Showing posts with label ebook. Show all posts
Showing posts with label ebook. Show all posts

Friday, March 9, 2012

Report: U.S. threatens Apple, book publishers with price collusion suit

http://blog.sfgate.com/techchron/2012/03/08/report-u-s-threatens-apple-book-publishers-with-price-collusion-suit/

Report: U.S. threatens Apple, book publishers with price collusion suit

The Justice Department has warned Apple and five major book publishers that it intends to file a lawsuit accusing them of colluding to boost the cost of digital books, the Wall Street Journal reported, citing unnamed sources familiar with the matter

Friday, January 27, 2012

What is a REAL EBook?

http://www.thebookdesigner.com/2012/01/real-ebooks-are-we-still-in-the-stone-age/

So when will we start to see REAL ebooks appear on the market? You know the ebooks that take advantage of their digital environment. Ebooks that have been rendered to improve the reader’s ebook experience. As the number of ebook devices explodes into the book reader’s world, the readers are going to expect more. This statement is especially true with the younger generation whose world seems to center around instant access.

I just completed a study of twenty newly released ebooks just to see how far the art of ebook publishing has advanced in the last year. I choose ebooks from well-known authors, from self-publishing authors, some novels, some technical books. I wanted a variety for my study. I would like to share my observations and suggestions for their improvement.
My contention is that REAL ebooks should be a different product than their paper counterparts. They should be formatted differently; sections arranged differently and in some cases they should have different covers. In short, to be a REAL ebook, they should not be just a copy of the traditional book version.
The following is a list of certain areas that I feel need improvement; areas that you must consider when you create your ebook.

REAL ebooks Links

Rendering your ebook with links is a major step in the right direction in creating a REAL book. What items MUST have links?
  1. The Table of Contents must have links to the chapter headings. Most are doing this now.
  2. Author’s References—the ebook must include links to the author’s website, email address, blogs, online profiles and social networking connections (Facebook/Twitter). You need this to get your reader/audience involved.
  3. Author’s Other Books—there should be links to the buy pages for other books created by the author. Why miss this marketing opportunity.

    For example, in my study two of the ebooks were written by top 10 authors and published by traditional publishers. Both had a list of their other titles, provided credits for the book creation and the usual publisher information. Neither used links to assist the reader in buying other titles or helping their co-developers secure new business. One did have a link to the publisher’s web site. There was no links to the author’s website, blog, email address or social network information.
  4. In book links—the REAL ebook should have links in the content to footnotes (held in appendix), to word and term definitions and to references. For example, one project I recently worked on was a pictorial about Omaha Beach with over 50 original pictures inserted in the content. With the picture, its title and the picture credits, the content became very difficult to read. The solution was to have a link from the picture title to the picture’s credits in the back of the ebook. If the reader wanted to check out the source they could follow the link and then hit the back key on the ebook device. If the reader didn’t, they could ignore the link and continue without interrupting the reading experience.

Another example in my survey was a technical book about the publishing industry. It was a well written book with lots of good information and references. But there were no links. None! It contained lots of hard coded website addresses and email contact information. All I had to do was re-enter the URL into my web browser and I could find the source.
Actually this is a missed opportunity. One of the problems that traditional books have that REAL ebooks can solve is the maintenance of links in the books. As we know we live in an ever changing world. Web and email addresses change on a daily basis, it seems. So there I am with a link to some interesting information and the link is no good. A broken link, if you will.
If the REAL ebook is managed properly, you can avoid or limit this problem. You can create an online directory of links for your ebook. Then you setup a link monitoring process and a link maintenance routine and maintain a valid list of links in the directory. I call this the Goodlinks concept. Just include a link to the online directory in your ebook and you won’t lose your audience.
In fact you can draw the reader to your site and market other products and services. Of course, the beauty of the REAL ebook is you can republish it at any time with the updated links and information.
I believe the REAL ebook can help solve the read-back problems that all readers are faced with at one time or another. I watched a reader the other day try to deal with a novel that was riddled with acronyms and abbreviations. It was getting to be such a problem that half way through the ebook, she actually started writing them down on a separate piece of paper to reference later. Here is an example. “He called USAMRIID for advice.” I give up.

Other Considerations to Ponder

Covers
Sometimes the traditional book cover doesn’t work for the ebook. In this case, size does matter. That great book cover that you had designed is going to go small. On-line distributors try to catch the eye of would-be readers with thumbnail covers. The problem is that sometimes colors get in the way, the type size and face doesn’t look good small and the art gets distorted. A professional designer can solve this problem. You need one that can make the cover work in both environments. Check with our host for this site, Joel Friedlander.
One of the other cover issues is with the effort to get the prospective reader to view a sample of the ebook; some distributors will put a label over the right hand corner of the thumbnail which obscures that portion of the cover. A good designed cover will keep important information viewable like the author’s name or even the title of the book. I saw that in my study.
Copyright
REAL ebooks should include, with their copyright notice, the page number source document for the ebook, especially if the book has various editions. This is relatively a new process but it helps readers coordinate content between the paper version and ebook. This is increasingly important in the educational environment. Students using both hardbound and the ebook versions need a reference point sometimes.
Samples
One of the current ebook marketing strategies is to allow the prospective reader to read a sample of the ebook before buying. All distributors seem to go at this sample process differently but at the end of the day they want to provide the prospective buyer with something that can help with the buying decision. Most of them use a percentage basis.
The REAL ebook concept can help with this process but there has to be a rearranging of the book’s sections if the process is automated like most of them are.
Let me start with an example. I reviewed the buy page on Amazon for each book in my study. I choose one ebook in my study and downloaded the sample, comparing it to the full length version. Here’s what I found.
The ebook sample was in the same section sequence as the paper version. I know there is a traditional way to setup a book. This sample was no exception. It started with the cover followed by the title page, the table of contents, the dedication, the copyright page and a list of the writer’s other works.
So you ask what’s wrong with this. If this sample was going to help sell my ebook, it probably failed. The sample was 80 device pages long but the viewer had to page through 24 pages before they could start reading the book to make a decision.
I believe if you are going to use the sample as a sales tool, there are some slight changes you can make. I would include the cover and the title page with an abbreviated TOC up front along with the author’s other books with buy links. Also I would include upfront the author’s website and contact information. Move the copyright page, dedications and credits to the end of the ebook.
If you get to setup your own sample, keep this in mind. REAL ebooks and their samples should give the prospect what they need to make a decision and only that. A sample doesn’t need a complete table of content. This ebook had 80 chapters which took up four complete device pages and the kicker was; the links to the last 76 chapters were no good. Make the sample simple. Get the reader to your content as quickly as possible.

Bring on the REAL ebook

In most cases, ebooks are still just copies of the paper version but there is a huge opportunity to improve the ebook reading experience. Creative book design and digital links can help us move the ebook experience forward in acceptance.
Currently we have a problem. Let’s face it. Until traditional publishers start to treat ebooks as separate products with different properties and requirements, we have not taken advantage of the digital product. Their approach is simple but self-serving. Get it out the door. Get the copy into an ebook format, charge a higher price than needed and watch the money fall to their bottom line.
The advantage should go to the self-publisher because they control the process. They have the ability to correct the problems easily and make something really special.
Seek a professional to help you through the process if you’re really serious about marketing your ebook.
What do you think about the REAL ebook concept? Is adding links to an already completed product just too much work or would it move your book to the leading edge of ebook world and improve the readers enjoyment?
James-MoushonJames Moushon helped lead the startup of the electronic forms industry in the creation, conversion and usage of electronic forms, working with over 200 companies and organizations. In 2003 he changed his focus to ebooks and their development. He is also the author of the thriller Call Off the Dogs, and he blogs at The eBook Author’s Corner

Tuesday, January 24, 2012

ISBNs, Ebooks, and Bowker--what you need to know!

Andy, a lot of new self-publishers, coming into this side of the business for the first time, are surprised at the cost of ISBNs for their books. It’s been pointed out that the spread between the high price—1 ISBN for $125—and the low price—$1.00 each in quantities of 5,000—is remarkably big. Can you explain for my readers exactly what it is they are buying when they receive that 13-digit number, and why it costs so much?

First, I want to clarify the options and pricing structure for ISBN numbers which changed at the beginning of the year, reflecting up to a 50% price reduction for most units compared to previous years.
  • Single ISBNs costs $125.00
  • A 10-block of ISBNs costs $250.00 ($25.00 per unit)
  • A 100-block of ISBNs costs $575.00 ($5.75 per unit)
  • A 1,000 block of ISBNs costs $1,000.00 ($1.00 per unit)
  • Larger blocks (10K, 100K) are available as part of a more detailed inventory review.
All of the above options include:
  • Assignment of the numbers to the publisher and instant access to manage them at www.myidentifiers.com
  • Publisher and ISBN registration in the Publisher Authority Database which supports the International ISBN Agency Publishers International Information Database
  • Free access to MyIdentifiers.com to create and manage bibliographic meta-data records for each ISBN which are quality checked and incorporated in Bowker’s Books in Print database
    This database is a collection development and database of record for thousands of major and independent retailers (including Barnes & Noble and Borders), thousands of libraries and several major search engines, social networks and mobile channels.
  • All ISBNs and core components of meta-data records are now incorporated in Bookwire (www.bookwire.com) as “Title Cards” which are web pages and part of a search-optimized title discovery index.
All of the above services are provided for a one-time fee at purchase. The ISBN ensures that publishers and their titles can be discovered and play a pivotal role in cataloging, discoverability and trading as part of catalogues, point-of-sale systems, etc. and ensure that a title and/or a format of a particular title are unambigously identified no matter where it is found. An appropriate analogy would be domain names which are purchased and renewed annually for additional fees, except ISBNs never need to be “renewed” for any cost. Similarly to domains, ISBNs purchased on volume basis carry discounts as volumes increase.
Another issue that’s very confusing for self-publishers and small independent publishers is the use of ISBN with ebooks. With as many as 9 or more formats available, people are unsure how to assign ISBN and whether every single format requires it’s own ISBN which, for some, is a pretty big expense. What does Bowker recommend?
Bowker shares the view of the International ISBN Agency; e-book formats should be assigned separate ISBNs, especially where trading models involve multiple partners. There will, however, be instances of compressed supply chains where an e-book in a particular format is available exclusively through a single channel (e.g. Kindle). In those circumstances there is no requirement for an ISBN, unless the publisher needs it for control purposes. (A simple guiding principle is that a product needs a separate identifier if the supply chain needs to identify it separately). The assignment of separate ISBNs to each format ensures that the e-book ordered is the correct one for the user‟ e-reader device and/or software platform, it facilitates electronic trading of e-books, particularly where multiple formats are sold through the same channel. For example, without unique product identification, a retailer or library wishing to order specific formats would have to add various additional metadata fields that would require extra processing by each link in the supply chain, it enables product level reporting of sales and usage and facilitates management of e-book products by publishers, and provides a well-proven global system that is simple to use and involves no new integration work to fit into existing systems. This position paper might also be helpful as a point of reference: ISBN E-Book Paper, Feburary 2010http://www.thebookdesigner.com/2010/05/bowkers-andy-weissberg-on-isbns-and-the-future-of-the-book/

Wednesday, January 18, 2012

Ebooks, Authors and Musicians--a Special Link!

http://www.thebookdesigner.com/2012/01/lee-fosters-ebook-publishing-revolution/

Today I welcome a friend from the Bay Area Independent Publishers Association (BAIPA), travel book author Lee Foster, an energetic practitioner in the ongoing ebook publishing revolution around us. Lee is a veteran and award-winning travel journalist whose work has won eight Lowell Thomas Awards, the highest awards in travel journalism.
You can see more about Lee’s articles, photos, 10 books, and 4 apps on his website at http://www.thebookdesigner.com/2012/01/lee-fosters-ebook-publishing-revolution/www.fostertravel.com. Beyond ebooks, Lee has been a pioneer in app publishing.
In this article Lee focuses on “The Ebook Publishing Revolution.” Lee has just released his independently-published print book as an ebook through BookBaby and will keep 100% of the net sales.
At the same time, one of Lee’s traditional print publishing partners has released ebooks of two of his earlier books, with Lee getting 20% of the net sales.
What will be the future of independent author/traditional publisher relationships? Lee has many insights into the current publishing scene, including the debt that writers/photographers owe to musicians, who led the way in digital publishing. Lee is impressed with the simplicity of ebook publishing files and has a perspective on the price of ebooks, always a controversial subject.
Here’s the first half of Lee’s article. Look out tomorrow for the conclusion.


We are in the midst of a fast-developing publishing revolution in ebooks. The most revolutionary aspect of the current scene is that I, as a travel writer/photographer, can publish an ebook of my work and keep 100% of the net sale.

I have done just that, publishing my travel literary book, Travels in an American Imagination: The Spiritual Geography of Our Time, for $2.99 in the Apple iBook Store, the Amazon Kindle Store, and the other viable stores for Barnes & Noble Nook and the Sony Reader. The book also sells as a printed book for $14.95. The book won a Best Travel Commentary award from the Bay Area Independent Publishers Association.
The deal sounds too good to be true. When things sound too good to be true, they usually are not true. But this is an exception. My partner in this venture is an entity known as BookBaby.
Simultaneously, one of my traditional print book publishing partners, Countryman Press, has released two of my books published through them as ebooks in the same stores. The titles are The Photographer’s Guide to San Francisco and The Photographer’s Guide to Washington DC.
The Countryman price for these ebooks, which sell as print books at $14.95, are $9.95 in the Amazon Kindle Store and $10.95 in the Apple iBook Store. They pay me 20% of the net sale as my royalty.
A careful reader will already detect some issues with all the conflicting figures presented. What is the basis of price? What is the share of royalty? Where is this publishing drama headed? How will author/traditional publisher relationships evolve, given the revolution in process.

To understand what is happening, I present three aspects, which may at first seem ironic and tangential, but are, in fact, central to the discussion:
  1. The Ebook Publishing Link Between Musicians and Writers/Photographers
  2. The Layout Simplicity of Ebooks
  3. The Pricing of Ebooks
Let’s get started:

The Ebook Publishing Link Between Musicians and Writers/Photographers

Ironically, there is a special link between musicians and writers/photographers in the new publishing world of ebooks and apps.
Musicians have led the way in the publishing of digital files, meaning downloadable files or files on a CD product. Now writers/photographers are beginning to benefit from the publishing of digital files, meaning ebooks and apps, either downloadable or on a CD. Most of the activity and benefit is in the downloadable sector.
Writers/photographers owe a great debt of gratitude to musicians, who have created the ground-breaking relationships for selling in this manner in the new digital age.
An interesting expression of this relationship can be seen in a Portland-based company that started with the company named CDBaby and has now expanded to include an ebook-publishing branch called BookBaby.
CDBaby claims to have published music from more than 250,000 independent musical artists, paying them about $200 million in royalties. BookBaby hopes to do the same for writers/photographers who want to publish ebooks.
BookBaby, like CDBaby, has an unusual business model. They charge a small up-front fee of $199 for formatting and placement of the ebook in the main store structures (Amazon Kindle, Apple iBook, B&N Nook, and Sony Reader). There may be further charges for graphics-intensive layouts, cover design, and ISBN assignment (if the author doesn’t have his or her own ISBNs).
They also charge a longtail fee of $19/year to keep the ebook in their system for every year after the first year. Beyond that, they return to the creator 100% of all sales.
Ed: Readers of The Book Designer get a discount from BookBaby: simply use the coupon code jfbookman2 at checkout!
It sounds almost too good to be true. However, these people have vast experience with handling digital files and setting up automatic bullet-proof accounting systems in CDBaby, which has a similar revenue payout. So they can now make this same offer to writers/photographers. CDBaby/BookBaby describes itself as a “non-predatory” publisher.
I used BookBaby for my book, and it worked. My book looks great in both its Kindle and Apple versions. I will use BookBaby for two future ebooks I plan to do.
Joel has conducted two fascinating interviews with the CDBaby/BookBaby CEO, Brian Felsen. The most recent is at:
Brian Felsen of BookBaby.com on the Future of e-Books
and the earlier one is at:
e-Book Distribution with BookBaby’s Brian Felsen
Felsen comments that they have had so much success with musicians that it is easy for the company now to branch out to writers/photographers who want to market their products as ebooks. After all, digital files are digital files.

Friday, January 13, 2012

Book cover design --print vs Ebook

Book covers for print and Ebook

One of the regular tasks of a book cover designer is preparing cover images for a client’s use in promotions, website design, a whole host of things.
Today that was one of the things on my to-do list, and I prepared two JPGs, one for print and one for web use.
The book is 5.5″ x 8″, a size I’ve been using a lot recently. I ended up with two files:
  1. Hi-res—This file was 5.5″ x 8″ with 300 dots per inch (dpi, can also be considered pixels for the purpose of file size). This is the resolution that’s needed for high-quality printing.

    This gives us these dimensions for our image file:

    5.5 x 300 = 1,650 pixels
    8 x 300 = 2,400 pixels

    So the resulting file is 1,650 x 2,400 pixels, or a total of 3,960,000 pieces of data.
  2. Lo-res—This file was also 5.5″ x 8″ but it had 72 dpi, which is the resolution used for images on computer screens.

    This gives us these dimensions for our image file:

    5.5 x 72 = 396 pixels
    8 x 72 = 576 pixels

    So the resulting file is 396 x 576 pixels, or a total of 228,096 pieces of data.
Book cover file resolution

What The Figures Show

What I’m getting at is this: the print-resolution file has over 17 times more image data in it than the screen-resolution version.
I can’t think of a clearer example of what direction designers need to be thinking when coming up with covers for e-books. Browsers will be looking at 1/17th the image information available on the printed book.
Don’t fall in love with those big images you’re looking at on your monitor. Keep it simple, direct, clear. You’ll be way ahead.

Monday, January 9, 2012

Designing an E Book Cover -not the same as print

Ebook Cover Design
The move to e-books has brought with it a new challenge for those who do book cover design, amateur and professional.
The first challenge, of course, if you’ve been designing book covers for any time, is to understand exactly what an e-book cover really is.
Unlike print books, which we can pick up and examine, e-books don’t exist in any physical reality other than as a computer file. So how can they have a cover?
And since an e-book is simply a computer file with text that will reflow to the form and shape of the reader into which it is loaded, e-books can’t be said to have any particular shape.
So when it comes time to design a cover for your e-book, it’s important to realize that the little rectangles we’re used to seeing that represent the cover of printed books are simply a convention. There’s no particular reason an e-book cover needs to be a tall rectangle, other than to announce to the potential reader that it is, in fact, a “book” of some kind.
Some retailers have even tried to mandate that e-book covers conform to the tall rectangle, which is a bit silly considering that printed books come in many shapes and sizes.
But more than anything else, designers and do-it-yourself self-publishers have to address the challenges of this new form in a way that helps them sell books.
Since we started the monthly e-Book Cover Design Awards I’ve judged hundreds of e-book covers. The patterns that emerged were unmistakable.
So here they are, my guidelines for how to succeed at this important publishing task.

3 Secrets to e-Book Cover Design Success

1. Simple
This is the most important key of all. While a 6″ x 9″ printed book has 54 square inches of space to play with, an area large enough for a pretty decent painting or illustration, maybe 40 to 100 words of copy for nonfiction books, awards, blurbs, subtitles, tag lines, series logos as well as the required title and author, e-book covers do not.
The overriding fact to remember about e-book covers is the very small size they will be viewed in by people searching on the sites of e-retailers.
So simplicity becomes one of the chief virtues of successful e-book cover design. Especially if you are adapting a print book cover to your e-book, take out any elements that won’t be legible or readable at this small size. I know it’s hard, but just toss them, you’ll be happier in the end.
Keep the cover to the title, author name and one graphic that instantly communicates something about the tone or genre of the book.
2. Small
This one is super important, and makes sure that all the work you’ve put into your cover is going to pay off.
Your book will be shown in several ways on sites like Amazon, Smashwords and iBookstore. I think you really need to design for the smallest size of all, and here’s why. That size is the one that your book is displayed in when you do a search.

People who already know about your book are going to head straight for it anyway, those aren’t the people we should be concerned about. It’s the others, people looking for something but not sure exactly what, who should be your primary focus.

And that’s where the search results page comes in. If you look at a page of search results on Amazon, for instance, you’ll be presented with a screenful of tiny images and links via the book titles

If your cover disappears in this view, or it’s unreadable, or you can’t possibly tell what the image on the cover is, it’s much more likely that browsers will skim right over it to the next and the next, and your chance at making an impression on that person is gone, literally in a second or two.
When you have a design you like, get one of those Amazon or BN.com search results pages up on your screen, reduce your cover to the same size, and see how it looks compared to other books in your genre. There’s no better test than this to see if your concept is going to work.
3. Strategic
Even though your cover is going to be viewed in a small format, and even though I’ve just advised you to keep it simple, your e-book cover also has other important work to do for you in terms of branding and positioning.
This is just as true for novelists as it is for nonfiction writers, by the way. Many of the novelists who have had a lot of success with e-books are writing series of books, or several series of books, a great strategy to keep the attention of readers and build a base of fans for each release.
It’s important for your readers to be able to recognize the books in a series right away, that’s part of your series’ branding, and part of your author branding too.
In print book design, we usually consider the combination of the graphic elements on a cover with the typography of the title as making up the basic “brand” of the book. This is also true with e-books but, because we have to simplify them for online display, they have to do this work even more efficiently than their print book counterparts.
Sometimes branding can be as simple as color-coordinated covers or design elements. At other times a simple logo can be used to brand books, or a distinctive stripe along the top or bottom of the cover can bring together different looks into a branded series.
Positioning has a lot to do with how your book compares to other books in its niche or genre. Is it the deluxe version of a beginning carpentry book? The quick guide to fixing your Volkswagen? Advice for love-struck teens?
The design of your e-book cover has to reflect these differences between related books to give potential buyers the information they need to make a purchase decision. While a tiny cover image can’t do that all by itself, it is a part of your positioning strategy overall, and should coordinate with it.

Don’t Miss This

So there you have it, 3 ways to make sure your e-book cover design gets off on the right foot, helps you achieve your publishing goals, and is kind to readers and browsers.
You can see exactly what I’m talking about in our monthly competition for e-book cover designs. The posts from this competition are almost a class in what works on e-book covers—and what doesn’t.

There are hundreds of e-book covers to check out, and each one credits the designer, so it’s also like a shopping mall for people looking to hire a designer. Here’s a link to the main page where you’ll find links to all the recent competitions: e-Book Cover Design Awards.

Saturday, September 24, 2011