Over 50% Of Adults Have Not Finished a Book in the Last Year

From Book Riot:

While many book lovers would find it hard to not finish a book over the course of 365 days, this is the reality of over half of US adults. In a new study conducted by WordsRated, an international research and data group focused on reading and the publishing world, 48% of adults finished a whole book in the last year.

The American Reading Habits survey asked 2,003 American adults about their reading habits over the last year. This study was done as a means of offering a different perspective on reading than what’s typically offered via groups like PEW. Rather than define reading as a broad spectrum of activities, WordsRated had two criteria: the book must be print or digital (aka: no audiobooks, despite the fact audiobooks are indeed reading) and the book must have been finished in whole.

Image of generational breakdown of those surveyed.

As seen above, those surveyed included roughly 30% of those in the baby boomer generation, 25% of those considered generation x, 34% of those considered millennial, and 11% of those considered generation z. The three largest groups of adults were roughly equal.

. . . .

While it is certainly surprising to see that nearly 52% of those polled did not finish a book in the last year, that 48% did is still pretty impressive. The act of finishing a book as the definition of reading here definitely gives a wholly different perspective–how many of those 52% include people who pick up a magazine or flip through a cookbook or try something and set it aside? How many listen to audiobooks exclusively? 

. . . .

The data also show that a quarter of the same adults have not read a full book in 1 or 2 years, while 11% more have not read a book in 3-5 years.

A tenth of adults have not read a full book in the last 10 years.

Link to the rest at Book Riot

One of the reasons PG chose to excerpt this is the disconnect between the research group and the BookRiot people about whether listening to an audiobook is reading.

What do we think about that?

For PG (and, likely, almost everyone else), reading an ebook or paper book takes far less time than listening to an audiobook of the same same title. That might classify an audiobook listener as one who is more committed to spending time enjoying or learning from a book than someone doing the same thing as an ebook or on paper.

On the other hand, PG zones out while listening to the radio or music all the time and this almost never happens to him with an ebook or paper book. (If it does, PG will start a new book.)

This raises a couple of questions for PG:

  1. What’s the comprehension level for information taken into one’s brain via ebook/pbook vs. audiobook?
  2. Any difference in remembering what one has read between words on a screen/paper vs audio?

Many years ago, PG remembers reading that comprehension/understanding/remembering was better for a person reading from paper than on a screen. This was at a time when a screen was hooked to a computer and a keyboard, not a device like an iPad or smart phone.

In PG’s unscientific observation of himself, he doesn’t think that there is any difference in comprehension/attention for him regardless of whether he reads something on a screen of any sort vs. on paper. He does consume about 95% of the new information he encounters on a given day on some sort of screen and 5% (or maybe less) on paper.

The Reading Brain in the Digital Age: The Science of Paper versus Screens

From Scientific American:

In a viral YouTube video from October 2011 a one-year-old girl sweeps her fingers across an iPad’s touchscreen, shuffling groups of icons. In the following scenes she appears to pinch, swipe and prod the pages of paper magazines as though they too were screens. When nothing happens, she pushes against her leg, confirming that her finger works just fine—or so a title card would have us believe.

The girl’s father, Jean-Louis Constanza, presents “A Magazine Is an iPad That Does Not Work” as naturalistic observation—a Jane Goodall among the chimps moment—that reveals a generational transition. “Technology codes our minds,” he writes in the video’s description. “Magazines are now useless and impossible to understand, for digital natives”—that is, for people who have been interacting with digital technologies from a very early age.

Perhaps his daughter really did expect the paper magazines to respond the same way an iPad would. Or maybe she had no expectations at all—maybe she just wanted to touch the magazines. Babies touch everything. Young children who have never seen a tablet like the iPad or an e-reader like the Kindle will still reach out and run their fingers across the pages of a paper book; they will jab at an illustration they like; heck, they will even taste the corner of a book. Today’s so-called digital natives still interact with a mix of paper magazines and books, as well as tablets, smartphones and e-readers; using one kind of technology does not preclude them from understanding another.

Nevertheless, the video brings into focus an important question: How exactly does the technology we use to read change the way we read? How reading on screens differs from reading on paper is relevant not just to the youngest among us, but to just about everyone who reads—to anyone who routinely switches between working long hours in front of a computer at the office and leisurely reading paper magazines and books at home; to people who have embraced e-readers for their convenience and portability, but admit that for some reason they still prefer reading on paper; and to those who have already vowed to forgo tree pulp entirely. As digital texts and technologies become more prevalent, we gain new and more mobile ways of reading—but are we still reading as attentively and thoroughly? How do our brains respond differently to onscreen text than to words on paper? Should we be worried about dividing our attention between pixels and ink or is the validity of such concerns paper-thin?

Since at least the 1980s researchers in many different fields—including psychology, computer engineering, and library and information science—have investigated such questions in more than one hundred published studies. The matter is by no means settled. Before 1992 most studies concluded that people read slower, less accurately and less comprehensively on screens than on paper. Studies published since the early 1990s, however, have produced more inconsistent results: a slight majority has confirmed earlier conclusions, but almost as many have found few significant differences in reading speed or comprehension between paper and screens. And recent surveys suggest that although most people still prefer paper—especially when reading intensively—attitudes are changing as tablets and e-reading technology improve and reading digital books for facts and fun becomes more common. In the U.S., e-books currently make up between 15 and 20 percent of all trade book sales.

Even so, evidence from laboratory experiments, polls and consumer reports indicates that modern screens and e-readers fail to adequately recreate certain tactile experiences of reading on paper that many people miss and, more importantly, prevent people from navigating long texts in an intuitive and satisfying way. In turn, such navigational difficulties may subtly inhibit reading comprehension. Compared with paper, screens may also drain more of our mental resources while we are reading and make it a little harder to remember what we read when we are done. A parallel line of research focuses on people’s attitudes toward different kinds of media. Whether they realize it or not, many people approach computers and tablets with a state of mind less conducive to learning than the one they bring to paper.

“There is physicality in reading,” says developmental psychologist and cognitive scientist Maryanne Wolf of Tufts University, “maybe even more than we want to think about as we lurch into digital reading—as we move forward perhaps with too little reflection. I would like to preserve the absolute best of older forms, but know when to use the new.”

Navigating textual landscapes

Understanding how reading on paper is different from reading on screens requires some explanation of how the brain interprets written language. We often think of reading as a cerebral activity concerned with the abstract—with thoughts and ideas, tone and themes, metaphors and motifs. As far as our brains are concerned, however, text is a tangible part of the physical world we inhabit. In fact, the brain essentially regards letters as physical objects because it does not really have another way of understanding them. As Wolf explains in her book Proust and the Squid, we are not born with brain circuits dedicated to reading. After all, we did not invent writing until relatively recently in our evolutionary history, around the fourth millennium B.C. So the human brain improvises a brand-new circuit for reading by weaving together various regions of neural tissue devoted to other abilities, such as spoken language, motor coordination and vision.

Some of these repurposed brain regions are specialized for object recognition—they are networks of neurons that help us instantly distinguish an apple from an orange, for example, yet classify both as fruit. Just as we learn that certain features—roundness, a twiggy stem, smooth skin—characterize an apple, we learn to recognize each letter by its particular arrangement of lines, curves and hollow spaces. Some of the earliest forms of writing, such as Sumerian cuneiform, began as characters shaped like the objects they represented—a person’s head, an ear of barley, a fish. Some researchers see traces of these origins in modern alphabets: C as crescent moon, S as snake. Especially intricate characters—such as Chinese hanzi and Japanese kanji—activate motor regions in the brain involved in forming those characters on paper: The brain literally goes through the motions of writing when reading, even if the hands are empty. Researchers recently discovered that the same thing happens in a milder way when some people read cursive.

Beyond treating individual letters as physical objects, the human brain may also perceive a text in its entirety as a kind of physical landscape. When we read, we construct a mental representation of the text in which meaning is anchored to structure. The exact nature of such representations remains unclear, but they are likely similar to the mental maps we create of terrain—such as mountains and trails—and of man-made physical spaces, such as apartments and offices. Both anecdotally and in published studies, people report that when trying to locate a particular piece of written information they often remember where in the text it appeared. We might recall that we passed the red farmhouse near the start of the trail before we started climbing uphill through the forest; in a similar way, we remember that we read about Mr. Darcy rebuffing Elizabeth Bennett on the bottom of the left-hand page in one of the earlier chapters.

In most cases, paper books have more obvious topography than onscreen text. An open paperback presents a reader with two clearly defined domains—the left and right pages—and a total of eight corners with which to orient oneself. A reader can focus on a single page of a paper book without losing sight of the whole text: one can see where the book begins and ends and where one page is in relation to those borders. One can even feel the thickness of the pages read in one hand and pages to be read in the other. Turning the pages of a paper book is like leaving one footprint after another on the trail—there’s a rhythm to it and a visible record of how far one has traveled. All these features not only make text in a paper book easily navigable, they also make it easier to form a coherent mental map of the text.

Link to the rest at Scientific American in 2013

PG notes the date of this extended article, nine years ago, and all of the studies he mentioned would have taken place even earlier than that, given the lead times publications like Scientific American had to deal with as a longer lead-time for its paper publication than many publications do today. Per Wikipedia, the magazine established a paywall for its website in 2019.

PG cannot restrain himself from noting that the magazine owned by Springer Nature, which in turn is a subsidiary of Holtzbrinck Publishing Group.

Holtzbrinck (Verlagsgruppe Georg von Holtzbrinck) is a privately-held company headquartered in Stuttgart. It also owns Big-Five publisher Macmillan and a great many other publications.

Along with another large German publishing conglomerate, Bertelsmann, Holtzbrinck has an embarrassing history of aiding in the publication and distribution of Nazi propaganda during the 1930’s and 1940’s and profited from Jewish slave labor at some of the printing companies that supplied it with books and other publications.

To be fair, none of the present generation of owners and managers are old enough to have participated in those actions, although, there are reports that, during the 1950’s and 60’s, more than one German publishing executive attempted to whitewash previous close relations with various Nazi figures. Various short descriptions of Holtzbrinck recite that it was originally founded as a book club in 1948 which may describe either the present corporate entity or a predecessor, but PG doesn’t know of any postwar book club startups whose sole shareholders were multi-billionaires in the 2000-2010 era.

The controlling owners, Stefan von Holtzbrinck, his brother Dieter and sister Monika Schoeller inherited Holtzbrinck Publishing Group and held it until 2006 when Dieter sold his share to Stefan and Monika who each owned 50% of the company. Monika died in 2019, leaving an estate estimated to be worth $2.2 billion.

Universal Book Link User Guide

From books2read.com:

The internet is a great place to discover new books to read, but it can sometimes require a little work between hearing about a book you want to buy and actually reading that book. There are a lot of bookstores out there, so even when someone shares a link directly to the book you’re looking for, that link might not take you to the bookstore for your preferred reading app. (Or your local version of the page.)

That can leave you navigating to the proper store site and searching for the book you were already linked to. Sometimes the person sharing the link will try to help you out, sharing half a dozen links at once (one for each store she can track down).

That leaves you wading through a pile of links to find the one that’s right for you. Either way it’s a relatively small hassle, but it’s also an easily solvable one.

Here is where Universal Book Links Shine

When you see a Universal Book Link from Books2Read, you can trust it to get you to the store you want. That’s because a Universal Book Link can keep track of a book’s location at all of the major stores. The first time you click a Universal Book Link, you’ll see a page that looks like this:

Link to the rest at books2read.com

This service appears to be from the folks at Draft2Digital, who, among other things, make it quite easy for indie authors to create ebooks and print books for publishing anywhere because D2D’s formatting system creates non-proprietary files so you can easily publish wide instead of with Amazon.

PG’s impression, looking from the outside in, is that D2D has chosen to use some of their money to improve the publishing process for indie authors. Again, from the outside looking in, Amazon’s process for publishing ebooks seems pretty crude by comparison and has made only baby-step improvements since PG first used it.

Supply Squeeze, Changing Consumer Behavior Challenges Publishers

From Publishers Weekly:

A May 4 webinar hosted by Ingram Content Group addressed supply chain challenges, logistic delays, inflation, the role environmental impacts play on consumer shopping preferences, as well as how accessibility is increasing the reach for e-books and audiobooks. Participants included Rob Grindstaff, director of sales operations and product development for Ingram’s Lightning Source; Ruth Jones, director of global sales and digital services at Ingram Content Group UK; and Gina Walpole, the senior services manager for Ingram Content Group UK.

Panelists noted that troubles with the supply chain persist. Problems include a shortage of materials, increased freight prices, and port congestion. All of this is putting a strain on publishers as it becomes more difficult for them to accurately predict demand and, consequently, supply for a given title. It was pointed out that paper mills are operating at full capacity while some are shifting production from producing paper to packaging. Labor shortages persist across the logistics supply chain—and are predicted to carry into 2023. All this is resulting in rising costs.

Customer buying habits are also changing, panelists said, not only as a result of inflation, but because of a growing awareness of the need to support companies whose values align with the customer’s own—be they about ethics, equity, or environment.

One solution the panelists offered to several of these issues was Ingram’s own “print in market” (i.e. print-on-demand) solutions, which had various advantages over offset printing from speed to market to having a lower carbon footprint. The panelists noted that Ingram could serve markets in the U.S., U.K., Australia, and the United Arab Emirates, and are planning to expand operations to South Africa.

Another trend to note is the year-on-year increases in digital sales. This has been aided by several advancements in the industry, from increased discoverability due to better metadata management to the growing awareness that e-books have a far lower environmental impact than print books. Text-to-speech is improving and A.I. narration—Google now offers 35 voices for narration—is expanding the audience for audiobooks by making them more accessible.

Link to the rest at Publishers Weekly

Ebook Services Are Bringing Unhinged Conspiracy Books into Public Libraries

From Vice:

For years, the digital media service Hoopla has given library patrons access to ebooks, movies, and audiobooks through bulk subscriptions sold to public libraries. But more recently, librarians have started calling for transparency into the company’s practices after realizing its digital ebook collection contains countless low-quality titles promoting far-right conspiracy theories, COVID disinformation, LGBTQ+ conversion therapy, and Holocaust denial.

In February, a group of librarians in Massachusetts identified a number of Holocaust denial and anti-Semitic books on Hoopla, including titles like “Debating The Holocaust” and “A New Nobility of Blood and Soil”—the latter referring to the infamous Nazi slogan for nationalist racial purity. After public outcry from library and information professionals, Hoopla removed a handful of titles from its digital collection.

In an email obtained by the Library Freedom Project last month, Hoopla CEO Jeff Jankowski explained that the titles came from the company’s network of more than 18,000 publishers: “[The titles] were added within the most recent twelve months and, unfortunately, they made it through our protocols that include both human and system-driven reviews and screening.”

However, quick Hoopla keyword searches for ebooks about “homosexuality” and “abortion” turn up dozens of top results that contain largely self-published religious texts categorized as “nonfiction,” including several titles like “Can Homosexuality Be Healed” which promote conversion therapy and anti-LGBTQ+ rhetoric. This prompted a group of librarians to start asking how these titles are appearing in public library catalogs and why they are ranked so high.

“If [ebooks containing disinformation] were on the tenth page of results it wouldn’t be as noticeable, but they’re on the first page of results,” Jennie Rose Halperin, the executive director of Library Futures, told Motherboard. “What this says to me is that vendors don’t think people who are accessing resources through public libraries deserve quality, verifiable information.”

Hoopla serves more than 3,000 library systems and is in more than 8,500 public libraries across the US, Canada, Australia and New Zealand. Hoopla allows library users to check out ebooks from their personal devices. All anyone needs to explore Hoopla’s ebook catalog is a registered public library card. Hoopla is one of a few major ebook vendors libraries use to ensure library-goers have access to digital content. But unlike other services like Overdrive, which lets librarians order individual ebooks, Hoopla only sells ebook subscriptions, meaning that libraries have little choice over what titles they’re getting from the service.

Unlike print books that libraries can buy directly from publishers, publishers only sell lending rights to ebooks using third-party vendors like Hoopla. Ebook use has been on the rise for the past decade, and vendors like Overdrive and Hoopla have claimed dramatic increases in ebook checkouts during the pandemic when many libraries were unable to operate at a full in-person capacity. Since March 2020, demand for ebook titles from lending services like Hoopla soared.

Sarah Lamdan, a law professor at the City University of New York School of Law data analytics companies in publishing says many libraries choose to subscribe to bundles because it’s cheaper for libraries that are already strapped for cash.

“We lease these streams of content like on Netflix or Spotify,” Lamdan told Motherboard. “It’s more expensive to be deliberate and choose titles a la carte than it is to buy one of these bundles, and [libraries] are not given a lot of choice about it. Although libraries are super trusted and seen as so important to society, they’re not properly funded.”

“It’s just another way that the outsourcing of traditional information roles is really poisoning the well of fact and truth and reliable information sources,” Lamdan added.

Librarians also say that ebook subscription prices are unsustainable as they typically cost three times as much as a customer’s ebook purchase through Kindle. This is emblematic of at least a decade of tension in the digital library market in which librarians have little power to negotiate with publishers and vendors over prices that continue to climb. Libraries are also operating in a time loop where they have to keep purchasing licenses from the Big-Five publishers (Hachette Book Group, Harper Collins, Macmillan, Penguin Randomhouse and Simon & Schuster) through what’s called “metered access.” Typically ebook subscription licenses expire after a two-year term or after 26 circulations per purchase. Except the price keeps climbing.

Link to the rest at Vice

Digital Printing: The New Normal

From Publishing Trends (July 31, 2020 – mid-Pandemic):

In the olden, pre-pandemic days when most books were printed offset, digital files were stored in case a book needed to be reprinted quickly. But this March, that dynamic was upended: everything shut down, some publishers’ warehouses and bookstores closed, and even Amazon slowed its bookselling to prioritize sanitizer over bestsellers.  

All of these abrupt shifts resulted in enormous strains on the supply chain, says Ingram Content Group’s Kelly Gallagher. Publishers couldn’t access their inventory; books couldn’t be shipped even to the few retailers who were open; printers couldn’t get their titles where they were supposed to be. Within weeks, Lightning Press, Ingram’s print-on-demand division, found itself creating everything from “virtual warehouses” for some clients, to print-to-order titles that were delivered direct-to-consumer via orders through bookstores and online retailers. 

Then, just as stores were coming back, protests erupted around the country and readers rushed to read up on social justice – often opting for backlist titles with low or no inventory on hand. Again, publishers looked to Ingram and other printer/distributors to supply those titles. While some, like Robin DiAngelo’s White Fragility (2018), went on to sell hundreds of thousands of ebooks, print versions often had to be produced using short-run and print-on-demand (i.e. digital) techniques just to satisfy immediate demand.

“The pandemic has accelerated the move from print to digital by three years,” estimates Books International’s David Hetherington. Now, “more and more titles are born digital.” This isn’t simply a shift to ebooks, though some outlets, such as libraries have doubled their ebook downloads. Instead, “born digital” content refers to the shift from traditional first printings using offset, to smaller first runs that are printed digitally. Though the quality is not (yet) as good and the costs are higher, savings come in time and the ability to customize. 

Baker & Taylor’s Eric McGarvey agrees that digital-first is on the rise but says the shift has been taking place over the last five years, especially with university presses eager to keep overhead down while making the full range of backlist available. University presses have been in the forefront of innovation over the last few years, in part because of funding issues that forced efficiencies, and in part because some have been folded under their academic libraries, which have long embraced digital resources.

Many of these transitions are a result of improved technology. Digital presses can now handle everything from roll-fed printing and heavy paper stock to full color, a range of formats, and customization. Even the Big Five are looking to third parties to ensure books can be quickly printed and distributed through the appropriate channels. McGarvey cites a new largescale backlist title effort between a new PRH Publisher Services client and Baker & Taylor as an example. 

And BISG Executive Director Brian O’Leary sees a possible “broader conversation” than one dedicated solely to how the book is printed. “This technology enables the shift in publishing from fixed to variable expense and the ability to match capacity to demand,” he says. In other words, the old model of looking at the unit cost of a manufactured book has morphed into looking at the cost per unit sold. And, as printers close and consolidate, he and others note that flexibility becomes more important, forcing publishers to look at “total cost of ownership.” How do the advantages of having inventory on hand in your own warehouse weigh against the carrying costs – or the possibility that the warehouse closes, or the inventory can’t get to the end user? It’s possible to play this scenario out, as publishers like Duke University Press are already doing, where the printing, warehousing, inventory, and fulfillment of all books are handled by third parties, leaving the publisher to focus on only on acquiring, editing, and designing the IP.

The other looming question of the moment is this: What happens when all the frontlist titles that publishers held off launching this spring and summer need to be printed this fall and winter?  Tyler Carey at Westchester Publisher Services has worked with Macmillan to make its files, including active backlist titles, ready for digital printing. Speaking at PW’s Publishing Now conference, Princeton University Press’s Cathy Felgar said that, though the press didn’t hold off on publishing their new titles this spring and summer, they are expanding their digital printing because of concerns about printer capacity this fall.  

Meanwhile, the move to custom printing this spring has increased direct-to-consumer sales.  Though born of necessity – bookstores and other retailers wanted their customers to receive their books even when there was no physical place for them to pick them up –  having D2C options is an important (and, many would say, overdue) step for publishers and their distributors and wholesalers. 

Link to the rest at Publishing Trends

PG posted this to illustrate how far behind the technology curve publishers were and continue to be with respect to printing.

PG started TPV over eleven years ago and has been exclusively digital ever during that entire time. For at least 20 years before that, PG was exclusively digital, printing only what had to be printed due to lagging technologies in the business and court systems. As a matter of fact, PG typically developed PC-based home-brew document assembly systems for any documents he had to prepare more than 2-3 times.

There are few American institutions that change more slowly than the court systems, both federal and state. US Bankruptcy Courts began allowing digital filing of the voluminous paperwork involved in starting a personal bankruptcy petition (30-50 pages, sometimes more) twenty years ago. Various state and federal trial courts have different rules regarding whether/how they’ll accept paper filings (or won’t).

PG thinks that individuals who aren’t represented by an attorney in bankruptcy court may be able to obtain paper forms and submit those, but in his brief dive online, he couldn’t confirm that, but can confirm that trying to dig through a government website looking for forms of almost any sort is definitely not an easy task.

If traditional publishers are behind the courts in the move to exclusive digital, they have to be the last in line.

Those who use Kindle Direct Publishing know that everything is digital. PG doesn’t think it’s ever been otherwise (but he’s not certain about the dawn of KDP).

Books, E-Readers, and the Cost of Reading in Prison

From Publishers Weekly:

During the Cost of Reading in Prisons: Book Censorship and E-Reader Tablets In Carceral Institutions, a panel of advocates for prison inmates outlined the struggle to provide incarcerated people with access to reading materials—as well as the benefits and mounting challenges facing the introduction of digital reading devices into prisons.

The online panel, a wide-ranging, often moving discussion sponsored by PEN America and held earlier this month, outlined the sad and familiar punitive scenario faced by incarcerated people around the country: growing restrictions on the ability of prison inmates to receive physical books; the banning of physical mail, postcards, children’s drawings, and, due to Covid-19, even visits from friends and family. Indeed, panelists pointed out how efforts to prevent the spread of Covid in prisons has exacerbated the situation, further isolating inmates from the outside world that they will eventually rejoin.

. . . .

Anthony Johnson, PEN America research and advocacy manager for initiatives on prison book bans, moderated the panel, offering a quote from scholar/activist Angela Davis to open the online session. “What kind of Democracy do we want or do we inhabit?” Johnson asked, quoting Davis. Johnson pointed to censorious restrictions enacted by state corrections departments and state legislatures: “How do you make the case for access when state legislatures don’t require it?” He emphasized that “democracy is defined by what is denied to people in prison” in relation to those outside.

In response, Cynthia Simons, formerly incarcerated and now a women’s fellow at the Texas Center for Justice and Equity, said that “just because a person is in prison, they are no less human than us; incarceration is supposed to rehabilitate and give them the tools to survive when they get out.” Simons said that 81% of the women in prison “are mothers who have endured significant trauma. They need books on trauma, history, and works on peace and healing, and we’re limiting the tools that can help them.”

But the reality of incarceration and rehabilitation is quite different according to Jodi Lincoln, an organizer with the Pittsburgh Prison Book Project. Lincoln outlined how PPBP and other Pennsylvania-based prison book advocates fought against a 2018 statewide ban preventing organizations from sending physical books to inmates, a measure based on what she called dubious safety concerns. (Even before that ban, prisons would not accept books sent from family or friends.) The new restrictions, Lincoln said, were aimed at preventing contraband from entering prisons, and that were accompanied by claims that drug-saturated paper books were sickening prison personnel—claims Lincoln described as “hysteria.”

“We pushed back through the community and through the media and got the policy reversed,” she said. Nevertheless, books and mail must still be sent to a third-party location to be scanned. Lincoln cited a possible solution to providing access: the use of e-readers and tablets. “E-readers can be fantastic way to expand access to all kinds of education opportunities,” she said. Unfortunately, she was quick to note, in many cases for-profit technology companies, in partnership with prison officials, are undermining this utility.

Link to the rest at Publishers Weekly

Books In 10 Years: Will Books Become Obsolete?

From CareerKarma:

Whether you’re an avid reader, a student, or a professional who reads for career advancement, the book-buying market seems to be shifting less towards physical books than it did years ago. People now find it more convenient to read books on their mobile devices, tablets, or computers through different digital reading formats like EPUB and MOBI. Is it possible that books could become obsolete in 10 years?

Electronic reading formats are easier to get, less expensive, and easily accessed compared to hardcover books. This fact begs not only the question, “Will books become obsolete?” but also “When will books become obsolete?” It is no surprise that more readers are turning to online formats in the present world with the many advancements of modern technology. But, will books really become a thing of the past?

. . . .

Books have been an essential part of society for a long time but are slowly declining significantly since the invention of technology as more people are losing interest.

Will Books Be Replaced by Future Technology?

Technology cannot entirely replace books, but there will be a significant reduction in physical books in the world. The world is going fully digital, and everyone now uses technology to complete several tasks, including reading. The demand for books printed on paper is declining, but digital books are becoming more popular as there are now ebooks that people turn to when reading for either pleasure or education.

However, books may remain relevant in the academic world as research shows that students still like to print PDF files to study. Reading with mobile devices or computers can be pretty strenuous for students, so institutions will always need to provide an alternative option.

People might subscribe to using more digital devices than reading copies of books in the near future, but books will not be entirely replaced by technology. There will be less book usage and more ebooks, but they will not go completely obsolete.

. . . .

Ebooks Are Taking Over

Ebooks are more in circulation than physical books for many reasons, as the book industry has seen a decline in book sales. According to Statista, the ebook industry rakes in tons of money every year, with a total sales of $1.1 billion. This figure is also expected to continue to grow, proving how popular the digital book business has become in recent years.

Books Are Getting More Expensive
Physical books are getting more expensive with time due to the increased cost of material resources needed to print a book and pay for authors’ royalties, transit costs, and return shipping. These factors added together on a daily basis influence the cost of books significantly.

Ebooks Are More Easily Shared

Why buy a book when you can just share one? Ebooks are easy to share and distribute, making them more accessible for some people. You can even find free PDF versions of your favorite novels online. This especially comes in handy if you live in, say, San Francisco, and you think your friend would love this book, but they live in New York. It’s cheaper and easier to share a digital book than a printed one.

. . . .

Online Classes

With the pandemic disrupting the world as we know it, online classes and bootcamps have become the norm, with many educational systems adopting this method to teach students. The exponential rise of online courses has further increased the use of digital devices for studying, decreasing the need for physical books even more. Sometimes we need to learn without contact, and the only way to accomplish that is by reading ebooks.

Link to the rest at CareerKarma (you may need to click to remove a stupid popup window on the first screen, but PG encountered no others when he went to the site with a popup-blocker on his browser.

Will Paper Books Be Replaced by E-books Soon? This Will Surprise You

From LifeHack:

E-books were supposed to be preferred over textbooks by now. For a variety of reasons; however, printed versions of books still prevail. For decades, researchers have been focusing their studies on how people utilize, comprehend, and process digital and paper reading material.

In recent years, researchers continued their investigation of the effectiveness and efficiency of paper text compared to digital text (such as e-books, tablets, personal computers, and laptops).  Some of their conclusions are surprising.

From Hieroglyphics to E-Books

Our brains were not designed for reading. Human beings don’t have pre-programmed genes for reading, like there are for vision and language.

Thanks to Egyptian hieroglyphics, the Phoenician alphabet, Chinese paper, and the Gutenberg press we’ve adapted and created new circuits in our brains in order to understand texts and letters.

Prior to the emergence of the Internet, our brains read predominately in linear ways, reading one page at a time before moving on to the next page. Distractions were minimal.

When we read text using e-book devices, tablets, laptops or desktop computers we must juggle multiple distractions (hypertext, e-mails, videos, and pop-up advertisements). In addition, a simple movement like swiping a finger on the screen or readjusting the mouse leads to moving our attention away from what’s being read. These interruptions may seem minor, but they nonetheless adversely affect our comprehension, reading speed, and accuracy.

Andrew Dillon, a University of Texas professor who studies reading, had the following comment to say to the WASHINGTON POST:

“We’re spending so much time touching, pushing, linking, scrolling, and jumping through text that when we sit down with a novel, your daily habits of jumping, clicking, linking is just ingrained in you. We’re in this new era of information behavior, and we’re beginning to see the consequences of that.”

Some of the consequences consist of how e-books, computers, and tablets reduce our reading speed and comprehension. Researchers found people comprehend the material they read on paper better than they do on e-books.

The need to comprehend is very important; especially, regarding work and school. Even though today’s children and college students are computer savvy, the majority of them prefer printed versions of text over e-books.

Moreover, Cornell University researchers found that both users and non-users of e-books generally preferred using printed versions of textbooks, since they plan to use them continuously.

Variations in How We Read

There are several different variations to reading. For instance, there are no measurable differences between e-books and paper text when it comes to reading short passages. However, studies show students remember more when reading from paper rather than a screen.

Anne Mangen, literacy professor at Norway’s University of Stavenger, explained more about reading to WIRED:

“Reading is human-technology interaction. Perhaps the tactility and physical permanence of paper yields a different cognitive and emotional experience; reading that can’t be done in snippets, scanning here and there, but requires sustained attention.”

For example, it seems that feeling pages and smelling the book awakens something in the human subconscious. Marilyn Jager-Adams, literacy expert and cognitive psychologist at Brown University, offers this explanation:

“All those cues like what the page looks like, what the book felt like, all those little pieces help you put together the whole thing. And they are just impoverished on a Kindle or tablet.”

E-books do not allow the readers a variety of annotations (like scribbling in the margins, dog-earing, and underlining), which for many people is essential to deep reading. There’s nothing tangible to engage our other senses.

Link to the rest at LifeHack

As PG mentioned before, he has gone almost entirely ebook in his personal reading, definitely for fiction and almost always for non-fiction.

One thing he’ll note is that PG always does his long-form ebook reading on a Kindle Paperwhite. He started that seven or eight years ago because he didn’t want the interruptions that come with a standard tablet. Nothing ever pops up on his Kindle other than the next page when he taps the screen with his thumb.

One part of the OP that was relevant to PG was the comment that for books PG expects to fill with sticky notes or underlines, he does tend to purchase pbooks. However, when someone does a decent job of integrating a rich slate of annotation tools for ebooks, he’ll move away from those types of physical books as well.

Digitization Can Support Publishers with Decision-Making

From Publishers Weekly:

“Digitization has made book publishing more efficient.”

According to the “Global Book Publishers Market Report (2021 to 2030): Covid 19 Impact and Recovery,” worldwide sales of e-books are predicted to grow at a compound annual growth rate of 11.7% in the forecast period. This continues a trend that started in 2008 with the introduction of e-reading devices, most prominently Amazon’s Kindle.

Looking at the volume of e-books released each year since 2008, many titles are published directly on self-publishing platforms such as Smashwords or Kindle Direct Publishing. This has created a plethora of new information for traditional publishers—not only about which books are released but also about how individual titles, authors, and entire genres are perceived by readers.

In new research with my colleague Imke Reimers from Northeastern University, we studied how publishers use the information generated through digitization—such as online reviews, detailed bestseller lists, and download figures—to make decisions. Platforms such as Amazon and Goodreads, as well as services such as BookScan or Bookstat, provide new sources of data that can be tapped to make decisions about which authors to work with and which manuscripts to buy.

Using data on almost 50,000 book deals over a period of 12 years starting in the early 2000s, we looked at how digitization has affected the relationships between authors and publishers. In particular, we studied how the advances that authors receive for individual titles or series changed after 2008. As we looked at the data, it became clear that one genre is much more affected by digitization than others: romance and erotica.

No other genre is published as frequently in the e-book format, and no other genre is published as frequently on self-publishing platforms. Likewise, no other genre has seen as many works with a self-publishing background appear on USA Today’s bestseller lists.

So we compared how advances to romance authors changed relative to advances paid to authors who write in other genres. This comparison allowed us to isolate the effect of digitization from other industry trends.

First, we found that advances to romance authors increased by about 20% after the introduction of the Kindle, compared to advances to authors in other genres. We identified two possible explanations for this rise. On the one hand, it might have been driven by a relative improvement of the authors’ bargaining power, given that they now had the option to circumvent traditional publishers and use self-publishing platforms to find their audiences. Alternatively, it could have been driven by an increase in demand for romance books after spectacular hits such as Fifty Shades of Grey.

Secondly, we found that publishers benefitted from the data that became available to them as a result of digitization. To explore this, we took our analysis one step further and asked whether the authors involved in the book deals we reviewed eventually turned out to be successful in the market. This allowed us to study whether publishers’ predictions about manuscripts’ market potential (which we approximate with the size of advances to authors) are accurate.

Strikingly, we found that publishers made relatively fewer errors when choosing manuscripts after the arrival of Kindle, and these improvements are again more substantial for romance authors. This is true for both types of errors: false positives (high advances for manuscripts that eventually flop) and false negatives (low advances for manuscripts that eventually become bestsellers).

In addition, based on regression analyses that estimate whether a book from a deal becomes a bestseller, we found that an advance to a romance author can predict a book’s success at making USA Today’s top 150 bestseller list 33% more accurately, relative to before 2008 and to authors in other genres. This led us to conclude that digitization has made book publishing more efficient.

Finally, we found that publishers that are more likely to invest resources in data analytics (as measured by relevant job postings) see the largest improvements in prediction.

Link to the rest at Publishers Weekly

How To Get Your Self-Published Book Into Libraries

From The Creative Penn:

If you haven’t considered libraries as a market for your self-published book(s), you should.

Why? For one, there are 2.6 million libraries globally1, and they spend roughly $31 billion annually2! In the U.S., library expenditures are $14.2 billion a year2, and of this amount, $1.4 billion1 or 10.2% is spent on books!

Secondarily, the library market is growing! Two years after Joanna posted my original article, How To Get Your Book Into Libraries, the number of Academic Libraries worldwide grew to 95,361, a 111.8% increase, and Public Libraries globally grew to 406,834, a 39.4% increase! In the U.S., the number of Academic Libraries had grown 12.5%, and there were 90.5% more Public Libraries!

And third, libraries are purchasing more eBooks. According to the American Library Association (ALA), in 2020, OverDrive (a provider of eBooks to Libraries) loaned out more than 289 million eBooks worldwide, a 40 percent increase from 2019, a shift the company attributed to the global pandemic.

. . . .

If you wonder if libraries buy self-published books, the answer is, “Yes, they do.”

In its April 5, 2021 article, How Library Distribution Works for Indie Authors, the Alliance for Independent Authors (ALLI) shared the results of a 2016 survey conducted by US-based publishing service New Shelves. Per the survey, “… 92 percent of librarians reported that they regularly purchase from self-published authors and small presses.”

Although there still may be some libraries whose Collection Development Policy (the guidelines libraries use when making book purchasing decisions) might state they don’t buy self-published books, those excluding are becoming rarer and rarer.

I believe my situation is a good example. As of this writing, 156 libraries worldwide have acquired 192 copies of my self-published titles since I first introduced them to librarians a few years ago.

Also, in the last two years, I haven’t had one library inform me they don’t buy self-published books. And if you’ve heard that it’s hard getting a self-published book into a library, I would say, “It shouldn’t be easy because of the vital role libraries play in societies, but I and others are proof that it can be done.”

Link to the rest at The Creative Penn

New York’s library e-book licensing bill vetoed as Maryland challenge looms

From The Bookseller:

The Association of American Publishers (AAP) has welcomed the decision by New York Governor Kathy Hochul to veto a bill that would have forced publishers and authors to grant e-book licences to libraries under state-imposed terms.

New York’s State Assembly legislation was similar to a new law in Maryland which the AAP is currently challenging in court over concerns it will force publishers both in the US and abroad to license e-books to public libraries on “reasonable terms” defined by the state. A hearing on the challenge is set for February.

Vetoing the New York bill, Hochul wrote: “While the goal of this bill is laudable, unfortunately, copyright protection provides the author of a work with the exclusive right to their works. As such, federal law would allow the author, and only the author, to determine to whom they wish to share their work and on what terms. Because the provisions of this bill are pre-empted by federal copyright law, I cannot support this bill.”

The AAP said the New York bill would have contravened the US Copyright Act and pointed out it included penalties for non-compliance, “effectively chilling copyright owners from pursuing the full benefit of their copyright interests and literary properties within the state”. 

Link to the rest at The Bookseller

2022 Publishing Predictions

From Anne R. Allen’s Blog with Ruth Harris:

Who could have predicted the bright ray of light that shined on publishing during this pandemic! But it did shine, and will continue to shine, as people rekindle their love of reading and writing! Publishing is more profitable than ever before in its history…for the second year in a row.

Once the streaming binge of Netflix, Disney+, Hulu and other channels grew a bit stale, people rediscovered books and how reading engages the imagination making it a totally different enjoyment experience than passively watching a screen. Books have been selling at a brisk pace ever since. And the profits reaped by the publishing giants has soared. I wish some would make it back to writers and the publishing staff, but that’s another story altogether.

Now that we can breathe a sigh of relief, what does publishing have in store for us in 2022? Here are my predictions:

1. Self-publishing will continue to grow and be profitable.

Bookstores will continue to prosper, even as Amazon continues to grow its market share. For the year to date (2021), bookstore sales are up 39.6%, to $7.1 billion. And that’s an increase from a huge year last year.

All of publishing is healthy and there is no reason for you not to get back on that horse and finish writing your books.

2. Diversity will grow even more, both with authors and with publisher staffs.

So many high-level (VP and up) positions were created to encourage and hire diverse staff within publishers. To me that’s the second phase of diversifying publishing. Phase one began 3-4 years ago with editors buying books from a more diverse ethnic and cultural pool of authors.

I don’t see that phase slowing down anytime soon either. But with the hiring of high-level diverse employees within publishing companies in phase two, we can begin to see real change in the industry. It will be a joy to watch and we’ll all be the richer for it.

3. Hybrid workplaces will deepen and New York will be the center of publishing in name only.

All plans to return to the publishers’ offices in January 2022 were cancelled as the Omicron variant surged this past fall. I believe this signals a huge shift in how publishing is done. When editorial and art departments can work from home, creativity can soar.

Change can happen. And the bureaucracy will be replaced with new energy and passion when employees don’t have to spend endless hours in meetings. Even with an increase in Zoom meetings, multitasking can make them bearable.

Hybrid work environments, now that employees have their home workspaces dialed in, are a harbinger of the future. And employers will dig the extra profits they make from a dramatic decrease in overhead.

. . . .

5. Supply chain and paper shortage woes will continue.

It takes a long time to straighten out something as broken as the publishing supply chain. Books with a lot of images (children’s picture books, coffee table books, novelty books) are mainly printed in China. But the empty cargo containers in the U.S. are not making it back to China for refilling and that is slowing down everything.

As agents, we see publication dates stretching out to 2025 and beyond. And I’m predicting that it won’t be fixed in 2022. And when you add to that the high cost of paper, the price of books at retail is going up (along with everything else you buy).

6. There will be a legal battle over how ebook sales are regulated to libraries.

Again, states are trying to legislate how much publishers can charge libraries to loan ebooks. This is a big deal, since it is the largest growth area for public libraries…especially during the pandemic. But even after we can once again go out safely in public, ebook reading is experiencing a sea change that some readers will never go back from.

This topic needs to be legislated from the federal level if the publishers won’t see reason.

7. Publishing will look more deeply at changing its business model.

Publishing companies can no longer deny that the 200-year-old way they’ve been running their empires makes no economic sense.

Here’s what Hachette CEO Michael Pietsch had to say about it: “Publishers have long carried the overhead of big-city offices, travel and entertainment, in-person events, book fairs, and other accustomed ways of operating. We’ve been profitable enough that we haven’t pressured ourselves to learn all we could do through long-available online communications, digital marketing, and remote-working capabilities.”

Working from home, freed from onerous commutes, without in-person calls, pitches, conferences, and shows, publishers have opened their minds to new ways of working.” This gives me hope that as profitability soars due to changes in an inefficient business model, authors might actually benefit through modestly higher advances and larger royalty percentages (especially in ebooks…I mean come on!)

. . . .

10. eBooks are experiencing a growing spurt of popularity that is not going to diminish.

When you combine the paper shortage/price increases, supply chain woes and convenience of spontaneously acquiring an ebook in the privacy of your own home without having to get out of your pajamas, the lure is too sexy to resist.

For you self-published authors, time to get out your marketing and promotional hat, put your books on sale, spiff up the covers, really pay attention to your metadata (especially key search terms), so avid readers can find your work. Because ebooks are not going away.

11. Audiobook popularity will continue to grow.

See #10 above for reasons. Add in listening to stories while driving, making meals, exercising and you can see why.

Link to the rest at From Anne R. Allen’s Blog with Ruth Harris

Will you ever buy mostly e-books?

From Nathan Bransford:

Well well well.

For the first time since the heady days of early 2010s e-book enthusiasm, we’ve seen a pretty significant jump in people who think they’ll buy mostly e-books, with a clear plurality.

While the number of people who are sticking to paper books has stayed mostly the same, there was a big shift in people who welcome their coming e-book overlords, mainly due to fence-sitters hopping off into the e-book column.

Link to the rest at Nathan Bransford

NPD Projects US Print Book Unit Sales 17 Percent Above 2019

From Publishers Weekly:

In today’s release (December 13, 2021) of its United States print books weekly media report for the week ending December 4, Kristen McLean, executive director and industry analyst with NPD Books and Entertainment, shows the American publishing industry pressing into the holiday run with the strength that has distinguished it and several other world book markets in the second year of the coronavirus COVID-19 pandemic.

McLean writes, “2021 and 2020 are converging as we reach the end of the year.

“This past week was essentially flat” in comparison to the same week in 2020, she reports, “crossing the 25-million-unit mark about a week earlier than the seasonal norms set in 2019 and 2018, and two weeks earlier than 2017.

“The market finished the week up 10 percent on a year-to-date volume of 726 million units, which is 67 million units ahead of 2020, and 118 million units ahead of 2019.

“If we finish the year as we project at 8 percent higher, year-over-year, on a unit basis, that will be 17 percent higher than 2019, a finish none of us would have foreseen on January 1, 2020.”

And this time, McLean has included what NPD Group calls its “Total Market Retail Thermometer” (from its “Retail Center of Excellence” material), to get a look at the sales revenue performance of all other non-book retail that NPD tracks as a percentage of 2019 performance.

“2021 has already exceeded 2019 by 4 percent,” McLean announces, “with four more holiday weeks to go.”

Link to the rest at Publishers Weekly

The headline of the OP caught PG’s attention because he suspected 2019 was a typo.

PG will note that NPD’s data “covers approximately 85 percent of trade print books sold in the U.S.” so there is apparently no ebook sales data included.

Per Booksliced, in 2020, the share of market in ebooks looks this way:

Amazon 81%
Nook 9%
Apple Books 7%
Kobo 3%

PG hadn’t heard of Booksliced until he did a quick search for ebook market share. If anyone can locate additional data on ebook market share, feel free to share in the comments.

How authors are finding success on Kindle Vella

From MarketScreener:

Kindle Vella, Amazon’s mobile-first reading experience for serialized stories, lets readers follow stories they love. In the short time since Kindle Vella launched, thousands of authors have published thousands of stories, totaling tens of thousands of episodes across dozens of genres and microgenres.

Readers have a long history of loving serialized stories. Authors like Charles Dickens, Harriet Beecher Stowe, Alexandre Dumas, and Leo Tolstoy are among the many who wrote famous serialized stories. They offer short reading experiences that also provide connection to a larger, layered story or to an author for a long period of time.

Continuing in this classic tradition, authors are publishing serialized stories on Kindle Vella for mobile reading during short breaks in busy modern life. We talked to five authors of breakout Kindle Vella hit stories and discovered how they are finding success, reaching readers, and stretching themselves creatively with Kindle Vella.

. . . .

Callie Chase
Bug

“The key to success on Kindle Vella is writing the best story you can, with each short episode complete, engaging, and satisfying for a reader in line at the grocery store or school pickup,” said Callie Chase, who was looking for the right opportunity to publish her dystopian paranormal story Bug when she discovered Kindle Vella.

Chase had finished writing Bug, but Kindle Vella’s episodic storytelling format enabled her to introduce a cohesive cast of characters, tell the story from varying the points of view, and play with the story’s timeline, all while each episode could stand on its own. “Even if it’s been a week since they last read, readers can easily pick up where they left off,” she said.

Bug is one of the most popular stories on Kindle Vella, which launched for readers in summer 2021, and readers have consistently rated it a top story. Kindle Vella readers show their support by giving episodes a “Thumbs Up” and voting once a week for their favorite story.

Bug has received over 2,000 Thumbs Up and is currently No. 15 on the Top Faved leaderboard. To keep up this momentum, Chase has stuck to a strict publishing schedule, releasing episodes three times a week, always on the same day, so her readers know when to expect them. She includes this schedule in the story description to help catch the attention of new readers looking for something regular to read. She pre-schedules the publication of all her episodes to ensure she doesn’t miss a release.

Pepper Pace
The Galatian Exchange

Using social media and a newsletter to promote new episodes of The Galatian Exchange is crucial for science fiction author Pepper Pace, whose Kindle Vella story has reached No. 4 on the Top Faved leaderboard. The Galatian Exchange has also earned over 2,000 Thumbs Up from readers.

This type of interaction with readers is natural for Pace, who got started writing in online writing groups and enjoys online multiplayer role-playing games. “Being able to see the instant response to each episode of my series in the form of Thumbs Up and ranking makes the storytelling experience fun and exciting for me and my readers,” Pace said. “I enjoy being able to track my stories’ progress on the Kindle Vella Dashboard, which updates continuously as the day goes on. I can also see, with the number of unlocked reads, the number of new readers that I get.”

Link to the rest at MarketScreener

Here’s a link to Vella Top-Faved, the most popular Vella Stories as voted by Vella readers.

The Supply Chain Grinch

From Writers Digest:

I started drafting my YA rom-com I’m Dreaming of A Wyatt Christmas the day my world stopped. It was March 2020 and my three children were home on their first day of spring break. At the time, we didn’t know that they wouldn’t be back in the classroom until September 2021.

Wyatt Christmas was written in the scraps of time I stitched together between figuring out if I needed to wipe down groceries and quarantine mail, where to buy toilet paper, and how to entertain and prevent a school-less preschooler from interrupting his brothers’ virtual classes. I wrote from 10 p.m. to midnight, from 3 a.m. until whenever my then three-year-old woke up and came looking for me.

In order to keep myself awake enough to write at 3 a.m., I had to really love this story—really love this world—and I do. I filled this book with all the warmth and Christmas feeling I could cram into the chapters. Working on it was an escape—one I hope translates to the readers. And like so many books written during the early pandemic months, my cozy Christmas book was about to make its way to bookstores.

At least I thought it was. Like so many in the publishing industry, I’ve gotten a crash course in supply chains these past few weeks. Wyatt Christmas was supposed to hit bookstore shelves October 5. It didn’t.

This is not my first pandemic release. I’m typically a book-a-year author, but I’m Dreaming of a Wyatt Christmas will be my third release in the past 18 months. The last two books in my Bookish Boyfriends series came out in May 2020 and January 2021. While launching without in-person events hasn’t been fun, I thought I knew how to make it work. I bought a ring light, signed up to embarrass myself on TikTok, and made a virtual escape room for school visits. But publishing has always been a roller coaster—you never know if the next drop is going to leave you elated or nauseated—and I was about to encounter one more loop on the track.

Who knew back when we all giggled about the boat stuck in the Suez Canal that it was just the beginning of what we’d be learning about shipping and supply chains? Not me! Dangit, karma!

A few weeks ago, my publisher emailed me with the news: Wyatt Christmas wasn’t going to arrive in time for its original release date, and they gave me a new one: October 26. I took a deep breath and made some corrections to my planner. We all agreed that this was fine. This was good, even; my Christmas book would come out closer to Christmas.

I made graphics. I filmed Instagram stories. I decided to proceed with the virtual launch event I had scheduled on October 5 with author Jen Calonita at Doylestown Bookshop. It wouldn’t be a “launch” event for me, but Jen’s middle grade novel, Heroes, the final book in her Royal Academy Rebels series, was coming out that day, and I could use our talk to encourage preorders.

Ninety minutes before the event started, I got an email from the bookstore: their preorder link was down. While Doylestown Bookshop pivoted to accepting phone and email orders, and I sent frantic emails to my publicist, we realized it wasn’t just a one-store issue. The buy links didn’t work on any of the bookstores I checked. It didn’t work on IndieBound or Bookshop.org, or on Barnes & Noble’s website. The book was unbuyable, due to complications with the on-sale date change.

Link to the rest at Writers Digest

Yet one other reason to stay away from traditional publishers.

That said, an innovative organization would have improvised a strategy to launch the book in a different way.

Book sales were way up during the Covid lockdown. These were, of course, virtually all online.

An innovative organization might have organized an online launch for the ebook and a POD hardcopy.

As it is, when the supply chain is worked through, there will be a zillion other book launches because traditional publishing can’t figure out how to launch a book without their highest-cost/lowest-profit sales outlet – the traditional bookstsore.

Ebooks Are an Abomination

Note: PG posted this less than a month ago. He’s reposting it today because:

  1. He forgot he posted it before (but was politely reminded in by WO in a comment).
  2. It’s a classic in the I-hate-ebooks genre.
  3. He posted a lot of calumnies directed at ebooks today and was on some sort of ebook-calumny roll and couldn’t stop himself.
  4. Despite having taken all his meds today, he’s probably devolving into something slightly above primeval soup and needs to watch some baseball to bring his mind back to its usual level of functionality.

From The Atlantic:

Perhaps you’ve noticed that ebooks are awful. I hate them, but I don’t know why I hate them. Maybe it’s snobbery. Perhaps, despite my long career in technology and media, I’m a secret Luddite. Maybe I can’t stand the idea of looking at books as computers after a long day of looking at computers as computers. I don’t know, except for knowing that ebooks are awful.

If you hate ebooks like I do, that loathing might attach to their dim screens, their wonky typography, their weird pagination, their unnerving ephemerality, or the prison house of a proprietary ecosystem. If you love ebooks, it might be because they are portable, and legible enough, and capable of delivering streams of words, fiction and nonfiction, into your eyes and brain with relative ease. Perhaps you like being able to carry a never-ending stack of books with you wherever you go, without having to actually lug them around. Whether you love or hate ebooks is probably a function of what books mean to you, and why.

When discussed in the present tense, ebooks means Amazon Kindle ebooks. Competitors are out there, including tablets such as the iPad and the various software that can display books in electronic format. Precursors are also many. Ebooks appeared on Palm handhelds in the late ’90s. Microsoft made a reader for its equivalent, Windows CE. The first commercial e-ink reader was made in 2004 by Sony, not Amazon, although you’ve probably never heard of it. Barnes & Noble still makes the Nook, a Kindle competitor that seems like the Betamax of ebook readers. Before all of these, it was always possible to read on computers, portable or not. Adobe’s PDF format, first released in the early ’90s, made it easy to create and share print-formatted documents, viewable on any platform with a PDF reader. And you have been able to scroll through Word (or WordPerfect or WordStar or plain text) documents for as long as computers have existed, even if few would call such an experience reading.

Stop and reread that last clause, because the key to understanding why you love or hate ebooks is pressurized into it. Agreeing that books are a thing you read is easy enough. But what it means to read, what the experience of reading requires and entails, and what makes it pleasurable or not, is not so easy to pin down.

. . . .

Consider, for example, the Kindle DX, a 2009 follow-up to the original, 2007 Kindle reader. The DX’s 9.7-inch screen was 50 percent bigger than the original’s six-inch display, and the newer model could also show PDFs. Seen as a potential disruptor of technical, academic, and other specialized reading uses, the DX was a failure, at least in comparison with the paperback-size original Kindle and its successful follow-ups, including the popular Paperwhite model. Students and technical readers didn’t want to consume documents on the gadget. By contrast, readers of genre fiction or business best sellers were more willing to shift their practices to a small, gray screen.

Reading is a relatively useless term. It describes a broad array of literacy practices, ranging from casually scanning social-media posts to perusing magazine articles such as this one to poring over the most difficult technical manuals or the lithest storytelling. You read instructions on elevators, prompts in banking apps, directions on highway signs. Metaphorically, you read situations, people’s faces, the proverbial room. What any individual infers about their hopes and dreams for an e-reader derives from their understanding of reading in the first place. You can’t have books without bookiness.

Bookiness. That’s the word Glenn Fleishman, a technology writer and longtime bookmaker, uses to describe the situation. “It’s the essence that makes someone feel like they’re using a book,” he told me. Like pornography or sandwiches, you know bookiness when you see it. Or feel it? Either way, most people can’t identify what it is in the abstract.

Fleishman and I took a swing at defining bookiness anyway. A book, we decided, is probably composed of bound pages, rather than loose ones. Those pages are probably made from paper, or leaves akin to paper. These pages are likely numerous, and the collection of pages is coherent, forming a totality. The order of that totality matters, but also the form of bound pages allows a reader random access to any page, via flipping and fanning. Books have spreads, made of a left (verso) and right (recto) side. You can look at both at once, and an open book has the topology of a valley, creating a space that you can go inside and be surrounded by, literally and figuratively. Some books are very large, but the ordinary sort is portable and probably handheld. That held object probably has a cover made of a different material from the leaves that compose its pages. A stapled report probably isn’t a book; a coil-bound one with plastic covers might be. A greeting card is probably not a book; neither is the staple-bound manual that came with your air fryer. Are magazines and brochures books? They might be, if we didn’t have special terms for the kind of books they are.

Whatever a book might be, all of the things that an average person might name a “book” evolved from an invention more than two millennia old, called a codex. Prior to the codex, reading and writing took place on scrolls—long, rolled sheets of paper (or vellum or papyrus)—and then on wax tablets, which a sharp stylus could imprint and its tapered end could erase. The ancient Romans sometimes connected wax tablets with leather or cords, suggesting a prototype of binding. Replacing the wax with leaves allowed many pages to be stacked atop one another, then sewn or otherwise bound together. Codices were first handwritten or copied, then made in multiples when the printing press emerged. I’m skipping over a lot more detail—a whole field, called book history, addresses this topic—but the result connects today’s best seller to hand-gilded illuminated manuscripts, the earliest records of the Gospels, and more. Two thousand years after the codex and 500 after the Gutenberg press, the book persists. If something better were to come along, you’d expect it to have done so by now. In other words, as far as technologies go, the book endures for very good reason. Books work.

Given the entrenched history of bookiness, a book is less a specific thing than an echo of the long saga of bookmaking—and an homage to the idea of a book bouncing around in our heads, individual and collective. That makes books different from other human technologies. People have always needed to eat, but methods of agriculture, preservation, and distribution have evolved. People have always wanted to get around, but transportation has unlocked faster and more specialized means of doing so. Ideas and information have also enjoyed technological change—cinema, television, and computing, to name a few, have altered expression. But when it comes to the gathering of words and images pressed first to pages and then between covers, the book has remained largely the same. That puts books on par with other super-inventions of human civilization, including roads, mills, cement, turbines, glass, and the mathematical concept of zero.

. . . .

If you have a high-quality hardbound book nearby, pick it up and look at the top and bottom edges of the binding, near the spine, with the book closed. The little stripey tubes you see are called head and tail bands (one at the top, one at the bottom). They were originally invented to reinforce stitched binding, to prevent the cover from coming apart from the leaves. Today’s mass-produced hardcover books are glued rather than sewn, which makes head and tail bands purely ornamental. And yet for those who might notice, a book feels naked without such details.

Now open the book and turn to its first pages to see another example of how print-book habits die hard. Find the first normal page. I bet it looks the same no matter the book: a mostly blank page showing the book’s title and author. If you turn again, you’ll see that it’s followed by the exact same page, but with more information. Why are both of these title pages here? The first one, luridly known as the bastard title (or half title), was created to protect the full title page behind it during the binding process. That was necessary because printers printed only the pages of a book, which individual readers would send to a binder to encase in leather covers, perhaps to match the rest of their library. That meant that the pages themselves would be cast about quite a bit during transit to and from these varied trades. After binding, some would even cut out the bastard title and paste it to the inside of the cover or to the spine, in order to help identify the book on a shelf. That risk and practice are long behind us, but like an appendix, the bastard title remains.

So do all manner of other peculiarities of form, including notations of editions on the verso (the flip side) of the full title page and the running headers all throughout that rename the book you are already reading. And yet removing any one of these features would, if just in a small way, erode the bookiness of a book.

One site of that erosion, which may help explain ebook reticence, can be found in self-published books. For people predisposed to sneer at the practice, a lack of editing or the absence of publisher endorsement and review might justify self-published works’ second-class status. That matter is debatable. More clear is the consequence of disintermediation: Nobody takes a self-published manuscript and lays it out for printing in a manner that conforms with received standards. And so you often end up with a perfect-bound Word doc instead of a book. That odd feeling of impropriety isn’t necessarily a statement about the trustworthiness of the writer or their ideas, but a sense of dissonance at the book as an object. It’s an eerie gestalt, a foreboding feeling of unbookiness.

A particular reader’s receptivity to ebooks, then, depends on the degree to which these objects conform to, or at least fail to flout, one’s idea of bookiness. But if you look back at the list of features that underlie that idea, ebooks embrace surprisingly few of them.

An ebook doesn’t have pages, for one. The Kindle-type book does have text, and that text might still be organized into sections and chapters and the like. But the basic unit of text in an ebook does not correspond with a page, because the text can be made to reflow at different sizes and in various fonts, as the user prefers. That’s why Amazon invented “locations” to track progress and orientation in a book. You’d think the matter displayed on an iPad screen would feel more familiar—it’s just pictures of actual pages—but oddly it often feels less like leaves of paper than its e-ink brethren does. The weird way you tap or push a whole image of a page to the side—it’s the uncanny valley of page turning, not a simulation or replacement of it.

The iPad’s larger screen also scales down PDF pages to fit, making the results smaller than they would be in print. It also displays simulated print margins inside the bezel margin of the device itself, a kind of mise en abyme that still can’t actually be used for the things margins are used for, such as notes or dog-ears. Ebooks of the Kindle or iPad sort don’t have facing pages either, eradicating the spatial immersion of print books. Random access, the ur-feature of the codex, isn’t possible, and search, bookmarking, and digital-annotation features can somehow make people with a predilection for skimming back and forth feel less oriented than they might in print. For those readers, ideas are attached to the physical memory of the book’s width and depth—a specific notion residing at the top of a recto halfway in, for example, like a friend lives around the block and halfway down.

Some aspects of bookiness do translate directly to ebooks, and particularly to the Kindle. The Kindle is highly portable and easily handheld. It’s small, about the size of a trade book—a format that Apple and other tablet makers more or less abandoned in favor of ever larger screens. The Kindle is also extremely light, making it easy to hold for long periods (something that can’t be said of any iPad). Before computerized books, nobody ever needed to specify that books are appealing because they don’t require electricity, but that’s an obvious corollary of portability; e-ink requires infrequent charging.

Link to the rest at The Atlantic

Paper Books vs eBooks Statistics, Trends and Facts – 2021

From TonerBuzz:

Paper books vs eBooks statistics show print is here to stay!

Dead Tree Editions Just Won’t Die!

Like the monster in a horror movie, print books just won’t die. The most recent paper books vs eBooks statistics, research, and surveys back this up.

Print books are here to stay!

Let’s look at the most important eBook vs print book statistics, key differences between print and e-books, and where American publishers are taking the industry.

Popularity Contest: Books Versus Print Books

Are print books still popular? You’d better believe it!

According to a survey conducted by the Pew Research Center on book consumption and book formats, traditional print is still the most popular reading format for both adults and children.

Survey says:

  • 72% of adults in the United States read a book in some format over the last year
  • 65% of respondents claimed they read a book in the last 12 months
  • 37% of Americans claim they only read print books
  • 28% say they read both print books and e-books
  • 7% say they only read e-books
Ebook vs print book statistics

Demographics: Reader vs E-Reader

Book reading demographics vary according to education and income level.

College graduates make up 90% of book readers, while only 61% of high school graduates read books.

Those who dropped out of school have an even lower readership rate – a mere 32%.

Economics goes hand-in-hand with education. Individuals earning over $75,000 a year make up 86% of readers, while well those earning less than $30,000 annually make up only 62%.

Physical books are still the top moneymakers for publishers. 

Publishing market research shows the economic juggernaut of traditional books. While publishers are experimenting with different media formats — especially audiobooks — they are still investing the bulk of their marketing efforts into physical book sales.

And they should…there’s still big money in old-fashioned publishing!

  • Books sales revenue in 2019 totaled $26 billion
  • Physical books generated 74.7% of the total revenue
  • E-books accounted for only 7.48% of the revenue
  • The remaining part of the revenue was generated by other formats like audiobooks

Book sales statistics

Source: The Association of American Publishers (AAP)

Link to the rest at TonerBuzz

PG notes that TonerBuzz is an ecommerce seller of toner and ink.

Ebooks Are an Abomination

From The Atlantic:

Perhaps you’ve noticed that ebooks are awful. I hate them, but I don’t know why I hate them. Maybe it’s snobbery. Perhaps, despite my long career in technology and media, I’m a secret Luddite. Maybe I can’t stand the idea of looking at books as computers after a long day of looking at computers as computers. I don’t know, except for knowing that ebooks are awful.

If you hate ebooks like I do, that loathing might attach to their dim screens, their wonky typography, their weird pagination, their unnerving ephemerality, or the prison house of a proprietary ecosystem. If you love ebooks, it might be because they are portable, and legible enough, and capable of delivering streams of words, fiction and nonfiction, into your eyes and brain with relative ease. Perhaps you like being able to carry a never-ending stack of books with you wherever you go, without having to actually lug them around. Whether you love or hate ebooks is probably a function of what books mean to you, and why.

When discussed in the present tense, ebooks means Amazon Kindle ebooks. Competitors are out there, including tablets such as the iPad and the various software that can display books in electronic format. Precursors are also many. Ebooks appeared on Palm handhelds in the late ’90s. Microsoft made a reader for its equivalent, Windows CE. The first commercial e-ink reader was made in 2004 by Sony, not Amazon, although you’ve probably never heard of it. Barnes & Noble still makes the Nook, a Kindle competitor that seems like the Betamax of ebook readers. Before all of these, it was always possible to read on computers, portable or not. Adobe’s PDF format, first released in the early ’90s, made it easy to create and share print-formatted documents, viewable on any platform with a PDF reader. And you have been able to scroll through Word (or WordPerfect or WordStar or plain text) documents for as long as computers have existed, even if few would call such an experience reading.

Stop and reread that last clause, because the key to understanding why you love or hate ebooks is pressurized into it. Agreeing that books are a thing you read is easy enough. But what it means to read, what the experience of reading requires and entails, and what makes it pleasurable or not, is not so easy to pin down.

. . . .

Reading is a relatively useless term. It describes a broad array of literacy practices, ranging from casually scanning social-media posts to perusing magazine articles such as this one to poring over the most difficult technical manuals or the lithest storytelling. You read instructions on elevators, prompts in banking apps, directions on highway signs. Metaphorically, you read situations, people’s faces, the proverbial room. What any individual infers about their hopes and dreams for an e-reader derives from their understanding of reading in the first place. You can’t have books without bookiness.

Bookiness. That’s the word Glenn Fleishman, a technology writer and longtime bookmaker, uses to describe the situation. “It’s the essence that makes someone feel like they’re using a book,” he told me. Like pornography or sandwiches, you know bookiness when you see it. Or feel it? Either way, most people can’t identify what it is in the abstract.

Fleishman and I took a swing at defining bookiness anyway. A book, we decided, is probably composed of bound pages, rather than loose ones. Those pages are probably made from paper, or leaves akin to paper. These pages are likely numerous, and the collection of pages is coherent, forming a totality. The order of that totality matters, but also the form of bound pages allows a reader random access to any page, via flipping and fanning. Books have spreads, made of a left (verso) and right (recto) side. You can look at both at once, and an open book has the topology of a valley, creating a space that you can go inside and be surrounded by, literally and figuratively. Some books are very large, but the ordinary sort is portable and probably handheld. That held object probably has a cover made of a different material from the leaves that compose its pages. A stapled report probably isn’t a book; a coil-bound one with plastic covers might be. A greeting card is probably not a book; neither is the staple-bound manual that came with your air fryer. Are magazines and brochures books? They might be, if we didn’t have special terms for the kind of books they are.

Link to the rest at The Atlantic and thanks to D for the tip.

Can Salman Rushdie and Substack Revive Serialized Fiction?

From The New Republic:

Salman Rushdie, the Booker Prize–winning novelist, insists that he is not, like so many media members before him, going to Substack—at least not full-time. He won’t be publishing his next book on the newsletter platform. Instead, he’s taken an advance from the company to fool around with “whatever comes into” his head. This will apparently include a serialized novella. “I think that new technology always makes possible new art forms, and I think literature has not found its new form in this digital age,” Rushdie told The Guardian. “Whatever the new thing is that’s going to arise out of this new world, I don’t think we’ve seen it yet.”

“People have been talking about the death of the novel, almost since the birth of the novel,” he continued. “But the actual, old fashioned thing, the hardcopy book, is incredibly, mutinously alive. And here I am having another go, I guess, at killing it.”

Rushdie isn’t wrong. The physical book has, somewhat improbably, maintained its supremacy in the digital age. Unlike the DVD or CD, nothing has truly emerged to threaten the analog; the printed page hasn’t yet had to make a “vinyl comeback.” At the same time, the book has hardly adapted to the internet age at all. Whatever the genre, books are simply not at all different than they were a few years ago, and no one seems particularly bothered about it. Not too long ago, there was a brief push to embrace things like QR codes to unlock digital supplementary material, but readers weren’t interested; the Kindle, meanwhile, is dominant among e-readers in large part because it so eerily replicates the feel of reading a physical book.

Yet it’s highly unlikely that Rushdie—or Substack—will plot the novel’s, let alone the book’s, next act. For years, people have been predicting that the internet would radically upend the future of literature, and yet, stubbornly, literature has refused to change. One reason for the book’s continued relevance is that it remains a surprisingly robust and effective piece of technology in its own right—every effort to find its future only ends up reminding everyone about what it already does better than other mediums.

Less than 10 years ago, the consensus within much of the publishing industry was that the physical book was on its way out. Just as Napster had killed the CD and Netflix the DVD, Amazon’s Kindle, unveiled in late 2007, heralded a seismic change for a medium that had held sway for more than 500 years. The book had been slowly falling in the public’s estimation ever since people ran out of a movie theater, in 1896, thinking that a train was going to kill them.

By the late 2000s, the reasoned thinking was that the book was an inferior communication technology, about to be left behind by the startling array of digital entertainment options.

It didn’t seem like such a bad bet: Digital books would soon outpace physical ones. This change would, in turn, bring about a dramatic change in form. Writers were limiting themselves when thinking only in text: Why not explore audio and video? Why not turn the book into an immersive experience? Why not allow readers to interact with the story itself, turning any book into a Choose Your Own Adventure experience?

There were two big problems with this thinking. The first was that what many of these theorists were describing was not, in fact, a book. In many instances, what they were describing was closer to a video game: an experience in which readers guided a narrative with audiovisual dimensions. The oddest thing about reading many fevered imaginings of the future of the novel was that they had been played out in things like Metal Gear Solid. (My own favorite game series, The Witcher, is a rarity in the game world, as it’s based on a series of Polish short stories, suggesting that the literature-to-game pipeline is being curiously underexploited.) There was, moreover, no evidence that readers truly wanted to be overwhelmed by audio and video while reading: Many, in fact, were turning to books precisely to escape the information overload that defines life in the twenty-first century. As Lincoln Michel argued on his Substack, it turns out that people just like books, and print books in particular.

The second error that these media futurists made was overestimating how vulnerable the book was to digital technology. Many people, when they listen to music, like to jump around between artists: The iPod allowed them to do so seamlessly. Movies are consumed in one two-hour period, and most people don’t know what they want to watch before they sit down on the couch, a problem solved by Netflix. But most people read one book at a time—no one was lugging an entire library to the beach. A Kindle can store thousands of books, but who cares? Having an ocean of literature at your fingertips is neat, but it doesn’t change the time-tested user experience of reading in a dramatic way.

Link to the rest at The New Republic

Needless to say, PG disagrees about ebooks vs. printed books.

As he’s mentioned before, he will occasionally purchase a printed book for one reason or another, but always regrets it later. Even a single not-very-fat printed book is more trouble for him than an ebook. A 600-800 page printed book is a horror to read.

Happily for the overall welfare of humanity not everybody is like PG.

PG himself would not like to live in a world of other PG’s. He cherishes the amazing variety of people he interacts with and is quite happy that they are different, even much different than he is.

Plus, the idea of a female PG makes him shudder.

Big Business of Library E-Books

From The New Yorker:

teve Potash, the bearded and bespectacled president and C.E.O. of OverDrive, spent the second week of March, 2020, on a business trip to New York City. OverDrive distributes e-books and audiobooks—i.e., “digital content.” In New York, Potash met with two clients: the New York Public Library and Houghton Mifflin Harcourt. By then, Potash had already heard what he described to me recently as “heart-wrenching stories” from colleagues in China, about neighborhoods that were shut down owing to the coronavirus. He had an inkling that his business might be in for big changes when, toward the end of the week, on March 13th, the N.Y.P.L. closed down and issued a statement: “The responsible thing to do—and the best way to serve our patrons right now—is to help minimize the spread of covid-19.” The library added, “We will continue to offer access to e-books.”

The sudden shift to e-books had enormous practical and financial implications, not only for OverDrive but for public libraries across the country. Libraries can buy print books in bulk from any seller that they choose, and, thanks to a legal principle called the first-sale doctrine, they have the right to lend those books to any number of readers free of charge. But the first-sale doctrine does not apply to digital content. For the most part, publishers do not sell their e-books or audiobooks to libraries—they sell digital distribution rights to third-party venders, such as OverDrive, and people like Steve Potash sell lending rights to libraries. These rights often have an expiration date, and they make library e-books “a lot more expensive, in general, than print books,” Michelle Jeske, who oversees Denver’s public-library system, told me. Digital content gives publishers more power over prices, because it allows them to treat libraries differently than they treat other kinds of buyers. Last year, the Denver Public Library increased its digital checkouts by more than sixty per cent, to 2.3 million, and spent about a third of its collections budget on digital content, up from twenty per cent the year before.

There are a handful of popular e-book venders, including Bibliotheca, Hoopla, Axis 360, and the nonprofit Digital Public Library of America. But OverDrive is the largest. It is the company behind the popular app Libby, which, as the Apple App Store puts it, “lets you log in to your local library to access ebooks, audiobooks, and magazines, all for the reasonable price of free.” The vast majority of OverDrive’s earnings come from markups on the digital content that it licenses to libraries and schools, which is to say that these earnings come largely from American taxes. As libraries and schools have transitioned to e-books, the company has skyrocketed in value. Rakuten, the maker of the Kobo e-reader, bought OverDrive for more than four hundred million dollars, in 2015. Last year, it sold the company to K.K.R., the private-equity firm made famous by the 1989 book “Barbarians at the Gate.” The details of the sale were not made public, but Rakuten reported a profit of “about $365.6 million.”

In the first days of the lockdown, the N.Y.P.L. experienced a spike in downloads, which lengthened the wait times for popular books. In response, it limited readers to three checkouts and three waitlist requests at a time, and it shifted almost all of its multimillion-dollar acquisitions budget to digital content. By the end of March, seventy-four per cent of U.S. libraries were reporting that they had expanded their digital offerings in response to coronavirus-related library closures. During a recent interview over Zoom (another digital service that proliferated during the pandemic), Potash recalled that OverDrive quickly redirected about a hundred employees, who would normally have been at trade shows, “to help support and fortify the increase in demand in digital.” He recalled a fellow-executive telling him, “E-books aren’t just ‘a thing’ now—they’re our only thing.”

Before the pandemic, I had never read an e-book, and didn’t particularly want to. But, during the lockdown, I spent nearly every day wandering my neighborhood in a mask and headphones, listening to audiobooks. I wanted to hear a human voice and feel the passing of time; Libby became a lifeline. As a dual citizen of the Brooklyn Public Library and the N.Y.P.L., I toggled between library cards, in search of the shortest waiting list. I did what previously had been unthinkable and spent a hundred and eighty dollars on a Kobo. I read more books in 2020 than I had in years. I was not the only one; last year, more than a hundred library systems checked out a million or more books each from OverDrive’s catalogue, and the company reported a staggering four hundred and thirty million checkouts, up a third from the year before. (Barnes & Noble, which has more retail locations than any other bookseller in the U.S., has said that it sells about a hundred and fifty-five million print books a year.) The burst in digital borrowing has helped many readers, but it has also accelerated an unsettling trend. Books, like music and movies and TV shows, are increasingly something that libraries and readers do not own but, rather, access temporarily, from corporations that do.

. . . .

In the two-thousands, OverDrive helped publishers set up online stores and sold e-books directly to consumers through its own marketplace. The company also persuaded a few presses to license their e-books to libraries. At the time, the six largest publishers tended to sell their goods through online retailers, such as Amazon, which released its e-reader, the Kindle, in 2007. But, gradually, the Big Six began to sell digital rights to libraries under a “one copy, one user” model. As soon as one reader returned an e-book, a second reader could check it out, and so on, with no expiration date. “At the beginning, we were really trying to replicate what happens on the print-book side,” a publishing executive told me. Digital books, which could in theory be duplicated for free by any librarian with a computer, would still have waiting lists.

“We then saw the first wrinkle in one copy, one user,” Potash said. In 2011, HarperCollins introduced a new lending model that was capped at twenty-six checkouts, after which a library would need to purchase the book again. Publishers soon introduced other variations, from two-year licenses to copies that multiple readers could use at one time, which boosted their revenue and allowed libraries to buy different kinds of books in different ways. For a classic work, which readers were likely to check out steadily for years to come, a library might purchase a handful of expensive perpetual licenses. With a flashy best-seller, which could be expected to lose steam over time, the library might buy a large number of cheaper licenses that would expire relatively quickly. During nationwide racial-justice protests in the summer of 2020, the N.Y.P.L. licensed books about Black liberation under a pay-per-use model, which gave all library users access to the books without any waiting list; such licenses are too expensive to be used for an entire collection, but they can accommodate surges in demand. “At the time of its launch, the twenty-six-circulation model was a lightning rod,” Josh Marwell, the president of sales at HarperCollins, told me. “But, over time, the feedback we have gotten from librarians is that our model is fair and works well with their mission to provide library patrons with the books they want to read.”

. . . .

Libraries now pay OverDrive and its peers for a wide range of digital services, from negotiating prices with publishers to managing an increasingly complex system of digital rights. During our video call, Potash showed me OverDrive’s e-book marketplace for librarians, which can sort titles by price, popularity, release date, language, topic, license type, and more. About fifty librarians work for OverDrive, Potash said, and “each week they curate the best ways each community can maximize their taxpayers’ dollar.” The company offers rotating discounts and generates statistics that public libraries can use to project their future budgets. When I noted that OverDrive’s portal looked a bit like Amazon.com, Potash didn’t respond. Later, he said, with a touch of pride, “This is like coming into the front door of Costco.”

Alan Inouye, the senior public-policy director at the American Library Association, told me that consolidation could reduce competition and potentially drive the cost of library e-books even higher. “OverDrive is already a very large presence in the market,” he said. The company’s private-equity owner, K.K.R., also owns a major audiobook producer, RBMedia, which sold its digital library assets to OverDrive last year. But, Inouye added, OverDrive’s influence is an important counterweight to the largest publishers and to Amazon, which dominates the consumer e-book market and operates as a publisher in its own right. (Amazon did not make its own e-books available to libraries until May, when it announced a deal with the Digital Public Library of America.) When I asked Potash about the concern that consolidation could also give OverDrive too much influence over the market, he called that “a far-fetched conspiracy theory.” He cited the company’s track record of advocating for libraries, adding, “I’m a big fan of free-market capitalism.”

To illustrate the economics of e-book lending, the N.Y.P.L. sent me its January, 2021, figures for “A Promised Land,” the memoir by Barack Obama that had been published a few months earlier by Penguin Random House. At that point, the library system had purchased three hundred and ten perpetual audiobook licenses at ninety-five dollars each, for a total of $29,450, and had bought six hundred and thirty-nine one- and two-year licenses for the e-book, for a total of $22,512. Taken together, these digital rights cost about as much as three thousand copies of the consumer e-book, which sells for about eighteen dollars per copy. As of August, 2021, the library has spent less than ten thousand dollars on two hundred and twenty-six copies of the hardcover edition, which has a list price of forty-five dollars but sells for $23.23 on Amazon. A few thousand people had checked out digital copies in the book’s first three months, and thousands more were on the waiting list. (Several librarians told me that they monitor hold requests, including for books that have not yet been released, to decide how many licenses to acquire.)

The high prices of e-book rights could become untenable for libraries in the long run, according to several librarians and advocates I spoke to—libraries, venders, and publishers will probably need to negotiate a new way forward. “It’s not a good system,” Inouye said. “There needs to be some kind of change in the law, to reinstate public rights that we have for analog materials.” Maria Bustillos, a founding editor of the publishing coöperative Brick House, argued recently in The Nation that libraries should pay just once for each copy of an e-book. “The point of a library is to preserve, and in order to preserve, a library must own,” Bustillos wrote. When I asked Potash about libraries and their growing digital budgets, he argued that “digital will always be better value,” but he acknowledged that, if current trends continue, “Yes, there is a challenge.”

Readers of the future are likely to want even more digital content, but it may not look the same as it does now. Audible, which is owned by Amazon, has already made listening to books more like streaming, with subscribers gaining access to a shifting catalogue of audiobooks that they do not need to buy separately. “We have moved away from owning, to accessing,” Mirela Roncevic, a longtime publishing and library consultant, told me. Maybe readers will expect books to feel more like Web sites, and an infinite scroll will replace the turn of the page, as it has in the digital magazine you are reading now. Perhaps readers will want images and videos to be woven seamlessly into the text, requiring a new format. The e-book as we know it “will not last,” Roncevic insisted. Lending libraries were once an innovation that helped spread literacy and popularize books. Roncevic wants libraries to continue innovating—for example, by experimenting with new formats and license models in partnership with independent or international publishers. “Libraries have more power than they sometimes realize,” she told me.

Link to the rest at The New Yorker

Most people prefer reading paper books over digital books on tablets, phones

From Study Finds:

Digital books on tablets, smartphones, and devices like Amazon’s Kindle are certainly convenient, but according to a new survey most people still prefer a good old fashioned paper book. There’s just something satisfying about turning the page and holding a physical book in one’s hands, as over two-thirds of adults say they always opt for a real book over digital reading.

Put together by Oxfam, researcher polled 2,000 respondents in the United Kingdom regarding their thoughts on paper books versus digital books. Close to half (46%) enjoy physically turning pages and 42 percent prefer the feel of a physical book in their hands. One in four say they love the smell of paper books. Meanwhile, another 32 percent feel like they become much more immersed in the story while reading a paper book and 16 percent go for traditional books because they remind them of libraries.

. . . .

Interestingly, over a third of respondents (35%) enjoy buying paper books because that allows them to proudly display them on their bookshelf as a background during Zoom meetings.

All in all, only 16 percent of adults prefer digital books and a meager eight percent who favor audio books. On average, the survey finds most adults own 49 books and read for three hours per week.

“People prefer to read physical books because they offer something more tangible and grounded. There’s something that can feel more “permanent” about real books over digital formats,” says Dr. Elena Touroni, a consultant psychologist and co-founder of The Chelsea Psychology Clinic, in a statement. “Reading offers us a form of escapism. It provides us with a break from our everyday lives, and often also, an opportunity to learn something new and expand our minds.”

. . . .

Three-quarters say they’re considering donating books they’ve finished and 72 percent usually buy used books themselves. Moreover, this research suggests that books are the top item most adults are willing to buy used. Seventy-one percent say they buy used books because it is cheaper and 52 percent do it because it is better for the environment.

Link to the rest at Study Finds

Bookshop.org Continues to See Strong Sales

From Publishers Weekly:

Online bookseller Bookshop.org is on track this month to surpass $15 million returned to independent bookstores since the company began in 2019. That figure is in addition to the $250,000 it donated to Binc’s “Survive to Thrive” campaign. “It is a milestone we are anticipating surpassing by the end of July,” Andy Hunter, CEO of Bookshop.org, said.

Sales have reached $29 million this year, including tax and shipping, and are up 17% for the first half of 2021 compared with 2020. That increase comes despite an expected decline in sales compared to a year ago since April, when most bookstores around the country began to reopen form normal business. In the April-June period, sales were down 20% from the comparable time in 2020, less than the 30% drop that Hunter had been expecting. “Last year, June was very busy for us, particularly with the huge sales of antiracist books with the Black Lives Matter protests happening around the country. This year is more like a normal June.”

The site currently hosts 1,100 bookstores, with 400 using Bookshop exclusively for their e-commerce and another 700 that use it in addition to their own e-commerce solutions. Notably, among the top 10 highest earning bookstore sites on Bookshop, six are Black-owned bookstores, Hunter said. Of the sites top-selling books, several are multicultural and diverse titles, including How the Word is Passed by Clint Smith (Little, Brown), Somebody’s Daughter by Ashley Ford (Flatiron), Yoke by Jessamyn Stanley (Workman), and Crying in H Mart by Michelle Zauner (Knopf), The Other Black Girl by Zakiya Dalila Harris(Atria) and Long Division by Kiese Laymon (Scribner).

“Our bestseller list does not look like the typical list,” Hunter said. “It reflects the diversity and iconoclastic nature of the community we serve.”

Link to the rest at Publishers Weekly

How to Develop a Marketing and Promotion Plan as an Indie Author

From Jane Friedman:

I’m going to be honest, my initial foray into researching self-pub author publication and marketing threw me into a tailspin of information overload. There are so many paths and options to choose—but that’s the whole beauty of self-publishing, isn’t it? The following article was born of several author acquaintances asking me what paths and options I chose to launch my debut historical novel, Discerning Grace.

Before You Begin

Join the Facebook group called Wide for the Win.

No, seriously. Stop reading and go join them. It’s a brilliant free resource.

Even if you hate Facebook or don’t use it that much, you really should hop back on there just for this group. They really are that good! They share a boatload of intimate strategies about self-publishing. Search the Tree of Knowledge first. Readeverything there before you even think about asking questions on the main feed.

If the Tree of Knowledge is too tricky to navigate—it’s huge with zillions of threads and conversations—you can always buy the Wide for the Win ebook. It’s the brain child of Mark Leslie Lefebvre (from Draft2Digital) and Erin Wright (head honcho of Wide for the Win Facebook group). The information is much more structured and easier to navigate.

Setting Goals

I had to decide what I wanted from the first six months of my authoring journey: to be in the best-seller charts, to have thousands of downloads on a freebie, to garner early reviews, to grow my newsletter subscribers, or to roll in money like Scrooge McDuck?

I’ve picked two early goals: garner early reviews and grow newsletter subscribers.

My first-year goals

  1. Publish Discerning Grace (Book 1) in all formats (ebook, paperback, large print, audiobook)
  2. Get as many reviews for Discerning Grace (Book 1) as possible, on all storefronts
  3. Grow my newsletter subscriber list
  4. Publish Grace on the Horizon (Book 2) in all formats (ebook, paperback, large print, audiobook)

See how I don’t even mention $$$ or sales numbers in this first year? That’s not my goal (yet).

My second-year goals

  1. Publish Grace Arising (Book 3) in all formats
  2. Grow my newsletter subscriber list
  3. Run a BookBub 99c promo with Discerning Grace (Book 1) with the idea of achieving sell-through to Book 2 and Book 3
  4. Publish the trilogy box set (all 3 books in one)
  5. Run another BookBub promo on the box set
  6. Test paid advertising on Facebook, Amazon, and BookBub

Only after I’ve achieved these goals am I going to worry about money and sales numbers or paying for advertising. And only then will I work my strategies to grow these numbers into something that makes me a living (that’s a whole different topic for a different article—and for when I’ve crossed that bridge).

Now that I’ve laid out my goals, I’m going to stick to them. Of all the research I’ve read, it seems that most indie author careers only take off after 5 to 7 books. With only my first trilogy planned, I have a loooooong way to go, but having this knowledge also prevents self-flagellation in these early days. I’m running a marathon here, not a sprint.

Important: I Chose to Publish Wide

I am publishing wide, which means I am not prioritizing Amazon as an exclusive publishing platform over any other storefront. It just so happens to be one of my storefronts where my books are available. Here are the distributors I’m using.

  1. Ebooks: distributed through Draft2Digital(which distributes to Amazon Kindle, Apple Books, Kobo, Barnes & Noble, plus loads of other smaller international online storefronts, as well as libraries).
  2. Paperbacks: printed and distributed through IngramSpark (which distributes to Amazon storefronts in many countries, Barnes & Noble, plus smaller international online storefronts, and libraries).
  3. Audiobooks: produced and distributed through Findaway Voices linked to my Draft2Digital account but is a separate company (which distributes to all the same storefronts and libraries as Draft2Digital that also accept audiobooks, plus a few extra)
  4. Google Play: I’m only direct with this storefront because Draft2Digital doesn’t distribute to them

Some may think I’m nuts for not publishing directly to Amazon because Draft2Digital will take an additional 10% of my royalties (as it does from other retailers too), but the way I see it is if I was prepared to let an agent and a traditional publisher do the legwork, I would have been sharing a boatload more in commission. So, I personally don’t have an issue with giving Draft2Digital their dues for uploading to all the storefronts on my behalf.

I chose this route because self-publishing requires learning a lot (no, seriously, A LOT!) of new technology. My brain could only handle learning the dashboards of these four publishing/distribution companies to start with (preserving my time and sanity).

I was also cracking under the pressure of just THINKING about fixing a launch date with so many unknown variables ahead of me. So, I decided on a soft launch to take the pressure off myself. It’s for this same reason that I didn’t set up pre-orders and don’t ever plan on using them. I’ve seen too many tears from authors when it goes wrong. I’m not comfortable adding a potential problem to my plate.

Also, you know the saying, ‘Don’t keep all your eggs in one basket’? Using different publishing platforms ensures that if one company goes belly-up (or even has technical glitches), my books will remain in circulation in the other formats.

Link to the rest at Jane Friedman

As regular visitors to TPV know, PG is a big fan of Amazon.

He is also a big fan of Draft2Digital (disclosure – he provided D2D with legal services early during the company’s life).

In PG’s transcendentally humble opinion, D2D has a better platform for formatting an ebook than KDP provides. Mrs. PG has some books that are exclusive on Amazon (for the higher royalty rates) and others that are published on Amazon directly and on other platforms via D2D, so he’s familiar with the ebook formatting/publishing and sales reporting systems of both organizations.

With the vast technical resources of Amazon, one might think that Kindle Direct Publishing would have a sophisticated and flexible publishing platform for indie authors.

That ain’t so.

In PG’s observation, very few of the visible parts of the KDP publishing platform have been changed or updated in years and years and years. The publishing interface is clunky and has only become sort-of intuitive because PG has used it so frequently.

The KDP sales reports are also kindergarten stuff. They might have been impressive so some fifteen years ago.

There is a KDP Reports Beta that has been in “Beta” for months and months. KDP Reports Perma-Beta would be PG’s suggestion for a more-accurate title.

The Beta is an improvement, but still pretty pedestrian in its capabilities. Anybody who was reasonably competent in Excel could put together a more useful sales analysis spreadsheet and related graphs in a day or two.

Perhaps PG missed it on KDP, but he didn’t see one of the more common features present on a lot of other reporting websites – Export to Excel. Everybody has a Click to Download to Excel button.

D2D has Click to Download a whole bunch of information about sales:

  • Royalty Statements
  • Ebook Sales Reports
  • Print Sales Reports
  • Tax Form Downloads
  • An Account Ledger which appears to go back to the beginning of time for any author doing business with D2D.

To the best of his knowledge, the only KDP data you can export to Excel is information from the KDP Quality Notifications Dashboard – something of interest to Amazon folks who probably get dinged by their bosses if a single typo exists the appendix of more than three KDP books.

For the record, PG says you should try to avoid typos in your ebooks and fix those which anybody finds, but compared to detailed and timely sales information for indie authors, an Excel spreadsheet with comprehensive sales data is far more important.

And whatever information that allows an indie author to sell more books, to see what promotion strategies do and don’t work to goose downloads, should be of interest to KDP as well because more information lets smart authors figure out how to sell more books.

One additional point – The Kindle Create ebook formatting tool provided by KDP offers only ugly and generic design themes for ebooks. Yes, you can read them, but the resulting ebooks definitely have a generic, computer-generated look.

Draft2Digital has far more sophisticated ebook formatting tools than KDP offers. The resulting ebooks convey quality in the way they look in addition to the words they contain.

Therefore:

Amazon KDP – Wake Up! It’s 2021! If anybody from the Mother Ship notices what you’re doing, they won’t like what they see!

Draft2Digital – Keep on doing a Great Job! You can continue to be smarter and faster than The Zon!

Kindle Vella: Return of the Serial

From Indies Unlimited:

Amazon, never content to rest on its laurels, has announced a new avenue for storytelling: Kindle Vella. Many writers have already discovered the lure of publishing a serial, a short episode or a chapter at a time. Hugh Howey’s Wool, if you remember, started as a short story, then he expanded on the series little by little. It was already wildly popular before he accepted a six-figure deal with Simon & Schuster.

We’ve all seen how some series, either books or movies or both, can garner a large following. If we’ve got a captivating story line with complex characters interacting in interesting and surprising ways, our readers want to know what happens next. And while some of us might go months, even years between books — possibly losing readers during the hiatus — a series of short chapters released relatively quickly can keep those readers engaged and wanting more.

Okay, so how does it work?

First of all, Kindle Vella will only be available to US-based authors writing in the English language; our counterparts in other countries will have to wait to see if it gets expanded. Readers will be able to access it on the Kindle iOS app and on Amazon.com. The program is not operational yet, but should be by mid-July, according to Amazon. Even so, authors can submit their work prior to the launch, and their stories will go live as soon as the program does. If you’d rather wait until the program is fully operational, you can publish your work with a scheduled release date.

Amazon suggests publishing your series as one 600-5,000 word episode at a time, and also recommends publishing the first few episodes quickly so readers can dive right into the story. There will be a Kindle Vella store where your stories are marketed, and readers will pay by buying Tokens that unlock the episodes. The first few episodes of any series will be free, but then the number of Tokens needed to unlock an episode will be determined by word count: one Token per 100 words. Authors will receive 50% royalties on the amount readers spend on Tokens.

In order to keep the Kindle Vella experience unique, authors may not publish the same content as a book. If, at the end of the series, you do decide to format it as a book, you must unpublish it from the Kindle Vella library. Likewise, you cannot break down a previously published book into episodes for Kindle Vella. If your work is a continuation of a previously published book, you may, however, include up to 5,000 words from that prior book in your first episode to set the stage. Content that is freely available in the public domain or online is not eligible for Kindle Vella.

Amazon is also introducing some new features that will allow readers to interact with your story in ways similar to social media. Readers can follow authors and sign up to be notified as soon as new episodes are released, and they can give episodes they particularly like a thumbs up. They will be able to assign a Fave every week to the story they enjoyed the most, and the stories with the most Faves will be featured in the Kindle Vella store. 

Link to the rest at Indies Unlimited

Three Crucial Changes to the Book Publishing Industry

From Writers Digest:

The new book Book Wars: The Digital Revolution in Publishing documents in detail the changes in the book publishing industry in recent years. Author John B. Thompson gives a glimpse of three crucial changes.

When I set out, around 10 years ago, to study the impact of the digital revolution on the world of books, there was a great deal of uncertainty—and, in some quarters, considerable apprehension—about what might happen when digitization took hold in the oldest of our media industries. Many people in publishing were looking over their shoulders anxiously at what had happened in the music industry and thinking: This could happen to us too. The print-on-paper book could suffer the same fate as the vinyl LP—why not? The textual content of books could be digitized just as easily as music could, and the physical book could be swept aside by cheaper and more efficient forms of content delivery. Like the vinyl LP, the old-fashioned print-on-paper book could become a collector’s item, still cherished by the aficionado but banished to the margins of the industry.

In the years immediately following the launch of the Kindle in 2007, it looked to many like the physical book could indeed suffer the same fate as the vinyl LP, as e-book sales surged. But it soon became clear that the e-book surge was going to be short-lived: By 2012, the rapid growth of e-books had come to an abrupt halt. For some kinds of books, especially genre fiction like romance, mystery, and sci-fi, e-books were by then accounting for a sizable proportion of sales—as much as 40–50 percent. But in other genres, like nonfiction and children’s books, e-books represented a much smaller percentage of sales, and that percentage was either leveling off or declining. If the digital revolution in publishing was about e-books, then it seemed that this was, at best, a stalled revolution. In any case, it certainly didn’t look like a re-run of what had happened in the music industry.

However, the digital revolution in publishing was never only, or even primarily, about e-books: E-books were just one aspect of a much more complex and varied series of transformations that were disrupting the publishing world. In Book Wars, I take the reader on a journey through the decades of disruption that began around 2000 and continues unabated today, a period that has witnessed an enormous proliferation of new ventures and initiatives which, taken together, have radically altered the landscape of contemporary publishing. The world of books today looks very different from the way it looked 30 or 40 years ago. Among the many changes, three stand out as particularly significant.

. . . .

1. Amazon Online Retail

First was the rise of Amazon and the transformation of the retail side of the book business. Amazon was a child of the digital revolution—it wouldn’t have existed without digitization and the internet. In an astonishingly short time period, Amazon grew from its humble origins as a small tech startup in a Seattle garage to become the most powerful organization the world of books had ever known. Today, Amazon accounts for around 45 percent of all print book sales in the US and more than 75 percent of all e-book sales, and for many publishers, around half—in some cases, more—of their sales are accounted for by a single customer, Amazon. Never before in the 500-year history of book publishing has there been a retailer with this kind of market share, and with market share comes power, including the power to negotiate favorable terms with suppliers and to command the attention of readers. It’s hard to over-state the significance of this development: Its consequences are profound, not only for publishers and for other booksellers who struggle to compete with Amazon but also for the whole ecology of the publishing world, including the ways in which books are made visible to readers and discovered by them.

. . . .

2. Self-Publishing Boom

A second enormous change has been the explosion of self-publishing. Of course, self-publishing is not new: It can be traced back to the so-called vanity presses that emerged in the early and mid-twentieth century. But the new age of self-publishing that was ushered in by the digital revolution is very different from the old vanity presses. The key idea that underpins this new age is the idea that authors who want to self-publish their work should not have to pay for the privilege, and the organizations that facilitate self-publishing should not be making money by charging fees to authors. On the contrary, self-publishing organizations or platforms should be there to help authors publish their work, and these platforms would pay authors if and when their work sells, taking a commission on sales to cover their costs. It was this simple but fundamental idea, turning on its head the relationship between author and self-publishing organization, that underpinned the explosion in self-publishing that occurred from the early 2000s on, starting with pioneering organizations like Lulu and Smashwords and continuing through the establishment of Amazon’s self-publishing platforms, CreateSpace and Kindle Direct Publishing, and including many other platforms and services. The world of self-publishing is now an enormously complicated world in its own right—a parallel universe that exists alongside the world of traditional publishing and that has grown enormously in recent years. Quite apart from the sheer volume of self-publishing output, the growth of this sector has altered the traditional power structures of the publishing world. The established publishers and agents who have long acted as gatekeepers in the publishing world, deciding which authors and projects should be published and on what terms, could now be bypassed by following entirely new pathways to publication that had been opened up by the digital revolution. Of course, publishing a book is one thing, getting people to notice and buy it is quite another, and traditional publishers continue to have much more marketing and sales clout than most self-published authors. But there are many indie authors who have managed to earn appreciable amounts of money from their writing, even if the commercially successful indie authors still represent a tiny fraction of the total. Apart from the financial rewards, the growth of self-publishing has massively increased the range of options available to writers, creating a more varied publishing environment in which authors can move back and forth between traditional publishing and self-publishing, depending on what they want to achieve and the options available to them at the time.

. . . .

3. Reader-Centric Business Model

The third change is in many ways the most fundamental: the digital revolution transformed the broader information and communication environment within which publishing existed, thereby creating both the necessity and the opportunity for publishers to adapt to a new and rapidly changing world of information and communication flows. For centuries, publishers had thought of themselves primarily as B2B businesses: They produced books and sold them to intermediaries in the book supply chain—to retailers and wholesalers. Publishers didn’t have a direct relationship with readers and they didn’t know much about them: The job of dealing with readers was left to the booksellers. But this traditional model of the publishing business was radically disrupted by the digital revolution. As competition from Amazon led to more and more bookstore closures, publishers realized that they could no longer count on physical bookstore to do what intermediaries in the traditional book supply chain had always done: make books visible and available to readers. They realized that they had to jettison the old model of the publisher as a bookseller-focused business and become more reader-centric: in other words, they had to re-orient their businesses in such a way that readers were not an afterthought but rather a central focus of their concern. And just as the digital revolution forced this shift upon publishers, it also made available to them a variety of new tools with which they could build direct channels of communication with readers and do so at scale. It is this fundamental shift in publishers’ self-understanding that is likely to be one of the most significant consequences of the digital revolution in publishing, one that will continue to play itself out in the years to come. 

Link to the rest at Writers Digest

Colombia’s pandemic-driven online book sales boom

From The New Publishing Standard:

Chile-based online bookstore Buscalibre saw a 196% increase in sales in 2020, rising from 270,000 to over 800,000 units shifted, as lockdown closed bricks & mortar bookstores.

Three months after the pandemic began, reported La Republica,

Penguin Random House registered an increase in the sales of the book El amor en los tiempo del cholera, by Gabriel García Márquez, in physical and digital version, growing 183% in Spanish and 621% in English.

Of course that does not mean the English-language version outsold the Spanish version by three to one (percentages in the book trade are never that straight forward), but it is indicative of the boom in online sales experienced by the twelve year old company, now also operating in Argentina, Colombia, Mexico, Peru, Spain and the USA. Juan José Daza, Buscalibre country manager for Colombia, Mexico and Peru, told La Republica that sales in Colombia are expected to be up 20%, from 100,000 to 120,000 units per month.

While the Colombian Book Chamber reported an overall fall of 30% in book sales last year as regular book channels were locked down, 15 regional book fairs that normally pull in large in-person crowds went virtual.

Colombia’s flagship Fil Bogota event was the first major pandemic-induced book fair cancellation of 2020 in Latin America, as early as March. In 2019 Fil Bogota, or FilBo, attracted over 600,000 visitors.

But between July and November the Colombia book trade got its act together and the virtual book fairs pulled in a total of 2.1 million visitors.

No word on how many sales that may have driven, but the shift to online consumer engagement with books is clear, leaving the big question how much that might be reversed as the pandemic’s impact subsides.

Some are optimistic. Take Esteban Restrepo, Natalia Osorio and Alejandro Rubiano, co-founders of the “new” (2019) Colombian online bookstore Bukz, which from a user base of currently 8,000 expects to shift 50,000 books before the end of this year, and is targeting annual sales of 250,000 valued at US$2.7 million by 2025.

. . . .

Digital books have also shown growth, of course, but estimates are they still represent only around 5% of the Colombia book market right now.

Does that mean print is still king? Of course, but what really matters is how consumers will respond as more and more digital options become available and the print and digital choices are comparable. Those 2.1 million online book fair visitors, and the boom in online sales of print books, make clear Colombians are comfortable shopping online.

All it needs now is a serious digital books player to enter the market, but right now there’s no Kindle store here, Apple and Kobo are only notionally present, and local players struggle to find adequate content at appropriate prices.

Link to the rest at The New Publishing Standard

Paper beats pixels on most picture books, research finds

From The Hechinger Report:

Digital picture books have been a godsend during the pandemic. With libraries shuttered and bookstores a nonessential trip, many parents have downloaded book after book on tablets and smartphones to keep their little ones reading. The technology allowed my daughter to read the Berenstain Bears, a classic picture book series, to a younger cousin over Zoom when a family trip was canceled. Despite my wistful sentiments for paper and colored ink, I marveled at the bond that could be sustained over screens and pixels. 

But when the pandemic is over, many parents will face a dilemma. Should they revert back to print or stick with e-books? Do kids absorb and learn to read more from one format versus the other?

A new analysis of all the research on digital picture books, published in March 2021, helps to answer this question. The answer isn’t clear cut: paper generally has an edge over digital but there are exceptions. Digital books can be a better option with nonfiction texts and for building vocabulary. Some digital storybooks were better; researchers found that certain types of story-related extras seemed to boost a child’s comprehension but they were rare. 

In large part, the research on digital picture books for children echoes what we’ve seen in studies of e-books for adults. Reading comprehension is superior on paper but the benefit of paper appears to be stronger for adults and smaller for children. Scholars think the reasons behind the brain’s preference for paper may be different for the two groups. In the case of adults, it may be a lack of effort that we’re putting into reading on screens. In the case of children, it may be that many of the bells and whistles that are commonly added to digital picture books — buttons to click on, pop ups, games and sounds — are distracting.

Digital picture books have been around since the 1980s but there’s surprisingly little research that directly compares how much young children absorb in digital and in print and measures learning in a reliable way.

. . . .

Children up to age eight were included in the studies. Some were old enough to read independently but listened to an audio narration of a digital book with headphones. In a study of the youngest children, under two years old, parents held their children in their laps for both formats. In the digital version, a recorded voice read a book about animals aloud as a parent tapped the screen to turn the digital pages. In the print format, the child heard her own parent’s voice reading the names of the animals that were pictured on the pages, such as a horse or a koala.

By chance, this toddler study showed stronger learning outcomes for the digital picture book. Gabrielle Strouse, an educational psychologist at the University of South Dakota who ran this experiment, told me many of the children in her study had never seen a digital book and the novelty of it may have been mesmerizing, causing the children to pay more attention.

In most of the other studies, children were able to navigate the digital books themselves. Sometimes the digital texts were static just like the printed page. Other times, the text moved or changed to a bold font as the child heard the words.

Children were attracted to the many types of interactive buttons, pop ups and games that are embedded in digital books. A tap in the right place might play a noise. Children could seek treasures hidden on the screen. A retelling of Little Red Riding Hood might ask the child to color the character in with a virtual paintbrush or drag the character to perform an action. “It’s fun and enjoyable but it has nothing to do with the story,” said Natalia Kucirkova, a professor of early childhood development at the University of Stavanger in Norway.

Kucirkova, one of the authors of the March 2021 picture book meta-analysis, explained that her team wanted to learn which digital enhancements were working and which weren’t. They categorized all the add-ons as either story related or not story related. They found that the more unrelated bells and whistles, the worse a child’s comprehension was after reading the digital version of the story, compared to the print version.

Kucirkova believes that many digital books are overstimulating children and the unrelated add-ons are overtaxing a child’s “cognitive load.”

“With digital books, children get a lot of stimulation from the different senses,” Kucirkova explained, as they take in letters and pictures with their eyes, sounds with their ears and tap the screen with their fingers. “The amount of information that an individual needs to process is bigger if you have a lot of stimulation. The feedback they get from the digital device overwhelms children.”

By contrast, the researchers found that story-related enhancements reinforced the narrative and improved comprehension. Repetition of new vocabulary words that were central to the story helped. One book prompted children to use the story characters in the digital book to build their own story. “Those creativity games are very conducive to story recall,” said Kucirkova.

Another digital book asked the child to share the story with someone else. Other effective digital prompts were directed at a parent, telling her or him what to point out or ask while reading a digital book with a child. In a book about a little frog, a parent could point and ask a question, “Could the frog be here?” simultaneously connecting with the child and the story line. In other words, actively reading a digital version of a picture book with your child is good for comprehension.

“Even small digital enhancements actually make a lot of difference both ways, they can work well, or they can distract the child,” said Kucirkova.

. . . .

Indeed, when the authors looked at the books in the 39 studies by genre, the digital version was generally better for nonfiction, where there often isn’t a narrative story line to follow. Fiction, by contrast, was generally better on paper.  

I talked with Virginia Clinton-Lisell, a reading specialist at the University of North Dakota who has studied digital books. She pointed out that the slight harm to reading comprehension may be worth it if the digital books are so engaging that your child reads more books. None of these 39 studies looked at whether children read more when they had access to digital books. 

“A parent shouldn’t be overly concerned about a small difference in comprehension for a particular book,” said Clinton-Lisell. “Bottom line, if it’s a digital book that gets your kid to read, that’s great.”

Link to the rest at The Hechinger Report

PG notes that the title of the OP doesn’t take some of the material in the OP into consideration.

Additionally, he will note that the technology and design of modern printed books has been honed and improved for hundreds of years, generally speaking to maximize commercial success (which is not a bad thing at all). Most children’s ebooks with which PG is familiar are adapted from printed books as opposed to being born digital.

The iPad was introduced 11 years ago. The first Kindle was introduced 14 years ago. If you were to pick up the latest iPad or the latest Kindle and compare it to the first version, PG suggests that the first version would seem very outdated. Screen technology, interface design, size and weight have all evolved at a very rapid pace. That evolution is far from over.

As the OP implies, publishers of ebooks for children are all over the place with the technology they build into their content. PG would remind one and all that the trade publishers of books for children are, by and large, owned by the same people who own and run trade publishers focused on adults. Scholastic is the exception with both trade titles (Harry Potter, Hunger Games, Goosebumps, Magic School Bus) and titles marketed through school book clubs, book fairs, etc.

PG can’t speak to Scholastic (also headquartered in New York City), but the other big trade publishers are not noted for their technology accomplishments and willingness to pay the salaries necessary to hire really good tech types.

PG’s bottom line on ebooks v. print for children is that the ebooks, including both the content and the device components, are a long way from reaching their full potential. He has nothing against printed books for either children or adults (and still owns a lot of printed books for children and adults, some of which are regularly used by various offspring), but he wouldn’t bet against ebooks for children over the long run.

Book sales are up, but bookstores are struggling. It matters where you shop.

An Opinion Piece from The Chicago Tribune:

Two striking statistics recently reported by Publishers Weekly:

  • Print book sales rose 8.2% in 2020 versus 2019, according to NPD BookScan.
  • Bookstore sales fell 28.3% in 2020 versus 2019, according to preliminary estimates from the U.S. Census Bureau.

The year-to-year increase in book sales was the largest since 2010, and was led by demand for books to keep children occupied during the period of remote schooling. Juvenile nonfiction was up by 23%, young-adult nonfiction by 38%. But adult books were up as well. By every measure, more books were sold in 2020 than in 2019.

Those gains aren’t reflected in bookstore sales, though, as pandemic-related closures and restrictions kept us away. The worst months for bookstores were April and May, the leading edge of the lockdowns, but even as restrictions loosened, sales remained 20% or so below previous year levels.

. . . .

I want to suggest that books are not merely a consumer product. Instead, I’d like us to consider books as part of a larger ecosystem, which includes writers, publishers, booksellers and readers, and that good books depend on all parts of the ecosystem being healthy. As such, we cannot be indifferent about where we buy them.

Bookstores are a key component in making sure there is an interesting variety of books that connect with readers of differing stripes. If we lose bookstores, we will lose the places where word-of-mouth hits are born. We will lose the places where we may discover something we’d never heard of, simply because we brush past it on a table. We will lose one of the important congregating places where people who value books come together in fellowship. We will lose the place we might stop in after brunch on a beautiful afternoon when we need to walk off a meal and aren’t ready to go home yet.

We will lose booksellers, the people who tend to book system the same way a gardener works the greenhouse.

. . . .

Right now, with publishing and books, we could be at peak variety. The somewhat worrisome consolidation in corporate publishing is being offset with a greater thirst for diverse voices and books, not to mention the continuing growth of scrappy independent publishers.

But if we narrow the channels through which books are sold, we will also narrow the kinds and varieties of books that will be sold. Books will still sell, because just like apples, you have to have books, but we will be missing something if we lose that variety.

It is fantastic news that book sales have weathered the pandemic — better news than we could have hoped for — but to revivify the ecosystem as a whole will require us to examine our patterns of purchase. We need to make intentional choices about where we shop to seed the return of bookstores.

Link to the rest at The Chicago Tribune

PG suggests that this is one of the weaker special-favor pleas for traditional bookstores that he recalls reading during the past few months.

The very best place to find diverse voices and for diverse voices to flourish is online.

What about costs for readers of varying income levels?

Ebooks are usually less expensive than printed books. They certainly cost less to manufacture, transport and warehouse.

What about environmental impact? P-books v. E-books = No Comparison.

Ebooks win production, transportation and disposal/recycling hands-down.

Available inventory to allow a customer to buy the book they really want?

Every physical bookstore in constrained in exactly the same manner – it has only so many linear feet of shelf space.

That shelf space must be used to sell books. The fewer copies a book is expected to sell, the less shelf space it will be allocated by the operator of the store.

As a general proposition, having several copies of a given book on the shelf is more likely to catch the eye of a browser than having only a single copy of a book. Several copies on the shelf also means that if someone buys a copy, there are still other copies available to be sold. An employee doesn’t have to immediately recognize that a single book has been sold, then restock the shelf in order for a book to be effectively on sale for customers.

Limited size = limited inventory. Limited inventory = more white-bread, mass market books.

Like many others, PG has enjoyed exploring megabookstores like Blackwells in Oxford, Powell’s in Portland and The Strand in New York. However, giant bookstores are a dying breed. See, for example, Barnes & Noble. And even a giant bookstore has a limit to the number of books it can stock.

Plus, absent a lot of free browsing time, a customer’s discovery experience in a physical bookstore, large or small, can be less than ideal. If you like to wile away the afternoon looking for a good read, go physical. If you prefer to wile away your afternoon actually reading a good book, go online.

Back to inventory, online bookstores can and do stock a much wider variety of books than a physical store. Do you want to allow an author who is a member of an under-represented group in the book business a chance – online is your solution. Would you like to encourage Navajo voices to share their experiences and views with a larger audience off the reservation? Online, baby.

Plus a good online bookstore (like Amazon) makes it much easier for most prospective purchasers to locate a book they will like than Powell’s, even though PG has experienced excellent (for a physical bookstore) customer service in Portland.

There are simply far more methods of locating a desirable book online than there are in a physical bookstore and a much better likelihood of finding a book you will love online.

As one example, one word: Reviews.

Yes, some online book reviews are unreliable, but so are book reviews in newspapers and magazines. At least online, you are much more likely to be able to read more than one review by a single person, reflecting that single person’s class, education, preferences and biases.

Plus, on Amazon, in addition to seeing which books people are buying, Amazon Charts lets you see which books people are actually reading.

Hint for those purchasing gifts, particularly for young adults and children: Seven of the top Ten Most-Read Fiction Books when PG wrote this post were written by J.K. Rowling. The list of Most-Sold Fiction Books was much different.

Comparing the Top Ten Most-Read and Most-Sold Fiction Books, PG noted only two books that were on both lists:

The Four Winds by Kristin Hannah

and

The Midnight Library by Matt Haig

Does anyone working in a Barnes & Noble store at minimum wage (or the equivalent of minimum wage for a wealthier community) have that knowledge?

As they say in movies and on TV (but not that often in the courtroom) PG rests his case.

Know thy reader

From The Bookseller:

With the levelling off of e-book sales, many have begun to wonder whether the book publishing industry will be spared the kinds of disruption experienced by other sectors of the media industries. But the digital transformation of the book publishing industry was never fundamentally about e-books anyway: e-books turned out to be just another format by which publishers could deliver their content to readers, not the game-changer that many thought (or feared) it would be. The big question that the digital revolution posed to book publishers is just as pressing today as it was a decade ago: it’s the question of how publishers understand who their ‘customers’ are, and how they relate to and interact with them. 

For most of the 500-year history of the book publishing industry, publishers understood their customers to be retailers: publishers were a B2B business, selling books to retailers, and they knew very little about the ultimate customers of their books, the readers. The digital revolution has forced publishers to think again about this model and to consider whether there might be something to be gained by becoming more reader-centric. This fundamental shift in publishers’ self-understanding is likely to be one of the most significant and enduring consequences of the digital revolution in publishing. 

But how does a publisher actually become more reader-centric? Over the last decade or so, many publishers have come to realize that one of the most effective ways to make their businesses more reader-centric is to build their own dedicated databases of readers so that they can interact directly with readers via email. Building a customer database can be a slow and laborious process, but with focus and creativity, a publisher can grow a list remarkably quickly: one senior manager I interviewed at a large US trade publisher explained that they had decided to build a customer database in a particular area of their publishing programme and, using a combination of paid ads, partnerships and sweepstakes, they succeeded in getting half a million people to sign up in the first year alone.  Having these email addresses and customer information in your own database is much more effective than relying on social media and gives you much more control, as you are not reliant on the algorithms of social media companies to determine which posts get fed through to people’s news feeds. Moreover, with emails to readers, you can get a much higher level of engagement than with many other retail goods, in part because many readers have an emotional connection with authors whose books they enjoy and they want to know more about any new books written by their favourite authors.  The benchmark for email open rates is 20%, but the open rate for emails relating to books by brand-name authors can be as high as 60%.

But it’s not just mainstream pubishers who are using digital technologies to establish direct relationships with readers: some start-ups on the margins of the publishing field have taken this much further and are pioneering new kinds of publishing that integrate reader input into their decision-making processes. One example that will be familiar to many in the publishing world are the crowdfunding publishers, Unbound in the UK and Inkshares in the US.  While many people think of crowdfunding as an innovative way of raising capital (and it is), the real genius of crowdfunding is that it is an audience-building machine. The crowdfunding model means that every new author brings a few hundred new readers into the system – their friends and family members and the people who have a particular interest in the book they’re proposing to write, and the book goes ahead only when enough readers have pledged their support for the project. Crowdfunding models like Unbound and Inkshares are creating a new kind of relationship between authors and readers in which readers are not simply the buyers of books but, rather, their co-creators. At the same time, they are building networks of engaged readers that enable them to capture customer data rather than leaving it for Amazon to hoover up. By using crowdfunding to create a system of reader curation, they are turning the traditional model of publishing on its head.

. . . .

The real opportunity that the digital revolution opens up for publishers is that, for the first time in the long history of the book, it is now possible for publishers to do something they could never do before: build direct channels of communication with readers and do it at scale. This is a central feature of the digital transformation in publishing, and those publishers that succeed in making their businesses more reader-centric, learning not just how to market more effectively to readers but how to listen to them too, are likely to be the ones that will ride the wave of the digital revolution most successfully in the years to come.

Link to the rest at The Bookseller

Leveling off of ebook sales? Email lists? Reader-centric? Crowdfunding?

PG is certain that the author of the OP (and the book shown below), an Emeritus Professor of Sociology at the University of Cambridge is an intelligent and probably likeable guy, but PG was a bit surprised while reading the OP that The Bookseller (and, presumably, its readers) will think that anything described is actually new information or insight about the book business these days.

A bit of ebook history for those who may not know or remember it:

  • While ebooks predated Amazon ebooks, for all intents and purposes, as a meaningful segment of publishing, ebooks didn’t exist until Amazon started selling ebooks and inexpensive ebook readers. (Widespread adoption of small digital screens on phones definitely helped as well.)
  • As a classic example of Clayton Christensen’s Innovator’s Dilemma, the creative executives and companies that drove the dynamism, growth and profitability of print publishing, bookstores, newspapers and magazines during the second half of the twentieth century didn’t understand how important electronic media would become and how quickly electronics, including digital electronics and digital networks, would replace print as a means of written communication to audiences large and small.
  • Jeff Bezos moved to Bellevue, Washington, rented a house with a garage and became entranced with the potential of web commerce in 1995. He decided that books were a great product to sell online because of the large worldwide demand for literature, the low unit price for books, and the huge number of titles available in print. That decision started a business that would upend the business empires of the great publishers of New York, then move on to disrupt traditional bookselling and publishing around the developed world.
  • At the same time Amazon was going public in 1997, Barnes & Noble sued the company, claiming it wasn’t the the world’s largest bookstore, but was, instead, a book broker. Bezos settled out of court and kept going.
  • Barnes & Noble CEO Leonard Riggio would have been much smarter to use the money he paid his lawyers to buy Amazon stock because $100,000 invested in Amazon on the day it went public would have been worth more than $120 million as of May 2020.
  • Sometime in the summer of 2009, executives at the highest levels of Hachette, HarperCollins, Macmillan, Penguin and Simon & Schuster started meeting secretly in the private dining room of a Manhattan restaurant to develop a strategy to prevent Amazon and other ebook retailers selling their ebooks at a discount from list price.
  • At the time, these five publishers were producing 48% of the ebooks sold in the United States.
  • In December, 2009, Apple’s senior VP of Internet Software and Services contacted these New York publishers to set up secret meetings for the purpose of discussing ebook pricing.
  • Apple planned to unveil the iPad on January 27, 2010, and start shipping iPads in April. As part of the launch, Apple wanted to announce its new iBookstore that would include ebooks from the major publishers.
  • The Apple VP told the five publishers that Apple would sell the majority of e-books for prices between $9.99 and $14.99, with new releases being $12.99 to $14.99, substantially more than Amazon was charging.
  • Apple planned to use the same “agency” model which it used in its App Store for distribution of e-books. Apple would be a sales agent and the Publishers would control the price of their e-books in the iBookstore. Publishers would pay Apple a 30% commission on each sale.
  • Apple didn’t want Amazon to be able to sell ebooks at a lower price. The agreement between Apple and each of the big publishers would include a so-called “most-favored-nation” or “MFN” clause which allowed for Apple to sell e-book at its competitors’ lowest price. If the big publishers allowed Amazon to discount prices, Apple could discount them an equal amount and take its 30% commission from that price.
  • The Big Publishers concluded that, if Amazon didn’t play ball, their ebook customers would simply buy iPads and buy their ebooks at the iBookstore. Finally, there was a powerful enough tech company to take on Amazon in the ebook game.
  • On the day of the iPad launch and the announcement of the iBookstore, including an announcement of Apple’s ebook pricing, a Wall Street Journal reporter asked Apple CEO Steve Jobs why people would pay $14.99 for a book in the iBookstore when they could purchase it for $9.99 from Amazon. Jobs replied that “The price will be the same… Publishers are actually withholding their books from Amazon because they are not happy.”
  • This public statement expressed the terms of the agreement. The big publishers, acting in concert, would jointly force Amazon to increase its e-book prices with the threat to cut off Amazon’s ebook supply. If Amazon refused to increase prices, Apple would be the only place to buy ebooks from the major publishers that controlled most of the book marked. If Amazon knuckled under and raised its prices, Apple would face no price competition.
  • The United States Justice Department and 31 states filed suit against Apple and the five conspiring publishers for violating longstanding US antitrust laws. Three of the publishers settled the claims on the date the suit was filed, admitting they had violated the law. The other two publishers settled the case prior to trial, also admitting wrongdoing.
  • News reports stated that the publishing executives had not consulted their own attorneys about whether their actions were legal or not. (PG notes that any law student who had completed more than three weeks of a one-semester law school antitrust course would have known that this scheme was a clear-cut violation of the law. No legal gray areas available for this hot mess.)
  • After a trial, Apple was found to have wrongfully violated US antitrust laws. Apple appealed the decision as far as it could go and lost. Apple was forced to pay $450 million in damages for its wrongful actions.

And the OP describes ebooks as “the wave of digital revolution” as if this is new information.

PG believes that no one would dispute that Amazon is by far the largest outlet for independently-published ebooks anywhere in the world. Amazon does not break out indie ebook sales in its own accounting reports.

Veteran publishing consultant, Mike Shatzkin, estimated that, between 2011 and 2013, self-published books grew from nothing to almost 30% of the book units sold in the US. This growth coincided with a period during which ebook sales also increased rapidly.

The Alliance of Independent Authors estimated that in 2016, in the US, fewer than 1200 trade-published authors who debuted in the last ten years earned $25,000 a year or more, compared to over 1,600 indie authors who earned $25,000 per year or more.

In 2020, ALLi reported that 8% its members had sold more than 50,000 books in the prior two years.

An Enders Analysis in 2016 found that 40% of the top-selling ebooks on Amazon were self-published.

PG won’t say the ebook and indie revolutions are over, but will say that the trends of the last ten years have undeniably been moving towards more ebooks and more money for indie authors. Any industry statistics that limit themselves to ebooks sold by traditional publishers are missing the majority of the overall market.

PG further suggests that for most authors, indie or traditionally-published, a dozen legitimate positive reviews on Amazon are worth more than a signing at your local Barnes & Noble.

The author of the OP is promoting a book he recently published.

Libby is stuck between libraries and publishers in the e-book war

From Protocol:

On the surface, there couldn’t be a more wholesome story than the meteoric rise of the Libby app. A user-friendly reading app becomes popular during the pandemic, making books cool again for young readers, multiplying e-book circulation and saving public libraries from sudden obsolescence.

But the Libby story is also a parable for how the best-intentioned people can build a beloved technological tool and accidentally create a financial crisis for those who need the tech most. Public librarians depend on Libby, but they also worry that its newfound popularity could seriously strain their budgets.

Before 2017, e-books were still pretty niche, and checking out library e-books was torture. In 2016, just over a quarter of Americans had read an e-book within the previous year, according to a Pew Research Center survey. Not many people even knew their libraries offered digital books. Overdrive — the digital marketplace for publishers and libraries, and the creator of Libby — was (and still is) clunky, slow and unintuitive. Overdrive hit just under 200 million checkouts in 2016; in 2020, that number more than doubled, surpassing 430 million.

Few noticed when the cute, friendly virtual library app launched in 2017. Libraries are never very good at selling themselves, and neither is Overdrive. But the app’s seamless, user-friendly experience was so exceptional that it spoke for itself. Libby became a cult favorite for book lovers and dedicated librarygoers, and almost every public library in the country, already dependent on Overdrive for their growing digital collections, loved that they could make reading online a little bit easier. It was the public library’s best-kept secret.

And then in March 2020, when libraries closed their doors and books sat gathering dust, the Libby app became so much more than a cute reading tool. People turned to digital books and were delighted to discover they were so much simpler than remembered. You could access the web app anywhere on any computer, and everything synced to a phone app as well. You could download library books to Kindle. You never needed a password. You could use more than one library card. Libby downloads increased three times their usual amount beginning in late March. E-book checkout growth and new users on Overdrive both increased more than 50%.

Libby had helped to save libraries.

It had also accelerated a funding crisis. Public library budgets have never been luxe, and book acquisition budgets in particular have always been tight. Though it may seem counterintuitive to readers, e-books cost far more than physical books for libraries, meaning that increased demand for digital editions put libraries in a financial bind.

Because e-books are not regulated under the same laws that govern physical books, publishers can price them however they choose. Rather than emulate the physical model, where libraries pay a fixed cost for a certain number of books, they instead offer digital editions through a license that usually includes a limit on the number of times a book can be checked out, the length of time a library holds an edition, or both. Just like with movies, music and software, book publishers have moved from an ownership model to a subscription model for their digital products (none of the major publishing houses responded to multiple requests for comment for this story). Librarians sometimes pay hundreds of dollars to circulate one copy of an e-book for a two-year period, a number that could theoretically add up to thousands for one book over decades, according to a 2019 American Library Association report to Congress.

The librarians I spoke with celebrate Libby. They love that more people are reading digital books. But they can’t help but quietly curse the technological problem that brought them here.

“It is definitely problematic,” said Michelle Jeske, the city librarian for the Denver Public Library and president of the Public Library Association, a division of the American Library Association. “You’re buying it in print, you’re buying it in e-book, and in audio e-book, CD, and in Spanish. With either a steady or decreasing collection development budget, it’s a serious problem.”

Despite Overdrive’s dominance, the company has escaped criticism for the funding crisis. Overdrive makes good money on the digital book-lending business; it’s the largest marketplace for publishers to sell to public libraries in the U.S., is expanding rapidly in other major publishing powerhouse countries like Germany and China, and offers a popular school reading app called Sora. More than 23,000 new schools and libraries joined Overdrive in 2020 alone.

“It’s important for us to have the same values and standards that the libraries do, protecting privacy and confidentiality, making information accessible in as broad a ways as possible,” said David Burleigh, the communications director for Overdrive. Overdrive also became a Certified B Corporation the same year it launched the Libby app, and it now leverages that status to avoid getting mucked up in the financial fight.

The ALA lobbying arm has been pushing Congress to consider regulating digital media to address this problem, and it’s no secret to anyone who reads Publishers Weekly that tensions between librarians and publishers have spilled over into public animosity. “Publishing is a tough tough world, and it sometimes has felt like librarians and publishers have been pitted against each other. They need to make money, and we need to be able to serve our public. There has got to be some place in the middle,” Jeske said.

Publishers justify the increased cost of e-books because they say the new technology has reduced friction too much, hurting their sales. They have argued that Libby and libraries have made it too easy for people to read books without buying them. Macmillan, one of the big five publishers, placed an eight-week embargo on library sales of new e-book releases in late 2019 for just that reason, though it reversed its position in March 2020 because of the pandemic. “In today’s digital world there is no such friction in the market. As the development of apps and extensions continues, and as libraries extend their reach statewide as well as nationally, it is becoming ever easier to borrow rather than buy,” wrote John Sargent, Macmillan’s then-CEO, in an open letter to librarians justifying the embargo.

And though librarians like Jeske and Eileen Ybarra, the e-book coordinator for the largest digital collection in the country at the LA Public Library, vehemently disagree — they believe it’s still too hard for people to access digital books — they say that in one respect, the publishers are absolutely correct: Overdrive wants to make the e-reading experience as frictionless as possible.

“That’s the idea. It’s to make it as easy as possible for people to read as much as they like,” Burleigh said. “Ease,” “accessibility” and “efficiency” are his keywords: He repeats them over and over again in every conversation about his company’s app.

Overdrive doesn’t believe that frictionless library lending hurts publishers. In fact, Burleigh said, it actually can help.

While Burleigh wouldn’t directly answer questions about Overdrive’s role in reducing the friction — it would be awkward for business if he did, given that Overdrive mostly makes money through a cut of what publishers sell on its platform — he pointed to research that shows that increased library lending actually helps book sales. (Overdrive funds Panorama, the independent group that conducted the research.)

“Libraries are part of the ecosystem. They’re not competing necessarily with booksellers,” Burleigh said, adding that the research shows that when people read more, it creates a channel of discovery for lesser-known books.

. . . .

Burleigh said that Overdrive advocates for a wide range of funding models and the best deals for libraries, but he also hesitated to describe an “ideal” solution for e-book pricing that would satisfy everyone. “It’s a good question. I don’t know that I have the answer. Publishers have different strategies. Libraries have different strategies.”

Link to the rest at Protocol and thanks to DM for the tip.

The OP constitutes PG’s Exhibit 723,467 in support of his proposition that major publishers are run by idiots.

  1. You hate Amazon because it’s too successful at selling books because it knows how to price books optimally to generate the largest number of sales to optimize profits from those sales.
  2. Once again, demonstrating the stupidity of groupthink you put all your ebook lending eggs into one basket and give the entire business to Overdrive, mainly because it’s not Amazon.
  3. PG doesn’t know if Overdrive is run by smart people or not, but it recognizes a great opportunity for a quasi-monopoly-scale profit that a mind-blown ex-hippie drug dealer could see. To whit (or, to wit (PG is old-style on this topic)), that it can deliver organized groups of electrons that it receives from publishers to libraries almost for free.
  4. There is no technological reason that each major publisher could not put together its own version of Overdrive’s system and deal with libraries directly. (Yes, the publishers would have to hire some outside technology experts to build the system, but graduates from the computer science departments of any number of major and minor universities could handle the job providing that they graduated in the top half of their class. (LexisNexis has been doing the same thing for thousands of years. (PG knows this because he worked there when dinosaurs roamed the earth. (and it was not rocket science then))))

PG is in an uncharacteristically-charitable mood (probably an unannounced side effect of the covid vaccine), so he will lay out a plan for Big Publishing to extricate itself from this self-made car-crash.

  • Fly to Seattle (you can share a chartered jet to save money because you love private meetings with no one listening in)
  • Enter Bezos Mansion dressed in sackcloth on bended knees
  • Beg the Jeffster to please, please, please forgive you of your follies and save you from your stupidity
  • Explain that you know the smart folks at Amazon can put together their own version of Overdrive over a long weekend (you might offer to reimburse any overtime expenses Amazon accrues and provide food and Jolt Cola for all concerned)
  • Change back into New York business attire on the plane flying back. Imbibe freely because you aren’t going to be fired after all. Glance out the window to view terra incognita.
  • A week later, send a joint letter (more Big Publishing “cooperation”) to all libraries in America announcing that they have an alternative to Overdrive that will cost them less and is coming to them from (through gritted teeth) Amazon.

PG feels much better now. For a moment, it was almost like he wasn’t sheltering in place.

PG is familiar with Libby because his local library uses it for ebook lending. Libby works, sort of, and reminds him of the 80’s.

Amazon’s discovery, lending and check-out systems for books are light-years better than Libby (Libby even uses Amazon to deliver ebooks to PG’s Kindle Fire). Amazon may already have the bones of an ebook lending reporting system for publishers in the KDP reporting system.

Making a deal with Amazon could solve Big Publishing’s Overdrive problem and make them more money with one flight to Seattle.

In PG’s limited view, only one potential cloud my be on Big Publishing’s ebook lending horizon – the possibility that each of the major publishers signed an exclusive contract with Overdrive.

There’s only so much PG can do for really stupid people.

One of his rules for practicing law is “Don’t do business with fools.”

One of PG’s observations on the practice of law is “Fools can be so ingenious.”

But, if everything always worked out as expected, life would get boring pretty quickly.

PG is feeling rather wise, which is a sure sign he’s acting stupidly.