May, 2012

Publishers Launch conference at BEA will cover a wide range of digital change issues


What are the important topics to discuss today concerning publishing and digital change? I think we’ve got most of them covered at Publishers Launch BEA, the one-day conference we’ll stage at the Javits Center next Monday, June 4.

Our all-day event has sixteen distinct presentations and panels. There may be a topic of interest to somebody somewhere that we won’t cover, but we’re definitely not missing much.

The day will begin with a review of recent industry developments from Publishers Launch co-founder Michael Cader. As I write this, the news of the moment is “Waterstones will sell Kindles”. That event, and others that may follow between now and then, will be put into context by the man who prepares our daily Publishers Lunch. Michael likes to point out the topics we spend more time discussing than they’re worth. Those observations are always amusing and insightful.

We’ve noticed that cloud solutions — commonly called SaaS, “software as a service” — are becoming increasingly important in the operations at publishing houses. We think the topic is so important, in fact, that we’ve scheduled an all day conference called “Book Publishing in the Cloud” for July 26 in New York. Ken Michaels, the COO of Hachette Book Group USA, is a big proponent of SaaS and believes it could change the way we work, together and separately, as an industry. He’ll kick off our conference describing what he sees as the opportunity for publishers represented by cloud solutions.

Then a panel of four publishers will talk about a very much related subject: how publishing houses are remaking their processes and workflows to respond to the demands of the digital age. Publishing veteran David Wilk will chair that panel, which will include Chris Bauerle of Sourcebooks, Sara Domville of F+W Media, Joe Mangan of Perseus, and Carolyn Pittis of HarperCollins. All of these companies are doing some very basic things quite differently than they did only a couple of years ago and these executives will discuss how things have changed, how hard it was to change, and what benefits have come to them because they did change.

We like to feature short conversations with industry players who have a unique view. One of these is Molly Barton, who is the global digital director for Penguin. Molly is the only digital head I know today who started out inside the publishing house as an acquiring editor. Now she has a view of digital change around the world from the top of one of the world’s biggest book publishing empires and within an even larger publishing company that has many digital irons in the fire. I’ll have an onstage conversation with Molly, and we’ll cover a wide range of topics from DRM to enhancement to whatever might have arisen earlier that morning.

After Molly, we’ll move to a new feature of Publishers Launch Conferences: the Publishers Launchpad sessions. Launchpad is our slot for introducing new products and services. When we debuted it at Digital Book World last January, we were pleased to recruit a consulting client of my Idea Logical Company, Linda Holliday of Semi-Linear, to moderate the sessions. On June 4, Linda’s own new product will be the kickoff Launchpad subject.

And Linda’s new product, Citia, has as its objective nothing less than reinventing the presentation of high-concept non-fiction in the digital age. It is a shamelessly ambitious undertaking, literally deconstructing and then reconstructing the ideas in a book. The debut Citia title will be “What Technology Wants” by Kevin Kelly, from Penguin, the house of the previous speaker, Molly Barton. Barton is one of the biggest fans of the new Citia presentation of material. Michael Cader will interview Linda and they’ll show you how the complex ideas we previously could only access through narrative text and illustrations can be rethought and made clearer with what I call, for simplicity, “Cliff’s Notes for the Digital Age” but which is really much more than that.

Then Linda will bring on two other new propositions as part of the Launchpad session. Both of them are new SaaS services to make ebooks.

The simpler proposition is from Hugh McGuire and is called Pressbooks. It is a free XML ebook-making tool built on WordPress that enables users to produce epub and PDF files on the web.

The other tool is called Aerbook Maker, created by Ron Martinez of Invention Arts. Aerbook makes enhanced ebooks and both HTLM5 and native apps. It is a tool that allows mixing in audio and video and interactive elements without advanced programming skills.

Then, before lunch (aren’t you hungry already?), we’ll have our agents panel. Laura Hazard Owen of paidContent will moderate a great agent group that includes Laura Dail of Laura Daily Literary Agency, Tim Knowlton of Curtis Brown, Simon Lipskar of Writers House, and Jennifer Weltz of The Jean V. Naggar Agency. They’ll be discussing both the changes in the business of agenting and the dynamic negotiating climate with the publishers. We’ll learn what they’re thinking about managing their digital backlist and what new skill sets they think their authors will be demanding of them.

Kelly Gallagher of Bowker will kick things off after lunch with with the latest report from their new Global eBook Monitor (GeM), a global look at ebook uptake around the world. Gallagher will feature “country level data” to a degree that hasn’t previously been revealed. We’re looking forward to it.

One key premise about digital change is that the world is getting smaller and publishers will find it easier to sell books, particularly ebooks, in territories other than their own. Our panel called “Sales Across the Borders — Import” will look at the increased penetration of ebooks from abroad, particularly in languages other than English. I’ll moderate a group of three panelists: Patricia Arancibia, Editorial Director, International Digital Content, for Barnes & Noble, consultant Javier Celaya from Spain, and Spanish publisher Blanca Rosa Roca of Roca Editorial. Blanca Rosa is doing some very innovative things to get her books into the US market in both Spanish and English. (She’s just created an English language ebook publisher called Barcelona eBooks and forged a partnership with Open Road for marketing and distribution.) Javier consults to companies throughout Europe and will report on how publishers, particularly in Spain, Italy, and France, are viewing this opportunity. And Patricia wrangles content for B&N to sell from all over the world. There are very few people, if indeed there is anybody, who knows more about this subject than she does. One wrinkle on this topic is that other-language publishers are now translating their own books into English to hit the English-speaking ebook market. One thing we’ll want to learn from our panelists is how commonplace they expect to see that practice become.

The complementary panel, which will be moderated by longtime sales executive Jack Perry, is “Sales Across the Borders — Export”. For this one we’ve gathered three experienced export sales executives: Chris Dufault of Random House, David Wolfson of HarperCollins, and Dan Vidra, who has just this month left Simon & Schuster to work for the new German-based (but global and multi-language) ebook platform, textr. They’ll be joined by David Cully, the President Retail Markets/EVP Merchandising for Baker & Taylor, the US wholesaler that has long been a global leader helping US publishers sell their books abroad. This panel will tell us what markets are showing the most promise for US publishers, how the sales growth of ebooks is affecting the sales of print, and how the growth of export might be impacting the related business of selling foreign translation rights. (We’ll be able to cross-check what they say with what the agents will have told us a couple of hours before.)

Michael Tamblyn of Kobo is always a popular speaker at publishing events because he shares interesting data. This time we’ve asked Michael to focus on what Kobo has learned from its recent experience in new markets, particularly the UK and France where Kobo tied up with major retailers. What we’ll want to know for non-English markets particularly is how powerful the draw of wide title selection in English is. Will ebookstores in other countries really expand the sale of our books in English around the world? Tamblyn will certainly get us started on answering that question.

Our final chunk of programming in the afternoon is all about change.

Fritz Foy is Macmillan’s EVP for digital. Macmillan made news a couple of weeks ago when they announced that they would be going DRM-free with their Tom Doherty Associates imprints including Tor, Forge and other related sci fi and fantasy imprints. We immediately called him and got him to agree to talk about that on the program. Foy is going to do a presentation that recaps Macmillan’s thinking about this question, which he says goes back several years. Thanks to Cory Doctorow, the anti-DRM crusader who is one of Tor’s key authors, Macmillan had already experimented with it. Foy promises us there will be surprises and at least one news announcement coming from his presentation. We’ll be surprised right along with you when we find out what it is.

Phil Ollila of Ingram Content Group accepted our challenge to comb their sales data for clues about how bookstores and other retailers have been changing their stocking decisions in recent years. The short summary of Ollila’s findings, which are summarized in an article he did for our conference book (all Publishers Launch Conferences have a printed conference book!), suggest that fiction is down, some surprising categories are up, and that what publishers can expect is more titles in more different stores with fewer sales per store per title.

We’ll have a bit of a change of pace with a presentation by David Steinberger, the one who is Founder and CEO of the Comixology platform. (There is another David Steinberger, of course, who is the CEO of Perseus.) Comics constitute a very big global business that operates in silos by language and by country. Will it stay that way? Will the rights and cultural issues that have kept the market from globalizing continue to do so in the digital age? As the creator of the most successful comics-selling platform in the US and a man with an eye for the world stage, Steinberger is in a unique position to speculate on the answers. And perhaps we’ll get some insight about how other highly-illustrated genres with strong localized content — travel and food come to mind — might change because of the digital transition.

There is a growing consensus in the industry around two points that would have been controversial only two or three years ago. One is that bookstores are declining rapidly and will, unfortunately and in the not-too-distant future, atrophy to the point that they are a subsidiary channel for book sales, not the primary one. The other point is that the marketing exposure that books get in retail stores is a critical component of their early exposure, leading to the “discovery” by consumers that is the key to getting commercial traction. Our last two sessions of the day will focus on that challenge.

Peter Hildick-Smith of Codex has been conducting studies of book purchasers for a decade, including careful tracking of how they learned about the books they bought and read. Peter is one of the greatest champions of the bookstore’s role in discovery, and perhaps the leading skeptic that search engine optimization and social network marketing can be an adequate substitute. In this presentation, Peter will make his case thoroughly backed with data from the years of research his company has done.

Then Peter will join our final panel of the day, one focused on “The Future of Book Discovery.” Two publishers that are doing a lot of work in this area, Amanda Close of Random House and Rick Joyce of Perseus, and Scott Stein, who heads up the book coverage for USA Today, will be part of that discussion, which will be moderated by Michael Healy of Copyright Clearance Center. One of Hildick-Smith’s key points is that there is a Catch-22: if you don’t know something about a book, you’re not likely to search for it. And unless somebody gets the ball rolling for a book, there’s nobody to comment on Facebook or Twitter to get you started that way. The publishers on the panel and the overseer of one of America’s most widely read book pages will talk about their efforts to build something new that will tell us about books the way window displays and stacks and face-out displays have for years.

After that, Cader and I will wrap up the day. Very briefly. We’ll all be very happily exhausted!

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“Citia” apps from Semi-Linear; a whole new way to present high-concept non-fiction


Regular readers of this blog know how seldom you see an admiring post about an Idea Logical consulting client, particularly one with a new and untested proposition. We are often engaged to raise a proposition’s profile with industry powers-that-be. But I make a clear distinction between the blog and our Publishers Launch and Digital Book World conferences on one hand, which are services to the industry, and our consulting work on the other hand, which are services for a client. One of the best outcomes is when you learn doing the latter that letting more people know is, objectively, in everybody’s best interest.

I’ve been working with Linda Holliday and her Semi-Linear project since last September and I’m genuinely in awe of her insights, the ambition of her objectives, and what she’s already accomplished. As her vision, embodied in iPad apps branded “Citia” that are about to hit the market, becomes tangible, it is a sensible time to write about it because it will shortly be available to the world. In fact, I can hardly wait to find out what the world thinks of what she and her team have accomplished.

Linda Holliday is a veteran marketer and digital pioneer with a background in cable TV and health care information. After she sold her third successful business in 2006, she began a career as an angel investor, which included stakes in two publishing-related businesses, ScrollMotion and Comixology. This fed Linda’s already voracious and interrelated interests in books and how people learn. She’s very “left-brain and right-brain” herself, having followed an undergraduate fine arts degree in painting from Michigan with an MBA from Wharton.

Pretty soon, partly goaded by the growing stack of books she wanted to read and couldn’t get to — mostly books around her interests at the intersections of business and technology — she came up with the vision that spawned Semi-Linear and the Citia apps.

Linda saw a challenge based on two resources that reside in different amounts in every person’s life. The resources are time and money. She spelled it out this way, from a book business perspective.

If you have time and money, you are the book business’s best kind of customer. We sell you lots of books.

If you have time but no money, you go to the library.

If you have no time or money, you go to YouTube.

But if you have money and no time, then we in the book business have nothing for you.

And that’s where Linda saw opportunity both to fill a need and to build a business. Her objective is nothing less than to reinvent what I call “high-concept non-fiction”: books of ideas where the concepts are more important than the author’s prose.

Working with a team that includes Will Bourne, an experienced executive editor previously with Fortune and Fast Company, they built out the concept, which is a kind of 21st century Cliff’s Notes on steroids. The Citia team takes the author’s book and deconstructs it, looking for the main and subsidiary themes in the book’s narrative. This is done without regard to the book’s original organizational structure. It doesn’t follow existing chapters per se (or at all); it’s completely rethought. Then the information is further granularized into “cards”, 100-150 words (sometimes borrowing the author’s prose but often rewritten) that summarize a particular point.

Having reorganized the intellectual property, Citia brings it together in an elegant and visually-pleasing way that allows the “reader” (who perhaps might now be thought of as the “concept consumer”) to navigate the book’s information in his or her own way. The cards, sorted into decks, each of which represent a focused idea in the book, keep perspective about where the reader is in relation to the themes (in what I have heard some people refer to as a “mind map”, which must be a term of art I’m not familiar with.)

This turns the original book (which Linda sometimes calls “a brick”), which can only really be satisfactorily navigated by starting at the beginning and reading (linearly), into something far more lightweight and navigable (which Linda calls “permeable”.) Semi-Linear believes that Citia apps can reduce the time it takes for somebody to get most of the concepts out of the book from the 6 to 10 hours that it would take to read it to 45 minutes to 2 hours. And, of course, if what the reader wanted was elucidation of just some of what the book covered, it would be much easier to access the desired content with this new form of organization.

So Citia apps are a boon to the reader. But because Linda Holliday also believes in books and authors and publishing, she’s made sure they are also in service to them.

Each of the virtual “notecards”, the component nuggets of insight the book has been broken into, is shareable, easily e-mailed. They all contain the ability to order either the Citia app or the book itself. So each individual idea inside a book becomes a tool for virality and marketing.

There are many potential commercial models to exploit this idea. Semi-Linear decided to begin by creating what amounts to an “Executive Summary Series” made from already-published and successful books (although developing original content directly into the Citia platform is also on the roadmap and products with that genesis will appear shortly too.) That meant getting around to publishers and licensing rights.

Responses from agents, publishing executives, editors, and rights directors were overwhelmingly positive, but the ask for rights was very complicated. A few players were concerned that Citia apps would cannibalize more sales of the book than they would generate. Some others had the concern that authors wouldn’t want to see their work changed in this way and, indeed, author acceptance — if not enthusiasm — was quickly seen as important by Semi-Linear, even though the Citia team really does all the considerable work required to create their version. (The author of their first title, Wired co-founder Kevin Kelly, pronounced himself “gobsmacked” and “proud” of the work they’d done.)

And then there is the complication of doing a license for a deal the likes of which has never been done before. Publishers like to model new contracts on old contracts. It takes a while to get them comfortable with an entirely new product form and an entirely new business model. It just doesn’t come up very often. When was the last time somebody came forward to spend tens of thousands of dollars on development, deconstructing and delivering a new presentation of a backlist book? How would the author approval work? What really is the fair royalty? And what is the fair compensation back to SL for the additional sales their marketing of the title brand would create?

With the enthusiasm of internal champions like Molly Barton at Penguin, Rick Joyce at Perseus, and Laurie Petrycki at O’Reilly, Semi-Linear has secured rights and is building products. Kelly’s “What Technology Wants” debuted yesterday with a demo done by Linda at the “All Things D” conference. It is expected to be on sale at the App Store tomorrow (Friday, June 1) for $9.99.

The initial Citia offerings — two more titles will follow in June and again in July — will be available only for iPad (and only for iPad 2 and newer devices.) Obviously, apps for other platforms and devices will roll out in time, leveraging their creative use of HTML5.

This is an extraordinarily ambitious attempt here, literally reinventing the nonfiction book. If the public likes this presentation, it could create a whole new way for us to communicate and learn complex material. It will be extremely interesting to see what develops as the product hits the market.

We persuaded Linda Holliday to moderate our new “Publishers Launchpad” sessions at Digital Book World in January. She’s reprising that role at the June 4 PLC BEA event which will introduce two new content creation capabilities, PressBooks and AerBook, to our audience. Before those sessions, Michael Cader will host Holliday for her own LaunchPad session and she will show our audience what might be the new future for high-concept nonfiction.

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Letter to the DoJ about the collusion lawsuit and settlement


23 May 2012

John Read, Esq.
Chief, Litigation III Section
Antitrust Division
U.S. Department of Justice
450 5th Street, NW, Suite 4000
Washington, DC 20530

Dear Mr. Read,

I am submitting by way of this letter two concerns that I hope will be taken into account concerning the DoJ’s complaint against Apple and five publishers, as well as the settlement agreements negotiated and now being considered by the Court.

One concern is the danger of introducing an enormous imbalance to the publishing business, which will ultimately hurt all authors and readers, through the Government’s apparent rejection of the idea of uniform pricing of the sale of individual ebooks across all Internet retail sites.

The other pertains specifically to the settlement agreement, in particular the need for detailed consideration of how one of its central operative provisions will be enforced and executed, which I believe is not reflected in the documents filed so far.

I have read Judge Cote’s decision dated May 15, 2012, which was a powerful impetus to me to write this letter. I was deeply impressed with the evident care she took in reviewing the parties’ submissions. But I also feel that the decision was at least partly based on profoundly incorrect premises that I can only conclude arose out of a failure of the parties to convey important realities that are characteristic of the book publishing industry.

I do not pretend to have information on the alleged facts of collusion or any expertise on the law regarding collusion or antitrust. My expertise is in the book business, and particularly in how digital change affects it. I offer the thoughts set out below as a publishing consultant (and also as an author) with 50 years of experience in all aspects of the book business. My first real summer job was in a major bookstore in 1962. My father was in the industry before me. I have spent the last 20 years largely immersed in the industry’s transition to digital media, speaking at and organizing numerous conferences throughout that time on this subject. The primary focus of my work is to help the different players in the publishing industry figure out where today’s developments will lead us tomorrow. I hope the DoJ and the Court will value these thoughts as coming from somebody who has given them in-depth consideration for many years.

My first concern is that there is a failure of recognition of the necessity for price-setting of individual titles across the ebook supply chain. Indeed, only by eliminating price as a basis of competition can we ultimately have balanced competition in the real world of publishing as digital change has remade it.

And, in fact, that reality has been demonstrated by the shifts in market share that have taken place since agency pricing was introduced. There is a far more diverse ebook ecosystem now, offering far more purchasing choices for consumers, than there was before agency. And there has been innovation, specifically Barnes & Noble’s introduction of Nook devices that have delivered previously unavailable features, that also would have been less likely without agency pricing.

Before ebooks, retail booksellers needed publishers to provide them with product to sell, and publishers needed booksellers to give publishers orderly access to the buying public. That was true when Amazon began as a print book retailer in 1995. At the time it began, the only way to be a successful book retailer online was to supply titles across all publishers. When the idea of purchasing books online was new and the number of people to whom it was available was far smaller than it is today, only a source with the full range of choice could attract a substantial customer base.

In the years before ebooks became commercially important, Amazon established a dominant position in the online retailing of books, and in doing so it also created a huge database of book-purchasing customers. This helped Amazon considerably to become the most influential force in jump-starting the ebook revolution, starting with the introduction of the Kindle in November, 2007. It was well documented to the Court how Amazon used loss-leader discounting of ebooks as an important tool to build that marketplace. The Court is also clearly aware that Amazon is able to support this discounting because of resources stemming from its considerable size and diversity that none of its competitors can match.

But the imbalance I want to call to the court’s attention is not about the fact that Amazon sells many things besides books and most of its competitors in the book marketplace do not.

As more and more sales have shifted online and the physical store business has become correspondingly less important, publishers have come to understand that they must develop and maintain direct customer contact with readers. In the print and bookstore era before Facebook and Twitter, this was not necessary, nor was it really possible. Suddenly, it is essential.

Indeed, it is precisely that direct customer contact, developed over 17 years as a retailer, that Amazon uses as a primary tool in its individual title marketing. Indeed, as you know, Amazon is now itself a publisher, using direct customer contacts to sell its own titles to consumers. In fact, Amazon’s customer database from its retail business (which goes beyond merely its book purchasers, since it sells almost everything) and the communication network it enables are extremely powerful. Using it as their core marketing tool, Amazon is succeeding at signing authors away from major houses even though it can’t deliver sales to physical stores, which have largely said they won’t stock books coming from their online competitor.

And therein lies the imbalance. The publisher of the future must be able to sell direct. With Amazon as their single biggest wholesale customer, that puts publishers in a Catch-22. If they sell direct at full price, Amazon will undercut them and make them look foolish to their customers. But if publishers discount, they invite a double-whammy. Amazon can still out-discount them, but Amazon (and other retailers) might also insist that the wholesale prices at which Amazon purchases from publishers, which are based on discounts-from-retail, be based on the price the publisher is actually selling for.

So, without a publisher-set price that is honored by everybody, including the publisher, Amazon will effectively be the only general publisher that can sell direct. This will materially disadvantage all publishers in competing with Amazon for authors, and the handicap will become increasingly severe as the sales continue to shift, as they will, away from physical stores and to online purchasing.

In a nutshell, without uniform retail pricing, Amazon can effectively disintermediate the publishers, but the publishers can’t effectively disintermediate Amazon.

My second concern relates to the terms of the proposed settlement with three publishers which the Court is being asked to approve. In apparent partial recognition of the dangers of discounting by retailers, particularly the deep-pocketed Amazon, the settlement limits a store’s discounting to the total amount of margin it earns from a publisher within a year. As I understand it, that means that if a store were to sell $10-million of a publisher’s books in a year, the store could not discount more than the $3 million margin (assuming a 30% agency “commission”) it would have earned across all the sales it made.

This isn’t bad as a principle, and perhaps some variation of it could even address the concern I express about enabling publishers to sell direct. However, translating the principle into action is complicated. It will require reliable data collection, forecasting, and some means of enforcement. I see none of those elements spelled out in the settlement agreement.

At a minimum, it would seem that ebook retailers would have to report actual sales prices of all relevant transactions to the publishers, or have them summarized in a clearly defined and agreed-upon way. This is not data that any retailer, to my knowledge, now shares with its trading partners although, of course, the publishers monitor prices for compliance with publisher-set agency prices.

But even with the data being provided, when one comes to the last period of the year it will require forecasting and close monitoring to keep track of where things stand in every instance where a retailer is anywhere close to its contractual limit with any publisher.

And, then, what is the penalty if a retailer exceeds its discounting allowance? And who gets compensated? The publisher? Other competing retailers? The other publishers whose sales were compromised by the excessive discounts given to a competitor’s ebooks?

In the extremely contentious environment that exists in our business at the moment, I submit that these matters need to be clearly defined in advance if there is any hope for this solution to lead to anything except more litigation.

I very much hope the Department of Justice and the Court will ensure that these points are taken into account before any further binding action is taken, which could have long-term and high disruptive impact on the publishing industry.

Thank you for your consideration.

Sincerely,

 

Mike Shatzkin
Founder & CEO

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Shocking news from the UK: Waterstones selling the Kindle


The announcement that Waterstones, the nearest UK equivalent to Barnes & Noble as a bookselling chain, will be selling the Kindle in their stores came as somewhat of a shock.

There had been rumors that B&N was closing in on a deal to partner with Waterstones on the Nook.

The difficulty in making deals around a reading device and supporting ecosystem is that the sales of content subsidize the sale of the devices. It’s all part of a total equation around the “lifetime value” of the customer. The device-supplier really requires the ebook sales to make the device sale profitable.

So when Kobo did their deal with WH Smith in the UK (and FNAC in France) last Fall, it made sense to me why they’d do it rather than Waterstones. At that time, Waterstones was saying they’d deliver their own device.

Knowing what B&N has had to spend in development to make the Nook work across a store and revenue base several times as large as Waterstones, that always seemed like a very heavy lift. It wasn’t a surprise when Waterstones kept missing delivery dates for its device nor when the rumors shifted to them doing a device deal with somebody else. Since Kobo already was working with their biggest competitor, the logic said it had to be Nook.

I don’t know anybody who predicted it would be Kindle.

Michael Cader in Publishers Lunch reads the press releases the same way I do and we both get the message that the only ebooks Waterstones will share revenue on are those that are purchased over Waterstones’ in-store wifi network. (That network doesn’t exist yet; it’s being built now which is why they won’t start selling Kindles for a few months yet.)

Cader quotes Tim Hely Hutchinson of Hachette as being “fully supportive” of the deal. Since his two biggest customers have just joined forces, I can imagine that his private thoughts might be a bit more troubled than his public pronouncements. (When presented with lemons, make lemonade.) But I wouldn’t pick a public fight with my biggest sources of revenue, either.

How will Waterstone’s benefit from this deal? Well, they’ll make some margin on the Kindles they sell. They won’t make much selling ebooks if the only ones they’re paid for are the ones transacted in their stores. I’ve seen some speculation on an email list that they’ll use the Amazon connection to get more promotional money from publishers, but since they’ve already kicked up discounts considerably, I’m not sure how much blood is left in that stone.

It would be bad practice to criticize a deal when one has no idea about the details. And it could be that Amazon made Waterstones an offer that it would have been crazy for Barnes & Noble to try to match or for Waterstones to turn down.

But it is hard to escape the conclusion that this arrangement will accelerate the British public’s move to ebook reading and, at the same time, strengthen what is already the strongest book retailing platform. Amazon’s commanding share of the online print market and their share of ebooks can only rise from the commanding levels (often referred to as 90%, but I don’t know if that’s accurate) they now hold.

Waterstones’ claims that they will both be growing their online print business and delivering their own ebook store might indeed be sincere, but they are almost impossible to take seriously.

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There’s no level playing field without agency pricing, and not in the way you think


In the 1990s, Bernie Rath was the head of the American Booksellers Association. (Bernie was not a popular man across the industry. Lawsuits about trading practices that troubled publishers really began with him.) He pushed the idea that publishers should stop printing prices on the books. Bernie’s logic was very simple. He pointed out that you paid more for a shirt or a couch if it was sold to you by a vendor in a high-rent location rather than one in a warehouse on the outskirts of town. He thought it was essential that the retailer be able to set prices so they could raise them if necessary to adjust to things like their rent. Otherwise, Bernie argued, books wouldn’t be sold in the best locations. Bernie thought the price having been printed on the book was what prevented the retailer from charging the “right” price for their sales venue.

My father (who always loved a rabble-rouser) was a friend of Bernie’s and saw merit in this argument. This was one time Dad and I didn’t agree, and I still think I am right on this.

In those pre-Amazon days, it was sometimes necessary for a publisher to sell a book directly to an end consumer. People who couldn’t find the book they wanted or a store that would order if for them (not uncommon for most of the 20th century) would, in desperation, contact the publisher. And the publisher would sell them the book. The publisher would sell at full retail price plus postage and handling. They didn’t seek that business; they didn’t actually want that business. But when it came their way, they extracted the maximum revenue from it. And in doing so, they kept stores from being unhappy with them because, after all, the customer would only buy at those prices from the publisher (and put up with the service issues dealing with a company that didn’t think much about individual consumers) if they felt they had no alternative.

The basis of my disagreement was equally simple. Whether or not it was printed on the book, there was, indeed, a publisher’s retail price. And anybody who wanted to find out what it was could do so by asking the publisher or ordering from them. That meant that any store routinely charging more than that would get found out. Even before Twitter, word could get around fast about something like that and it would create suspicion about every book in their store, including books they might be selling below publisher’s list. So, in fact, they couldn’t really charge more just because the publisher didn’t give them away with a printed price.

In addition, the publisher printing the price on the book benefited the store two ways. If the price was deemed high by the consumer, the printed price made it clear the retailer was not to blame. And if the retailer ate into his/her margin to sell it cheaper, the customer could see very clearly that the merchant had done the clientele a favor.

As we know, successful publishers unlearn old behavior very slowly. So it has taken some time for the big general houses to shed their prejudice against selling direct to end customers even though, in the digital age, it is actually essential that they do so.

Why?

Because the business of publishing digital books delivered online is entirely different than the business of publishing printed books sold through intermediaries. This was not instinctively understood by most publishers, particularly by big horizontal (not subject- or audience-focused) publishers.

But by now every publisher has learned that they have to gather names for direct customer contact. When Markus Dohle, Random House’s CEO, told me that Random House had to become an effective B2C marketer two years ago, it was a visionary statement. Now it is a common understanding.

One Big Six house told us last week that they had something over 6 million email addresses they had permission to mail to right now. And they get very decent open rates and very tiny unsubscribes. That’s not enough of a customer base to live without intermediaries, but it is a healthy start.

When you’re selling digital downloads, it doesn’t make a lot of sense to be emailing with people and not executing the transactions and satisfying the demand you’re creating. And, not incidentally, pocketing more than 40% more margin.

Of course, there are vertical publishers (like Harlequin and Ellora’s Cave and Baen Books in fiction, F+W Media in various enthusiast segments) which have already built strong direct selling operations. The key to that for them is the consistency of their offering which enables creating a community. And Harlequin and Ellora’s Cave and Baen all had direct ebook customer bases before Amazon even got started with ebooks in a big way.

The Big Six and other large publishers didn’t have that head start. They’ll be trying to begin now, building on name gathering they’ve done mostly over the past two or three years.

So selling individual titles one by one, which is what Amazon does (mostly) and which the publishers would like to be able to do as they build audiences, is a doomed exercise if the price in the marketplace isn’t fixed for that kind for that kind of transaction. If the publisher sells at the full price they’ve established, Amazon will use their power to control price to undercut the publisher and make them look foolish to their audience. If the publisher discounts, Amazon can always discount more.

But if the publisher discounts, they face another problem. Amazon (and every other retailer) would say, with ample justification, “the retail price my discount and margin should be based on is the price you sell it for.” If “publisher’s retail price” means anything, it must mean that! Just like when publishers didn’t sell direct in the all-print world before online happened, the price the publisher says is the retail price is what intermediaries would expect to see them sell the book for.

There are ways around this. A publisher can create content they don’t put into general circulation that is available only directly from them. A publisher can perhaps sell a DRM-free version of a book exclusively from its own site. The agency agreements as Apple apparently wanted them (because, without actually having seen one, it is how I understand them to be) are very inflexible in terms of allowing promotions, so bundling and even subscription programs can be difficult under today’s contracts with agency-priced books.

But if the publisher can’t control the price of the book across resellers, then there is ultimately only one general publisher that will be able to sell direct, and that’s the one with enough names in its database to live without any other resellers.

We’d have rules that set it up so that Amazon can disintermediate the publishers, but the publishers can’t disintermediate them.

If that were the principal outcome of the Department of Justice’s action, it would certainly qualify as “highly ironic”.

I’ll write soon about the great show we have coming up at Publishers Launch BEA on June 4. I also look forward to speaking at the Book Summit at the Harbourfront Centre in Toronto on Thursday, June 21. Their overall topic is about “discovery in the age of abundance” but I’m likely to mix other topics into my talk, including the one that is in this post. I am also speaking at George Washington University’s “Ethics and Publishing Conference” on July 9 (no link available yet). Since they’re interested in the litigation around agency, the topic of this post is likely to arise there as well.

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Everybody in Hollywood Needs an eBook Strategy


As a result of spending my college days at UCLA, I had a handful of contacts in the Hollywood community when I came back East to live in 1969. When I started becoming familiar with New York publishing in the 1970s, I found myself, on occasion, shopping movie or TV tie-in projects. Armed with a script and a release plan, one could make the rounds of editors at the mass-market houses that had been assigned specific responsibility for this kind of acquisition.

At the time I was doing this kind of thing 30 or 35 years ago and more, the book business was growing wary of tie-ins to TV movies. They didn’t have the same promotional life as theatrical releases, even in those days when about one-third of the country was watching any network broadcast. Films that ran in movie theaters were definitely preferred as desirable book properties.

In the decades since then, the link between Hollywood and New York publishing has not exactly been severed, but it certainly hasn’t strengthened. One agent I spoke to told me that interest from Hollywood can definitely help raise the profile of a book project being peddled in New York, but the same agent agreed that the tie-in sale, where a script is novelized to just take advantage of the exposure the title and story will get through the movie, is all but dead.

Another agent, one with strong Hollywood connections through his office, had a slightly different point of view. He says it is still “humbling” to see how much being tied to a movie or TV show (“or even radio”) can “move the needle” on a book sale.

To the extent that the agent who believes in the power of Hollywood exposure to move books is right, the relative reduction in interest by New York publishers only increases the opportunity for Hollywood entities who exploit publishing through ebooks (and judicious and selective use of print) on their own.

(I recall two specific deals from my past relevant to this post. In around 1977 or 1978 I sold the book tie-in rights to a TV movie called “Cotton Candy”, which was produced by Ron Howard. In 1985, I sold the rights to two books to tie into the third “Nightmare on Elm Street” movie: one was a novelization of the first three films and the other a heavily-illustrated “making of…” book. I’d say the “Cotton Candy” deal today couldn’t possibly happen and “Nightmare”, which went to a major publisher, would be a real long shot.)

New York’s interest in Hollywood-originated content was, of course, centered on big properties. Hollywood’s enthusiasm about getting a book deal was often not very great. It didn’t add a ton of revenue (big publishing money for a big movie was small money to the movie producer) and the “promotion” done by publishers was trivial compared to what the movie studios did for the film.

In fact, there were often rights issues that got in the way. Even if the screenwriter had conceded the tie-in rights to sell the script, the studio might still be required to get clearances on the novelization, which would be a nuisance for a book project that often had annoyingly tight deadlines and not much benefit. If the screenwriter had held the tie-in rights and was the one selling to the publisher, it could become a bureaucratic nightmare to get art and logos from the film, which would be controlled by the studio, to promote the book.

New York’s incentives were often too limited to interest Hollywood. Hollywood’s unpredictability on things as basic as release dates, as well as the diminishing likelihood over time that any particular movie property would enjoy enough theatrical success to give real legs to the tie-in book, made systematic efforts unproductive for publishers. There haven’t been dedicated tie-in editors for decades.

But digital publishing changes many things. The relationship between Hollywood and the book business, because of the changes brought on by ebooks, will almost certainly be one of them.

In the digital age, what it takes to succeed as a publisher are access to commercial properties to publish and an ability to let an audience know an ebook of interest to them is available. Those are the core requirements. Everything else can be put together from services, and they can be put together one project at a time (although most people in Hollywood aren’t really aware of that yet.)

A Big Six CEO told me last week that the two core skills and competencies that publishers require are “editorial”, picking the books and developing them, and “marketing”, letting the interested public know the book is there. This CEO would be happy to outsource just about everything else. Starting where this executive wants to end up — with commercial properties in hand and an ability to tell an audience about them but with no overhead or organization to support — is essentially where Hollywood entities get the chance to begin.

Things have changed in Hollywood too. Digital tools make it cheaper and easier to make a movie, just like it is now cheaper and easier to make a book. But, just like book publishers, producers of Hollywood content find the growth in competition mushrooming. The corrolary to the fact that making movies can be cheaper is that promoting them is that much harder and, much more than decades ago, every revenue stream counts, even pretty small ones.

The change in both industries means that Hollywood has enormous opportunities through the digital publishing world, as soon as they figure it out (which we plan to help them do).

There are some early signs that this is beginning to happen.

The most ambitious project we’ve become aware of so far comes from Warner Brothers Digital Distribution. They’ve announced their Inside the Script series that will issue 300 classic scripts (think “Casablanca”) as ebooks, starting with a release of four titles. Doing an entire program enables them to take a templated approach to creating the ebooks, which will cut their costs of making really good products. Whether classic scripts will sell robustly is an open question, of course. But the cost of the experiment is low in a Hollywood context, and they gain the additional benefit that their classic films get a shot of recognition and reader-adrenalin which can only increase Netflix views and DVD sales.

NBC has established NBC Publishing to begin to exploit this opportunity. Michael Fabiano, the NBC VP who is the General Manager of this operation, says that “In general, text will come from titles already published, direct relationships with authors and, in some cases, from the staff of NBC News. We will also utilize a network of professionals as needed.” They make it clear that NBC will continue to work with established publishers. (Left unsaid, but I’d assume: they’ll work with established publishers for projects that have a big print component or where they can get substantial advances.)

ABC has a venture called ABC Video Books. This is being done in conjunction with the publisher they own, Hyperion. They position the initiative as “a new storytelling experience, enhanced with ABC video.”

Thinking about this has led me to believe that every network, every studio, every producer, every agent, and every screenwriter in Hollywood needs to have a digital publishing strategy. If fledgling novelists with no Hollywood presence can blog and tweet their way to commercial success, and some do, certainly a Hollywood-developed story would have an even better chance. Novelizing a screenplay (which is just one of a number of ways to do a Hollywood tie-in as an ebook) isn’t a trivial job, but it isn’t a massive one either. And publication as an ebook can be done for less than the cost of a few lunches. Even cheap lunches.

Broadly speaking, there are two categories of opportunity here. One is for legacy brands: all the stories (like “Casablanca”) that have been made famous over a century of film-making. Publishing scripts or novelizations are the simplest things that can be done. Why not publish all the Seinfeld or All in the Family scripts as ebooks? How would they sell? We don’t know, but the cost to find out is low and the availability of the book constitutes additional promotion, even of a long-established film or TV show.

The other category of opportunity is to build interest in a developing property. This will work better for projects that are about something substantial: a historical event or person or an issue (divorce, alcoholism, etc.) that people would search under looking for reading matter. If you’ve written a screenplay about Babe Ruth and Lou Gehrig and you’re trying to develop interest, you could do worse than publish the script or a novelization as an ebook. People searching their favorite ebook retailer for Babe Ruth or Lou Gehrig will find it (and this happens every day) and some will buy it. You can develop fans and a following. You can get revenue.

Of course, you can also get more creative. Characters can “write books” (an approach that has already been tried.)  And successfully.

Discussing these ideas with players in Hollywood today, I have learned that there is a growing awareness of the ease of ebook publication with another motivation as the catalyst. It is apparently easier for the owner of a screenplay to keep ebook rights out of their movie deal if they’ve already published the ebook. There would seem to be very little risk in that strategy. As we’ve seen, movie studios don’t much care about book tie-ins so they’re not likely to walk away from a deal because these rights have already been exploited. And book publishers are increasingly aware of self-published ebooks as a farm system. No book publisher would decline to buy rights to a book becoming a movie because an ebook had already been issued. (The owner would almost certainly have to pull the self-published ebook off sale, but that would be painless if a publishing deal made it worth it. That precise strategy has been executed by indie publishing star Amanda Hocking and her new full-service publisher, St. Martin’s.)

The first step for networks and channels and producers in Hollywood is to learn how to utilize their new revenue and marketing tool: ebooks. We’re going to jumpstart that effort with a Publishers Launch Conference at the Hollywood Renaissance Hotel on Monday, October 22 called “FILM/TV-TO-BOOK: How Digital Publishing Creates New Revenue and Marketing Opportunities for Hollywood”. We’ll be co-located withF+W Media’s Story World Conference. We think this could be the start of a long-running conversation.

Publishers Launch Hollywood will emphasize what the Tinseltown players can do on their own, which is the big opportunity presented by digital change. But we’ll also present players from the publishing world: both new entrants from the “ebook first” world and established players. None of them want to do every pr0ject Hollywood should do, but when they want to be involved, they’re still almost always the best path to the biggest market.

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The ebook marketplace is a long way from settled


When we put on conferences, we sometimes book speakers because of who they are, or who their company is, but we also do our best to make sure the content of their presentation will be useful to our audience. So I had booked Matteo Berlucchi, the CEO of the British ebook startup Anobii, to speak at last January’s Digital Book World 2012 some months before the event for two reasons. For one, I had met Matteo at our Pub Launch London conference last June and he impressed me. And, in addition, his social-network-conscious ebook retailing operation has three major houses — Penguin, HarperCollins, and Random House — as investors.

A couple of weeks before DBW 2012, we got on the phone with Matteo to learn what he wanted to talk about. That’s when he told me he’d call for publishers to give up DRM because, as he saw it, their doing so was the only way he could compete for Kindle customers. As a conference organizer and promoter, I was instantly aware that he was handing us a major news break: a retailer partly owned by three Big Six publishers was calling for the end of DRM! There was some gallows humor on the call about how Matteo would bring his CV (curriculum vitae, which the Brits use more freqently than the American “resume”) along to New York.

But, of course, Matteo wouldn’t have been doing something like that without the knowledge of his owners. So it was not a stretch to draw the inference that three major publishers didn’t mind floating a trial balloon, or perhaps what they were thinking was that it would be good if Amazon knew they’d seriously consider this.

His presentation created a stir, as we knew it would.

But Pottermore created an even bigger stir when they demonstrated how to execute on the “no DRM” strategy, including how to position the big retailers in that context. As we all know now, the threat that Pottermore might be able to load Kindles with Potter books (by selling DRM-free; it would be hard if not impossible for an outside vendor to crack Kindle’s proprietary DRM to load “protected” content on it) persuaded Amazon to play ball. They send Potter ebook buyers over to Pottermore’s site to register and pay and then are willing to take the customer back to load a DRMd ebook file on their Kindle. (Meanwhile, Pottermore enables also loading a Nook file, an iBooks file, and even provides a non-DRMd epub file for more general use, all for the same single purchase.)

Back in the early days of ebooks, which was not a hundred years ago but actually about five, Brian Murray, the CEO of HarperCollins, invested in the company that became LibreDigital (now owned by Donnelley) because he had a vision that publishers should deliver their own ebook files. Murray’s concern at the time was about piracy and file control. Whatever it was, the ebook retailers (mostly Amazon back then) shot the idea down. No way were they going to trust a publisher, any publisher, to provide service at the level their consumers had been taught to expect from them. So the model we’ve lived with until Pottermore has been that each retailer has its own copy of the publishers’ ebooks, and they serve their customers and account to the publishers for what was sold.

Pottermore pointed the way back to Murray’s original vision.

A few weeks later, Macmillan announced that one segment of its company, tor.com, was going DRM-free, although not jumping into the full Pottermore model of serving the content themselves. (One Macmillan executive told me that they’ve been selling the books of anti-DRM crusader Cory Doctorow without protection for years, including through Amazon.)

Fritz Foy, the Macmillan EVP who oversees digital, is speaking about the DRM decision at our Publishers Launch BEA event on June 4.

Last Friday, the next round in this battle was fired. Berlucchi published a post calling on all the big publishers to copy the Pottermore model, and do it now.

How this will play out depends a bit on what happens with the DRM-free experiments now begun at Pottermore and about to start at Macmillan. If sales of their books collapse under the weight of ubiquitous piracy as a result, it would stop this kind of experimentation dead in its tracks.

It would also surprise a lot of people, including me.

If the net destructive impact on sales is too trivial to be measured compared with the DRMd status quo, then we are bound to see this practice spread, and quickly. And then all the biggest publishers could be compelled to return to Murray’s several-years-old vision with Pottermore’s execution template.

The question for the first publisher that wants to try this will be whether the power of a Big Six publisher to compel Amazon to play along is as great as J.K. Rowling’s Harry Potter franchise. It’s a really scary thing for them to do. After all, Rowling had zero digital revenue to protect and zero responsibility to anybody else for delivering it. All the major publishers have triple digit millions of dollars of Kindle revenue at stake and thousands of authors counting on them to deliver it.

But with Barnes & Noble now funded (by Microsoft) for battle for the next several years and Kobo and Apple committed to the fight as well, there’s a serious question as to whether Amazon would feel as comfortable going forward without one of the Big Six’s ebooks the way they have been willing to work without those from IPG.

In January 2010, John Sargent and Macmillan had a confrontation with Amazon and the retailing giant was forced to back down. The concessions that Charlie Redmayne of Pottermore (and he was, incidentally, recruited to that job from his position as Chief Digital Officer at HarperCollins) extracted from them are nothing short of stunning, but understandable if one considers what the impact of a Harry Potter ebook launch without the titles being available through Amazon would have been. (Oh, the headlines that would have generated!!!)

It’s easy for me to say, because I have nothing at stake, but I think Berlucchi is right. The big publishers can make this happen; it would change the game. I have trouble seeing any potential fly in the ointment for them except whatever would be the dangers of DRM-free. And that should be ascertained pretty well in the next few months.

There are still plenty of twists and turns to come in the evolving ebook marketplace.

It is important to remember that DRM isn’t Amazon’s only advantage or even their principal advantage. I’m not an Amazon fanboy (have you noticed?) and I read on an iPhone, but I buy most of my ebooks from the Kindle store because they offer the best shopping experience I’ve found.

However that (the shopping experience) isn’t a permanent advantage. The Kindle format and DRM are, as long as publishers feel DRM is essential.

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We’re getting SaaS-y, going Hollywood, and starting to plan Digital Book World 2013


It is hard to believe that we’re starting to plan the fourth annual Digital Book World conference, which will be held January 16-17, 2013 at the Hilton in New York City. But we are.

The first DBW was held in 2010. Planning for it began the June before when David Nussbaum and Sara Domville of F+W Media called me to say “we think there can be a better conference than any we’ve been to about digital change in publishing.” They challenged me to come up with an approach and to take on programming the event.

What I hit upon then as a differentiating proposition was to make Digital Book World focus on the business issues created by digital change in trade book publishing. We wouldn’t focus on tech, per se. We wouldn’t focus on how digital change would affect publishers who didn’t rely primarily on bookstores to reach their customers. It has long been my belief that general trade publishers would be the most challenged by the digital transition because their core proposition, their key value-add, was putting books into bookstores.

That’s worked for us very well. Not only have we had three very successful DBWs, I believe we have really helped focus the conversation about the digital transition. When we booked agents to speak at DBW 2010, it was the first time they had been featured at an industry event on digital change. Of course, the agents’ role — and the nature of their organizations — has changed as much as publishers and booksellers have in recent years. We’ve looked at the globalizing impact of the digital transition, how bookstores are coping with it, how publishers’ relationships with libraries are changing, and, repeatedly, how digital change is affecting trade publishers’ organizations, staffing, and workflows.

Then in 2012, Michael Cader and I formed Publishers Launch Conferences because, as big and sprawling and complete as DBW is (and with 30 different breakout sessions plus a ton of plenary programming, 150 or more speakers, and about 2000 attendees, it is definitely the biggest conversation about digital change for trade publishers held anywhere on the planet), we can’t cover everything there and we need interim conversations throughout the year.

As it happens, PLC is letting us focus on subsets of the broader conversation — one might call them “verticals” — that require a deeper dive. Last year we used that capability to deliver “eBooks for Everyone Else”, the primer for ebook publishing without an IT department, in New York and San Francisco and a half-day show dedicated to children’s book publishing in Frankfurt. Both of these ultimately enriched DBW itself; we made “eBEE” a breakout track and did our own full day Pub Launch standalone on children’s book publishing as a co-located event at DBW 2012.

We have two exciting vertical shows lined up for Pub Launch 2013 that will definitely spawn programming for DBW tracks.

“Publishing in the Cloud”, which we’ll stage on July 26 at Baruch on 25th and Lexington in Manhattan, is about SaaS (“Software as a Service”) for publishing. We think SaaS is starting to change publishing practices, workflows, and the IT departments themselves. SaaS will mean a totally different deployment of technology resources for big publishers and enable capabilities that were previously out of reach for smaller publishers.

Although almost all the from-stage presentations at “Cloud” will be by publishers who are using SaaS services, the suppliers will be there too. They’ll meet the delegates at their sponsor tables during breaks and will also participate in “speed-dating” sessions, where the attendees meet sponsors and the speakers in small groups that enable exchanges about the very specific challenges attendees come to the conference to have addressed.

“Publishers Launch Hollywood”, which will take place on October 22 at the Hollywood Renaisssance, will be the first conference event specifically designed to introduce the movie and TV communities to the new opportunities created by digital publishing. Networks, studios, producers, screenwriters, and agents in LA all control properties that would make books that can sell and can now be delivered at a nominal cost. We know of one major studio about to announce a program to sell 300 “classic” scripts as ebooks. NBC, the one major network not already affiliated with a publisher (CBS has S&S, ABC has Hyperion, and Fox has HarperCollins) has started its own ebook publishing operation. These initiatives are the tip of an opportunity iceberg and we plan to bring that message to Hollywood and deliver the information about all the new ways that exist for film and TV properties to generate more fame and more revenue that are now readily available.

Both SaaS and publishing’s Hollywood connection will find their way to the DBW program for next January. They join a list of topics we think are moving up on the agenda for publishers and that we’ll want to cover pretty thoroughly at DBW 2013..

Digital is making the world smaller. That creates opportunity for US publishers to sell more abroad and opportunity for foreign publishers to sell more here. We will feature more on export, more on import, and more conversation with international publishers in general next January. (There’s quite a bit of this on our PLC BEA show, which will take place on June 4.)

Pretty clearly, DRM (digital rights management) is an element in transition in our dymanic ebook world. We’d say that conversation began in earnest at DBW 2012 when Matteo Berlucchi, the CEO of ebookseller Anobii, made his plea to eliminate DRM as a way to combat Kindle lock-in. Now Pottermore is selling DRM-free ebooks, getting heretofore inconceivable concessions from Amazon and other ebook retailers as a result, and Macmillan has just announced that their Tor.com division will make the same switch in the next two months. The future of DRM, and, more to the point for us, the impact on piracy and on the overall marketplace, will be front and center at DBW 2013.

Discovery is a topic that has been on our minds for some time, but it is getting increasingly crucial as bookstores decline. Discovery is about metadata, of course, and that’s a subject we’ve covered at DBW before (and will again.) Many social reading and sharing options are being developed. Whether these give publishers and authors the tools they need to propel a book to the level of awareness necessary to get sales and word-of-mouth rolling is something we’ll definitely be trying to learn more about at DBW 2013.

The importance of brand and community is increasingly obvious. I’ve been thinking about a whole conference on verticals (which we’ll probably do as a Publishers Launch event in 2013), but we’ll start that process at DBW 2013. The best example we know of a multi-niche publisher is F+W Media, the owners of DBW. I think 2013 may be their time for a more featured role in the programming. Under the same heading, we take note of name-gathering efforts at several major houses. How names get gathered, how they get segmented and used, and what difference it is making to increase sales and reduce marketing costs will be a prime topic at DBW 2013, particularly now that Pottermore has shown us a whole new way name-gathering efforts might work.

As the traditional paths to market (bookstores) atrophy and sales of books prove more difficult to get, alternate revenue opportunities are going to grow in importance. We know of some. For one thing, international markets are more accessible. There are also new business propositions like Semi-Linear “citia” apps for high-concept non-fiction and Yummly for recipes and food content that offer publishers licensing revenues. And publishers may learn that some of their future dollars will come to them in pennies. Micro-transactions enabled by Copyright Clearance Center (a Publishers Launch global sponsor, but also the purveyors of Rightslink, a capability we think publishers will increasingly find indispensable as a rights marketing tool) and AcademicPub, among others, will likely deserve a real airing by DBW 2013.

We’re also seeing new models developing inside and outside of publishing houses and we’ll be putting examinations of them on the program too. Late last year, Penguin launched Book Country (a portal to help fledgling writers improve their work and get to market) and Sourcebooks is pioneering an “agile” publishing model with futurist David Houle (a hit with our DBW 2012 audience whom we’ll probably bring back in 2013.) Sourcebooks and F+W are also trying subscriptions, a model pioneered by O’Reilly with Safari a decade ago. To the extent that DRM fades, experimentation is further enabled. New models will be an important topic by next January.

We’ll also be gathering data from any source we can and as we have at all DBWs past. Self-publishing is a subject that is bound to get coverage beyond Book Country; I’d love to assemble a panel of self-publishing authors that have turned down major deals (and have really done it themselves instead, not signed with Amazon as their publishers!) And, of course, ebook pricing will be a topic we’ll figure out a way to cover even though most of the retailer and publisher players feel highly constrained talking about it.

The digital transition won’t last forever. Transitions don’t. At some point, the transition is over and we’re into a new world. But if one prediction for eight months from now is safe, I think it would be that we’ll still be in a state of flux next January, with a year away as hard to predict then as it was last January. Digital Book World every January and Publishers Launch Conferences throughout the year still have a lot more value to deliver.

What I want from writing this piece are suggestions for what we should cover at DBW. What do you think the burning issues will be in publishing’s digital transition by next January? We’ll be convening the DBW Conference Council at the end of June to discuss this question, but we’d love to be further informed by your thoughts by then. Comments are fine; sending us emails (to [email protected]) is fine; making suggestions to us when you see us at other shows is also fine. But please tell us what you think.

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