling,” and other interactive features.

. . . .

But when you start getting into wanting to add interactivity and multimedia and all that, you run into the same problem that most such efforts have. Sure, you might want to make your e-book fancy, but when you get right down to it the current e-book ecosystem is made to support the plain text variety. That’s what e-ink readers are capable of. Vendor lock in might be a thing for moving from one e-book platform to another, such as Kindle to Nook, but it’s also a thing for the format as a whole. As Joanna pointed out a few weeks ago, people who read e-books read them with their specific e-book apps. They might not have space on their device to install a zillion different e-books outside that app’s format.

Even if the book has its own app for reading it within—the Atavist Reader, for example—if you make that reader necessary to read the book, you remove it from the Kindle/Nook/iBooks/Kobo ecosystem and effectively make it invisible to the vast majority of consumers who buy books via and for their Kindle/Nook/iBooks/Kobo e-reader or mobile app. As far as they’re concerned, it doesn’t exist.

Link to the rest at TeleRead

PG suggests there is already a form of literature incorporating extraordinary interactivity and highly-sophisticated multimedia. It’s called video games.

Videogames sell for about the same price that Big Publishing charges for a high-profile hardcover, but costs much, much more to produce as a commercial product than a printed book does. PG knows there is far more videogame expertise among visitors to TPV than he possesses, but he understands that commercial videogame success pretty much requires huge bestsellers (by book publishing standards) to cover production costs.

Another form of literature that is cheaper to produce and can easily include interactivity with video and audio enhancements is a blog or website.

While PG doesn’t discount the possibility of successful cross-over and blended versions of two or more of these products, he thinks pure versions will continue to exist and evolve along their own paths during the foreseeable future.

Sensory Fiction

26 January 2014


Sensory fiction is about new ways of experiencing and creating stories.

Traditionally, fiction creates and induces emotions and empathy through words and images.  By using a combination of networked sensors and actuators, the Sensory Fiction author is provided with new means of conveying plot, mood, and emotion while still allowing space for the reader’s imagination. These tools can be wielded to create an immersive storytelling experience tailored to the reader.

To explore this idea, we created a connected book and wearable. The ‘augmented’ book portrays the scenery and sets the mood, and the wearable allows the reader to experience the protagonist’s physiological emotions.

The book cover animates to reflect the book’s changing atmosphere, while certain passages trigger vibration patterns.

Link to the rest at the MIT Media Lab and thanks to Joshua for the tip.

Next Page »