Have you heard of the FnacBook, Telecom Italia eBook or the Thalia Oyo? It is looking like they are all one and the same - a Sagem product called the Binder with a six-inch SiPix capacitive e-paper touchscreen. It also has the standard accelerometer, 2GB of internal flash, a microSD card slot and support for ePub and PDF, but there is one feature that sets it apart from the pack: a cellular modem that will give FnacBook buyers free 3G service a la the Amazon Kindle's Whispernet. French carrier SFR is subsidizing that little venture, so it's not part and parcel of buying into Sagem's device, but if you find yourself holding onto a different rebrand we suppose you'll still have 802.11 b/g WiFi for your Steig Larsson downloads. Fnac's already taking pre-orders at €199 (about $277); devices ship November 10th.
Original post by Sean Hollister and can be found here: http://bit.ly/ce7AdR
Not content to let the Kindle or iPad own the e-book space, Barnes & Noble has just announced its successor to the Nook, the NOOKcolor. The NOOKcolor is, as the name indicates, a color e-book reader and touchscreen tablet. It’s going to retail for $249 and is expected to start shipping on November 19.
The NOOKcolor features a 7-inch backlit IPS display and capacitive touchscreen. It weighs in at just under a pound and comes with 8GB of built-in memory, which can be expanded up to 32GB with a microSD card. It also features a 3.5mm stereo headphone jack and a micro-USB port. It also has built-in 802.11n Wi-Fi.
Barnes & Noble rates battery life of up to eight hours with Wi-Fi turned off. While primarily an e-reader and web browser, the NOOKcolor can also playback audio files and *.MP4 video. It supports EPUB, PDF and TXT files, as well as Microsoft Office file formats.
Like the original Nook, NOOKcolor is built off of Google’s Android OS. It doesn’t look like the device will be able to access the Android Market directly, but Barnes & Noble has announced a NOOKdeveloper program. The NOOKcolor SDK is based on Android 2.1, so if you have an Android app already, porting it to the NOOKcolor shouldn’t be too difficult.
Already Barnes & Noble is touting the inclusion of apps like Pandora and built-in games like chess, Sudoku and crossword puzzles. Undoubtedly seeing the success that children’s books have found on the iPad, the NOOKcolor will also support the new Nook Kids platform.
While the original Nook was mostly a response — albeit with a few extra perks, like 14-day lending — to the original Amazon Kindle, we think it’s safe to say that with the NOOKcolor, Barnes & Noble has really upped the game. It is clear from the featureset that the true target of this device isn’t the new Kindle, but instead the iPad and other tablets.
Ultimately performance will dictate how well the NOOKcolor will stand up to devices like the iPad or Samsung Galaxy Tab, but as it stands right now, the NOOKcolor looks like one of the most impressive e-readers to hit the market this year.
Original post by Christina Warren of Mashable and can be found here: http://on.mash.to/chCv96
We have now come to the end of our republishing program with this blog post. Published in June of this year, this piece discusses how publishers want a universal eBook standard. What do you think? Your comments would be most welcome, and we look forward to hearing from you. Enjoy.
Original publication can be read here: http://bit.ly/cPgssL
NEW YORK (Reuters) — Giants and upstarts of publishing gathered at the annual BookExpo America here last week agreed e-books will transform the business but believe the big change will come when there is a standard format across which all e-books can be published and shared.
The industry has been going through a tumultuous period as Apple and Amazon duke it out for dominance in the nascent market for electronic books.Both want their devices — the iPad and the Kindle — to be the one consumers use to read e-books, and each wants to be the biggest virtual store were such content is sold.
For Michael Serbinis, chief executive of Kobo, a company that allows users to buy e-books and read them on most devices, that battle is a distraction to the real changes coming.
“Today you can buy a book at Barnes and Noble and you can buy a book at Walmart and you don’t have to keep them in separate rooms in your house,” he said. “You buy a book from Apple and Amazon and you have got to keep it tied up with your Apple universe or your Kindle universe.”
Ultimately, consumers want freedom, said David Shanks, chief executive of leading publisher Penguin Group USA.
“Our fondest wish is that all the devices become agnostic so that there isn’t proprietary formats and you can read wherever you want to read,” Shanks told Reuters. “First we have to get a standard that everybody embraces.” The issue, he said, is the fear of piracy and how to set a common digital rights management system to thwart it.
The battle over technology formats is a familiar one. A century ago, Edison and Victor made records that could not be played on each other’s players. There was the Betamax/VHS videotape struggle and more recently Blu-ray beat out HD DVD.
BookExpo showed traditional books are alive and well. There was buzz for the upcoming book from news parody king Jon Stewart and raucous Rolling Stones guitarist Keith Richard’s memoirs as well as a book on home design by Barbra Streisand. And there was evidence of change coming in the age of e-books, although the new format was displayed only in one small corner of the sprawling Javits Center convention halls.
Among the digital companies here were Sideways, which helps authors and publishers transform text into multimedia content, adding video, pictures and features such as Twitter feeds.
Another company, Ripple, allows adults to buy children’s e-books and record their voices reading them. And there were gadgets such as the enTourage eDGe — a twin-screened device which opens like a book to reveal an eReader on one side and a NetBook on the other.
Eileen Gittins of Blurb, which helps authors and companies self-publish, predicts e-books will make up half of all sales in five years. In 2009, the global publishing business, including print and digital, was worth $71 billion, according to PriceWaterhouseCoopers.
“We’re seeing now in book publishing what had happened previously in the music publishing industry. And that is, a massive disruption of the business model,” she told Reuters.
The problem is that the cost of printing is a minor cost of publishing whereas developing work with an author and marketing it consume the lion’s share of costs.
That means, she said, that the book industry will become more like the movie business. “The book publishing industry is becoming more blockbuster focused,” she said.
Susan Petersen Kennedy, president of Penguin Group USA, said publishers will not make the same mistakes as the music industry, which had an epic struggle over electronic distribution and piracy and lost huge market share. “It’s always treated as if the publishers are the Luddites,” she told Reuters in an interview. “The devices have not caught up with the content. Contrary to popular opinion, the book is so far more flexible.”
Serbinis says the industry will see dramatic change. He predicted consolidation among publishers and said tablet computers will be common. He expects readers to eventually be able to lend e-books to each other.
And books won’t just be for bookstores any more as new distribution channels from mobile phone companies to gaming companies join the party, he said. “It won’t only be the bookstores that have gone digital,” he said.
Photo: Men dress as the iPad and Kindle in effort to promote their company that recycles old electronics during the April 3, 2010, release of the iPad at the Apple store on Fifth Avenue.
As mentioned in earlier blogs, there is a process of republishing going on. Here is the last of those blogs. We hope you enjoy it. Thank you.
I was never really a fan of the audio book until I had the opportunity to listen to one. I was with a friend in Canada, and we were driving from Regina to Calgary. The journey between the two cities is seven hours. Now throw in the fact that it was winter and was snowing. Canada has a reputation for its snow. I leave the rest to your imagination. Listening to "The Luckiest Guy in the World" was nothing short of wonderful. Apart from the wintry conditions, the book was a breathe of fresh air. I thoroughly enjoyed the narration. It also made me appreciate the audio book in the sense that some books look like a right handful to read.
However, there is one thing we must not forget, bad narration really does ruin a perfectly good book. Let me give an example (here comes the controversy), Seth Godin is a great public speaker and very interesting to watch in action. For those of you who don't know Seth Godin, he is one of the co-founders of Squidoo, and bestselling author of books such as "Unleashing the Idea Virus" and "All Marketers are Liars". I must complain though that when Seth narrates in one of his books, well, it is not enjoyable. His voice was monotone and frankly boring. Many of you might disagree but why not head on down to Audible.com to download his free audio book "Tribes" and see (hear is what I should say) what I mean. I can also think of some other books such as Adam Khoo's Secrets of Self-Made Millionaires and narrated by Adam could have been better. I am sure Adam would not agree with me just as some of you but hey, you be the judge. Oh, and by the way, Secrets of Self-Made Millionaires is a very interesting book.
Criticism or not, good audio books are still really good value and should be enjoyed. I can only imagine how most of you enjoy your audio books. Maybe you are one of those people who lights up a cigar and listens to one of Arthur Conan Doyle's books or you put the kettle on for a cup of tea while listening to Oscar Wilde, you can not argue that audio books are useful and here to stay.
Post by Olu Oyekanmi. You can follow him on Twitter here: @oluoyekanmi
Here is a blog piece I came upon in April of this year and was published on the old blog: http://blog.nosadigital.com. I thought it only appropriate to republish even though so much has happened in such a short time.
This blog piece comes from the Guardian Newspaper on the 14th of July 2009. The piece written by Sam Jordison is titled "Can a new publisher flourish?" With most publishers battling one another on price and new digital formats, can a new publisher thrive in this jungle? We must also not forget the issue of digital rights management (DRM) when it comes to eBooks. Publishers not ready for these issues will not last long in the market place. Not to mention an unwillingness by customers to pay the same price for an eBook as a print book. Anyway, enjoy the piece; your comments are most welcome.
Last weekend, I drove down the Suffolk coast to Aldeburgh to witness the launch of an increasingly rare phenomenon: the first book of a new publishing house. This new venture is Full Circle Editions, set up by Bloomsbury co-founder and Harry Potter discoverer-in-chief Liz Calder, together with TV producers John and Genevieve Christie and a former editor of the Bookseller, Louis Baum.
The book – called The Burning Of The Books – is also a collaborative effort; between the poet George Szirtes and the artist Ronald King. It's printed on creamy tactile paper, complete with luxurious fold-outs. Genevieve Christie sells it as "wonderful writing in a lovely form" and the prints spread out about the room certainly looked good. The Guernica-influenced pictures, etched in white and black (heavy on the black) have a dark kind of beauty. I wasn't really in a position to judge the poem – a busy room full of noisy, bread-stick munching paragons of the chattering class is no place to form an opinion about such an involved work – but it did have a certain sombre weight and words that would – at the least – be worth more detailed study.
But I was there out of curiosity about the new publishing house as much as the physical product. There's an inherent interest in all these big names getting together – especially now, when publishing is so mired in difficulties: when small presses such as the much-loved Dedalus are lurching from crisis to crisis, bigger houses are announcing job losses every other week and cynical marketers are attempting to stifle the variety and independence of publishing outlets yet further by locking us into dependence on purchasing hubs such as the Kindle – a device with fire-based säuberung embedded in its name and repression in its DRM-infected software.
Setting up a new publishing house in the teeth of recession seems therefore almost like an act of rebellion – especially when the house in question is dedicated to the promotion of the value of books as objects, and whose first release is – significantly – a reworking of Elias Canetti's book-destruction nightmare, Auto Da Fé.
Certainly Liz Calder sounded defiant when I was introduced to her. Full Circle Editions, she said, is emphatically not "profit oriented, market driven or celebrity ridden." Meanwhile, she and her fellow directors want to "produce beautiful books without marketing people telling you that you can't do it." It sounded to me like she was releasing some of the vexations built up at the head of what became one of the biggest commercial publishing operations on planet earth, and she agreed that she was realising a "frustrated ambition".
If you were to look at it cynically, you could describe this publishing operation as something of an indulgence. You might also get that impression from the party's location in sleepy, prosperous, comfortable Aldeburgh: Bloomsbury-on-sea, but without the museums. And it would be all too easy to form a prejudice about the appearance of the crowd gathered for the launch: a dignified selection of prosperous white-haired men with shirts tucked into neatly pressed trousers, and elegant women in the not-too-flowery flowing dresses favoured by the ageing intelligentsia.
Finally, the limited print run and marketing of the books has a taint of hobbyism about it too. But I'd prefer not to be cynical for once. Who, after all, would forbid someone like Liz Calder an indulgence – especially if the net result is an attractive, intellectually provocative book that maintains a sharp edge and dark heart in spite of its cosy origins?
So I found myself warming to the event, even if it did give me a sudden, bleak vision of the possible future of book publishing: one rather like the past we're supposed to have escaped, in which worthwhile paper books are the exclusive play-thing of a well-to-do elite, and, in the place of the church, DRM-wielding gate-keepers control access for the rest of us.
Then again, if the cartoonist Glen Baxter (one of several of Liz Calder's successful protégés who put in an appearance) is to be believed, this launch wasn't entirely unlike the beginning of Bloomsbury – which also began in elitist fashion in the middle of a recession. And we all know how that ended. Perhaps there is some cause for hope here. The irresistible pun will come true and things will come full circle. "This is Liz Calder," Glen Baxter said. "And she'll just keep going and going. She won't stop … "
Sure, you can get out-of-copyright classics like Black Beauty free in the Kindle store, but most newer books are not nearly as cheap in digital form as you probably expected. How can publishers charge almost as much for a handful of bits as they do for paper, ink, glue, printing, warehousing, shipping, shelf space, and everything else that goes into producing meatspace-reading material?
Flame off: Fat-cat book pushers are not to blame. Not entirely.
“People vastly overestimate how much a publisher saves,” says Erik Sherman, an analyst and author who studies eBook economics. Turns out, the physical aspects of book, production can account for as little as 15 percent of the cost of the title. The rest can be divvied up among the author, editor, designer, marketers, publicists, distributors, and resellers. Many fingers dip into that $14.99 money pie before the house takes a slice.
“People would have heart attacks if they knew all the costs associated with digital publishing,” says Maja Thomas, senior vice president of the Hachette Book Group’s digital division. Tacking an e onto a book requires antipiracy software, digital warehousing, extra legal support, and programmers to adapt each title for Android, iPhone, Kindle, and all the other formats. That is on top of the regular costs of turning a manuscript into a finished product.
Nevertheless, do not go hug a HarperCollins exec just yet. “Publishers do price eBooks a little higher than necessary, because they’re concerned about devaluing people’s perception of books,” humour writer Larry Doyle says. “They’re worried that if they sell the digital editions for too little, they’ll have to lower prices for the paper editions as well, which would undercut their main source of revenue.”
Other outlets are already proving they can sell books for less. Apple recently opened the door for authors to sell their work directly to readers through its iBooks store. Apple takes its standard 30 percent cut, leaving an unheard-of 70 percent for the author. (Amazon offers a cut-out-the-middleman option as well but gives as little as 35 percent to the author.) Sure, the quality of the product might suffer, but with a juicy margin like that, it is not hard to imagine well-known writers going rogue.
It is too early to tell whether self-published, digital-only titles will have any effect on the publishing industry. For now, only an estimated 11 million readers choose eBooks anyway. Nevertheless, as more bibliophiles abandon pulp for pads, publishers will have to figure out a pricing scheme that works better for everyone. If they do not, Doyle says, “they’re screwed.”
Original post by Rick Broida and can be found here: http://bit.ly/bCikK9
Yesterday we brought you an old blog post about what plans the publishers might have considering all the changes taking place. We all know that the battle for eReader dominance is only just beginning. We also know that at any time a new battle for eBook standards might break out. One might say that we all agree that there are interesting times ahead. Today we bring another old piece we published in June of this year. With developments like Vook (vook.com), the future of the book will be far more interesting. Enjoy
Take a long hard look at a book, any book. Pull a favorite off a shelf, dust off the top--maybe it's the Bible, the Koran, a novel by Jane Austen or Leo Tolstoy. Perhaps you're more into Dan Brown or Jacqueline Winspear mysteries, Doris Kearns Goodwin biographies, or you've dog-eared page after page in Skinny Bitch. You may even gravitate toward business books like Viral Loop, my latest. Now say your goodbyes, because there will soon be a day that you may view such analog contrivances as museum pieces, bought and sold on eBay as collectibles, or tossed into landfills.
Coming soon ... It's the end of the book as we know it, and you'll be just fine. But it won't be replaced by the e-book, which is, at best, a stopgap measure. Sure, a bevy of companies are releasing e-book readers-there's Amazon's Kindle, Barnes & Noble's Nook, and a half dozen other chunks of not-ready-for-primetime hardware. But technology marches on through predictable patterns of development, with the initial form of a new technology mirroring what came before, until innovation and consumer demand drive it far beyond initial incremental improvements. We are on the verge of re-imagining the book and transforming it something far beyond mere words.
Take note: The first battlefield tanks looked like heavily armored tractors equipped with cannons; early automobiles were called "horseless carriages" for a reason; the first motorcycles were based on bicycles; the first satellite phones were as clunky as your household telephone. A decade ago, when newspapers began serving up stories over the Web, the content mirrored what was offered in the print edition. What the tank, car and newspaper have in common is they blossomed into something far beyond their initial prototypes. In the same way that an engineer wouldn't dream of starting with the raw materials for a carriage to design a rad new sports car today, newspapers won't use paper or ink anymore. Neither will books. But mere text on a screen, the stuff that e-books are made of, won't be enough.
The first movie cameras were used to film theater productions. It took early cinematic geniuses like Sergei Eisenstein, Fritz Lang, Charlie Chaplin and Abel Gance to untether the camera from what was and transform it into what it would become: a new art form. I believe that this dynamic will soon be replayed, except it will star the book in the role of the theater production, with authors acting more like directors and production companies than straight wordsmiths.
Like early filmmakers, some of us will seek new ways to express ourselves through multimedia. Instead of stagnant words on a page we will layer video throughout the text, add photos, hyperlink material, engage social networks of readers who will add their own videos, photos, and wikified information so that these multimedia books become living, breathing, works of art. They will exist on the Web and be ported over to any and all mobil devices that can handle multimedia, laptops, netbooks, and beyond. (Hey, Apple, are you listening?)
For the non-fiction author therein lie possibilities to create the proverbial last word on a subject, a one-stop shop for all the information surrounding a particular subject matter. Imagine a biography of Wiley Post, the one-eyed pilot from the 1930s who was the first to fly around the world. It would not only offer the entire text of a book but newsreel footage from his era, coverage of his most famous flights, radio interviews, schematics of his plane, interactive maps of his journeys, interviews with aviation historians and pilots of today, a virtual tour of his cockpit and description of every gauge and dial, short profiles of other flyers of his time, photos, hyperlinked endnotes and index, links to other resources on the subject.
Social media could be woven into the fabric of the experience--discussion threads and wikis where readers share information, photos, video, and add their own content to Post's story, which would tie them more closely to the book. There's also the potential for additional revenue streams: You could buy MP3s of popular songs from the 1930s, clothes that were the hot thing back then, model airplanes, other printed books, DVDs, journals, and memorabilia.
A visionary author could push the boundaries and re-imagine these books in wholly new ways. A novelist could create whole new realities, a pastiche of video and audio and words and images that could rain down on the user, offering metaphors for artistic expressions. Or they could warp into videogame-like worlds where readers become characters and through the expression of their own free will alter the story to fit. They could come with music soundtracks or be directed or produced by renowned documentarians. They could be collaborations or one-woman projects.
Before you add your comment to the comment thread at the end of this column, or hustle off an email to me to vehemently disagree with my vision, I want to emphasize I'm not predicting the end of immersive reading. I see a future in which immersive reading coexists with other literary, visual and auditory modes of expression. You get the full book--all the words on the page or screen--but you also get so much more. And ask yourself: Which would you rather have, the hardcover book of today or this rich, multimedia treatment of the same title? Suddenly mere words on a page may feel a bit lifeless. And remember that today's youth are tomorrow's book buyers, and they have been brought up on a steady diet of entertainment on demand, with text, photos, and video all available at the click of a mouse. I'm skeptical that simple text will cut it for them.
Now, I realize that many can't imagine life without a good book to curl up with, but these may be the same people who might have thought they'd never forgo the pop and hiss of vinyl records, jettison the typewriter for a laptop, spring for high speed Internet access, or buy a BlackBerry or iPhone. In an earlier age they might have even resisted adopting the Qwerty keyboard (what's wrong with ink and feathered quill anyway?) And sure, there will be some books around. After all, even today there exist vinyl records--just not a lot of them.
As the author of three books, I'm excited by the possibilities. Despite all the doom and gloom surrounding newspapers, magazines, and books, I think all writers should be optimistic. Because where there's chaos, there's opportunity.
Adam L. Penenberg is author of Viral Loop: From Facebook to Twitter, How Today's Smartest Businesses Grow Themselves. A journalism professor at the Arthur L. Carter Journalism Institute at New York University, Penenberg is a contributing writer to Fast Company
And besides, it's inevitable.
Written originally in November of 2009 by Linda Dishman, the question does need to be asked, what now for publishers? I believe the question has not been answered. However, I believe that the question will be answered in a way most of us have not imagined. Here is where you can find the original piece - http://www.fastcompany.com/blog/lydia-dishman/all-your-business/are-ebooks-brave-new-world-profitability-publishers. Do you think things have changed? Let us know your thoughts. Enjoy the piece:
The numbers are in, and eBooks may very well be the bright spot in book publishing's dim future--but only if publishers can figure out a way to keep the momentum going.
EBook sales accounted for $46.5 million as of the end of September, according to the International Digital Publishing Forum (IDPF), but that number only represents trade eBook sales through wholesale channels. Retail numbers may be as much as double these figures due to industry wholesale discounts, says IDPF. It's a drop in the bucket for book sales overall, which amounted to about $1.26 billion for the month of September, according to the Association of American Publishers (AAP).
What's most astonishing, though, is that eBooks have sold like hotcakes without a marketing or sales strategy. Publishers are moving quick to catch up as new digital innovations come to market.
"Everybody's awake now," says Mike Shatzkin, a 40-year industry veteran and founder of the Idea Logical Company, a firm of digital publishing futurists. He lauds larger publishers such as Random House and Hachette for being way ahead in terms of the mechanics of getting eBooks to market. But one of the publishers' biggest problems, he says, is that their selling strategies are built around book formats, and not about the interests of the people reading those books.
Brian O'Leary, founder of Magellan Media, a publishing industry consultancy, agrees that the approach to finding the eBookworms varies from publisher to publisher. For instance, he notes many of Hachette Book Group's titles have had simultaneous print, audio, and e-book versions that are marketed and sold using common campaigns.
HarperStudio's publisher, Bob Miller, acknowledged that their overall strategy so far, is integrated with their print program because many of their eBooks and digital audiobooks have traditional print versions. This from the HarperCollins imprint that rocked the publishing world recently when they announced a 50-50 profit-sharing deal with authors--a departure from the traditional 7% to 15% royalty-- and publishers of the multi-media "Vook" CRUSH IT!
Miller speculates that commercial fiction categories such as thriller, mystery, suspense, romance, and science fiction will continue to sell briskly in digital format. "Readers of these genres will continue to like the convenience and low cost of this format and are less concerned about having the physical book to keep on a shelf," he says.
But O'Leary suggests publishers such as HarperStudio would do well to take a page from the genre publisher's playbook. Though he's not advocating a one-size-fits-all marketing strategy, he notes that Harlequin has enjoyed much success by marketing short-form digital downloads for Nocturnal Bites separately, and recently announced the start of a digital-only imprint.
Indeed, Harlequin Enterprise Ltd.'s Brent Lewis, vice president of digital and Internet for Harlequin Enterprises Ltd., has been leading the strategic charge of Harlequin's digital publishing and marketing programs that now reach over 50 million readers in ebooks and digital audio, as well as on Harlequin's own site, in mobile distribution, and digital-only content.
Lewis' revealed Harlequin's not-so-secret ingredient in an interview with Fast Company last year: their consumers. "At Harlequin we have a very powerful brand that people have been very loyal and engaged to since the business began."
While Harlequin has its finger on the (ahem) throbbing pulse of its readers, it will be interesting to see what strategies evolve at Random House when industry vet and ex-Amazon employee Madeline McIntosh assumes the newly created position of President, Sales, Operations, and Digital on December 1. Her appointment will "unify their physical and digital sales efforts for adult, children's, and international titles, distribution, publishing operations, IT, and corporate digital-publishing capabilities in an interconnected team,"according to a statement from Markus Dohle, Random House chairman and CEO.
They managed to pull out a blockbuster under current leadership. Crain's New York Business reported sales of Dan Brown's The Lost Symbol sold 100,000 e-books its first week out, or about 5% of total sales for the book. September ebook sales at Random House (much of which are presumably The Lost Symbol) pulled in $22.6 million, which is a 700% increase over Kindle sales last year. While every month can't be a Dan Brown blow-out, a good marketing strategy to find and retain loyal readers will help shore up the revenue model.
Right now, Shatzkin says eBooks are more profitable than print because there is no physical inventory, and in many cases the publisher has negotiated lower royalty payments (and other than the aforementioned specific instances, no one seems to have a marketing plan). As such, he believes Amazon, proprietors of the Kindle eReader, is subsidizing publishers for digital editions because the price they are paying up front for a digital edition is the same as for the print version.
O'Leary believes this too, will change. As publishers gain experience and sales grow, the cost of creating them will fall. "In the last year retail prices for e-books have been set lower than their print counterparts. If those lower prices stick, they will leave little room for retailer or publisher profitability under the traditional publishing model," he adds.
Yet Shatzkin wonders whether good marketing strategies and proper branding of digital books won't keep them from being cost prohibitive to the consumer. "There is plenty out there to read that's free. Will the public plunk down $25 for Ted Kennedy's eBook?" he asks, then responds, "I think it will take a while to answer that question."
The recent increase in sales of eBooks might now signal the true arrival of the eBook into our lives. The eBook has been around for some time now but it has had its problems. For one there was not a format the eBook could call its own. Furthermore, there wasn’t the emergence of eBook readers, as we know them to day. Things have changed though in recent years. There still isn’t one standard for the eBook – though some would argue electronic publication (ePUB) is the standard for electronic publications – however, there are several standards still out there competing for your attention.
Perhaps the most significant progress made on behalf of the eBook is the eReader. Amazon Kindle, Barnes & Noble Nook come to mind as well as a host of others. In addition, the emergence of Apple’s iPad, shows the tablet PC is bound to make an impact on furthering sales of eBooks. All these factors have conspired in the sales of the eBook. I am sure you can think several factors I failed to mention. I remind you though that that is not what we want to talk about.
According to the Association of American Publishers (AAP), there has been a huge migration from print to digital books. Some of the figures they have put out show that non-academic eBooks sold some $263 million worth of eBooks compared with $90 million last year. However, hardback books fell some 25% year on year.
To read more see the embedded report (AAP Reports Publisher Book Sales) below:
NosaDigital is an online store that provides electronic and audio books. NosaDigital sells fiction and non-fiction for both book formats. NosaDigital also deals in eBook readers as well as MP3 players, and iPods.
See our latest Tweets in our contacts page