business models

AL
SPECI
Frankfurt Academy Quarterly
eBook Edition
Business
Models
2012 13
1
INDEX
Preface
By Holger Volland
To Our Readers
The Biggest Challenge is Mindset and Culture
Siobhan O’Leary talks to Gus Balbontin
Looking for a New Business Model?
Just Follow the Customer
By Carlo Carrenho
Publush: Crowdfunding with a
Social Conscience
By Siobhan O’Leary
PaperPad: from Publishing
to the Market in 16hs
By Marcelo Klein and Leila Jenkins
From Buying to Lending:
What’s Next for E-Book Libraries?
By Siobhan O’Leary
Dutch Delay App Gives You Stories
Tailored to Your Free Time
By Emile Op de Coul
What Can Trade Publishers Learn from Fanfiction?
By Ana von Veh
Just Great Bookselling: Bilbary’s
Simple Vision, Big Ambition
By Roger Tagholm
Digital Publishing in the Developing World
By Octavio Kulesz
2
The Reinvention of the Bookseller
By Joe Wikert
The Future for Book Discovery
By Jess Johns
Amazon, E-Books and Advertising
By Joe Wikert
Similar Creativity & Low Barriers:
Learning from the Music Industry
By Katharina Ewald
Die Herausforderungen für die Verlage:
Wertschöpfung heute - die Modelle bei protoType
By Harald Henzler
Business Models –Videoimpressions
3
PREFACE
By Holger Volland, VP Media Industries, Frankfurt Book Fair
online bookstore and finally "Pasta do Professor";
Brazil’s answer to the formerly widespread
textbook piracy in universities.
In today’s publishing business startups also play
an important role of new thinking. The young
company "Publush" tries to make some money
from the "slush pile" whilst keeping authors and
readers happy, and contributes to the higher goal
of raising the level of literacy amongst children.
How do they do it? CEO Jesse Potash explains that
for his company, users are rather seen as members
Holger Volland
In order to successfully implement new revenue
strategies, companies need to invest in changing
many internal processes; sometimes even look for
new personnel. This might sound obvious but can
be a tough job if every single aspect of the
publishing value chain needs be touched.
Australian travel publisher Lonely planet (LP)
employs a full team to lead a very complex crossbusiness transformation initiative with significant
operational restructuration (and ideally a
minimum disruption of the business). Gus
Balbontin from LP tells us how publishers can
control a successful change process by thinking
outside the box.
The ability to constantly adapt yourself to changes
is probably one of the most underestimated and
yet most important skills for today’s media
managers to have. A restless life can be good
training for that. Take Brazilian publishing
entrepreneur Bruno De Carli: after a career in
engineering, followed by becoming an
advertisement professional, he then developed an
of the team than as customers. The business
model behind this success story has only been
made possible by the full digitalization of the
value chain. Probably the biggest driver for new
ideas in the publishing business at the moment.
This is also the reason for startups being so much
more agile than most established companies: They
can develop all processes 100% digitally from
scratch making them less resource intensive.
"Skoobe" is one example in a series of
technology-driven startups. The company offers
reading experiences on a temporary basis (some
would call it rental) and charges 9,99 € per month
for this service. "Delay App" is another example.
The business is only app-based and started as a
paid collection of quick reads for those many
moments in our lives when we have to wait
around or ‘make time’. But it soon after became
apparent that it might be more profitable to offer
the content for free and charge publishers instead
for using the app as a promotional tool.
New business models are often enabled by but not
necessarily limited to digital. Publisher Anna von
4
Veh shows in her contribution how Fanfiction can
digital distribution platforms at their hand, they
offer an alternative publishing model for
no longer allow amazon to be the autocrat in
community engagement, even if it seems
digital trade. And to make it even better, the
paradoxical to mix the roles of fans and authors.
contender is one of UK's most respected book
But can you make money with it? Sure you can.
personalities; Tim Coates. Read Roger Tagholms
Just rethink the idea of what a publication is or
great Story on how Coates is reinventing the book
who sets the price.
selling business with a simple and convincing
vision.
A different point of view is also suggested by
Do you know how to take full advantage of the
Octavio Kulesz, who showed a truly global
three new waves of book discovery? The short and
approach in his study about publishing in
concentrated burst of marketing support has a very
developing countries. But "developing" takes up a
narrow window to begin with, followed by a
completely new connotation as Kulesz uses it to
second wave of word-of-mouth support, and a
allege that instead of who the future Apple of
third wave of persistent discovery only for those
China will be, we might soon be asking ourselves
books and authors who managed to build enough
who the new Shanda of the US will be.
equity. But what are the criteria for readers to buy
a book and how can data help to set the perfect
Most booksellers did not seem too keen to
timing? Find the answers in our interview with
embrace the digital business at first. But that is
Peter Hildick Smith about The future for book
rapidly changing. With a myriad of services and
discovery.
5
Dear Reader,
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StoryDrive Conference Frankfurt, 11-12 October 2012
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Tools of Change for Publishing (TOC) Frankfurt returns for a fourth year gathering the best and brightest in our
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International publishing experts will discuss digital and new business experiments and global e-publishing
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Discover new worlds: Publishing meets merchandising, 12 October 2012
From books to t-shirts, characters to stuffed animals – and vice versa. In the intensive three-hour
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Did you know that as a reader of Frankfurt Academy Quarterly you are entitled to a 10% discount off Frankfurt
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6
THE BIGGEST CHALLENGE IS
MINDSET AND CULTURE
Interview with Gus Balbontin, Director of Transformation, Lonely
Planet
By Siobhan O’Leary, literary agent, translator and writer based in Berlin
Gus Balbontin is a strategy and innovation expert. He
specializes in leading complex cross-business
transformation initiatives that require significant
operational restructuring with minimum disruption to
the business. He has a knack for incubating and
integrating new products, market opportunities,
platforms and technologies into existing businesses.
Gus is playing a lead role in Lonely Planet’s
transformation from print publisher to multi-format
publisher.
Gus Balbontin @ TOC Latin America
Q: How important is it to think and work
while they are on the road and when they come
internationally when publishing multimedia
back, so for us to be global, collaborative and so
and multi-format products, not just in terms of
on, is critical.
licensing, but also in terms of co-production,
collaborations, etc.?
Q: In your opinion, what has changed the most
about the process of publishing travel guides in
These days it’s easier to think and work
recent years?
internationally. Publishing an e-book in various
territories, for example, is as simple as uploading
We have enjoyed a few decades of publishing
it and ticking a few boxes, while in the past you
improvements driven mainly by efficiency and
needed people in each territory with relationships
effectiveness (better layout tools, better writing
that sometimes took years to build. Your question
tools, better transport, better stock management,
was how important it is. Well, this depends on
etc). We are now entering a world of change
what type of publisher you are, where are your
driven by customers accessing and using content
customers, etc. It isn’t important for everyone.
in different ways. This latest shift is much more
Lonely Planet has its customers spread all over the
fundamental and comes from advancements in
world. They need solutions to problems they face
telecommunications, the internet, devices such as
before taking off,
phones and tablets, and so on.
7
Q: How has the publisher-author relationship
places that you may have missed before. But the
changed, if at all?
way people travel is more impacted by wars,
economic changes, etc., than by the actual travel
The information a traveler needs to solve his or her
guide itself.
problems remains relatively unchanged. How a
publisher gets this information – who they get it
Q: How do you envision the future of
from and how they get it – is certainly changing.
multimedia publishing, particularly in the
For example, do you contract an author to write a
travel category?
book, or to write about a place that may end up
on a website, an app and an e-book? Do you get
There will be a huge shift once the cost of roaming
all the information from an author or use some
on phones and tablets decreases and more
UGC [user generated content]? As a publisher, do
travelers start consuming their travel content live,
you stand between authors and travelers (the
on phones, tablets, laptops and books! Travelers
readers), or do you become a platform to enable a
will be able to combine great, rich content from a
direct relationship?
variety of providers to solve their problems
seamlessly.
Q: You are responsible for managing
innovation and change at Lonely Planet. Can
Q: Do you look to other models in publishing or
you name some of the biggest hurdles you face
other creative industries for inspiration?
in the transition to multimedia and multi-
Where do you learn about the latest trends in
format products? Do some of the challenges
publishing and beyond?
relate to the cost of producing such products
and the price customers expect to pay for
Yes, all the time. My RSS feed is built with tech
them?
updates, media related news, financial news, and
more. I look at the gaming industry, music, TV and
The biggest challenge is mindset and culture. The
even car manufacturing for clues and inspiration.
rest is no different than any of the puzzles
businesses solve regularly, i.e. cost, margins,
Q: Do your primary competitors come from the
profits, etc. Is it true that in the publishing
traditional publishing industry or other
industry we’re all a little out of sync with the
industries?
market (i.e. the cost of making something vs. the
price people are prepared to pay)? Yes, but again,
Primary competitors still come from the traditional
these are puzzles businesses are relatively good at
publishing industry… still… but not for much
solving. On the other hand, changing mindsets
longer.
and the culture of a place is much harder.
Q: How are multimedia travel guides changing
the way we travel?
They aren’t yet, really. Some of the more social
guides like Wenzani will be able to get you to
8
Q: What distinguishes Lonely Planet from
foreign publishers in the travel field, like
Q: If you had to compare Lonely Planet’s, or the
MairDumont, or from others in your domestic
overall industry’s level of multimedia
travel guide scene?
publishing development to a human growth
stage, would you say we’re in the baby phase,
The main difference between us and the rest is
or the terrible twos; are we toddlers, teenagers,
that we are independent (we take no commissions
or adults?
for adding information to our guides), and we
know because we go (we still send authors every
Baby phase… definitely.
two years to survey the world). MairDumont are
our foreign partners in Germany. They translate
and publish our guides for the German market.
This article was originally published in “FAQ Magazine” 03/ 2012.
9
LOOKING FOR A NEW
BUSINESS MODEL? JUST
FOLLOW THE CUSTOMER
By Paulo Carrenho, PublishNews
In earlier days, Brazilian students photocopied
Talking to many college students revealed that the
the books they needed as the only alternative to
main “drivers” that were always behind their
purchasing them. That’s until a new service called
visits to the copy shops was stated as “only what I
Pasta do Professor offered a legal alternative to
need”, “only when I need” and, of course, “for a
book piracy –with a huge success.
reasonable and better price”. Or in just a single
Pasta do Professor has been on the road for over 6
word: “cheap”.
years already and sometimes it is good to stop for
Most publishers always tell me “price” is the ONLY
a little while to look back and evaluate what has
reason for so many illegal copies but I decided to
been done since the beginning. I am frequently
take a deeper look: I believe “price” can be
asked about how we reached to where Pasta do
explained as the result of “only this”. In other
Professor is today and my answer has been very
words, “only what I need” means “I can buy less”.
simple: we have just followed the customer.
And “buying less”, of course, means “less money”
In fact, we haven’t invented any new concept but
(price). And even more and most importantly:
rather just put certain concepts that were already
Brazilian professors don’t normally use the entire
known in the publishing industry together in a
content of the adopted textbooks. And to make it
different way.
worse: they are asked to consider more than one
Pasta do Professor is based on two main concepts:
author, using chapters by diversified authors,
“custom publishing” and “on demand printing”.
what is believed to give the student the possibility
These concepts were already known in 2006 when
of a broader view in any subject, and is also a
I started developing our first business model; but
reason for students to look for the cheapest way to
who helped me the most was in fact our main
get purely what they need, instead of buying
customer: the college student. We started off
entire books.
because we were looking for alternatives to offer
in that specific market, in which way fighting the
The same can be said for “only when I need it”:
illegal photocopying of university textbooks. This
the entire content is normally used throughout a 4
has been and remains a main and very important
to 6 month period. If students buy books as they
issue for all textbook publishers in Brazil,
are sold by the publishers in bookshops, the value
representing a market at least 2 or 3 times bigger
of the whole book has to be paid at once and the
than regular sales.
entire content (including what will not be used)
has to be carried around throughout the whole
period. What the student was trying to tell us was
10
that buying the content in many parts reduced the
their content into chapters; though this had kind
amount paid per purchase (once again the
of been going on at copy shops for years, most of
perception of “price”) and also allowed him to
them were simply unaware of it or had unnoticed
carry less weight on the daily basis.
it. On the publishers side the biggest challenge
So, my conclusion after hearing what the customer
was related to technology: how could we assure
had to say was that “price” is unsurprisingly quite
we would not simply be giving away the content
important, but could possibly be handled in a
in PDF files? It took us a lot of technological
smarter way if our focus was changed to the
development but in the end all of them found it
“reasons behind” the price itself.
comfortable to send their files to our servers.
To get even closer to our customer, we discussed in
Later on, whilst on the road trying to take the
length about what the name of the project should
project to more and more universities, we realized
be. We had discussions among the publishers,
a different business model was needed, so we re-
where the better ranked ones proposed names
formatted again trying to adjust to our different
always somewhat related to the word “library”.
customers’ real needs. Our first model was a B2C
We weren’t able to reach a consensus on any of
model, but depended on the engagement on
the proposals; but suddenly a bright idea came
universities’ behalf to adapt the bibliography of
up: why not adopt the name of the “system” that
their different courses to the content available on
had already been “running” in photocopy shops
our servers.
all over Brazil for so many years: “Pasta do
Professor”. “Pasta” is the Portuguese word for
The new challenge was to adapt what we had
“Folder” and “Pasta do Professor” means a plastic
(“textbook contents split into chapters” and
folder, with a tag on it, identifying the discipline
“print-on-demand availability”) to a new B2B
and the professor’s name. Inside each of these
business model.
plastic folders were photocopies of chapters from
One of the leading private universities decided to
different books suggested by each professor
enlarge its proposal, offering all its students not
(though ironically, most of such copies were taken
only the same its competitors were offering
from the evaluation copies professors ask from the
(classes, professors, tests, pedagogic model, etc),
publishers and get in most cases for free). So, for
but also all the necessary content for free; printed
students, “Pasta do Professor” means the same as
and delivered to their home addresses in the form
“bibliography”.
of brochures. The proposal in fact took effect but
their next challenge became “how can we get all
And so, just by understanding the customer, Pasta
these different academic contents in a single
do Professor was born, offering students a legal
place, not having to engage in discussions and
alternative to get “legal copies” only of the
negotiations with all the publishers that supply in
desired chapters chosen by their professors,
so many different knowledge areas?” (Many
printed in loose sheets and stapled on the corner;
universities in Brazil have been producing their
exactly what they had before, but in this way
own content for some of their courses, even
paying also for authors’ copyrights. It looks simple
though they know the quality of such content is
but I can confirm “simple” fits only to the involved
very poor compared to bestselling textbooks
concepts. A lot of work had to be done in order to
available in the market). The fore mentioned
convince publishers and authors to accept splitting
university was then told about Pasta do Professor
11
and in mid-2009 after 6 months of hard work, we
We’ve been on the road one year already
began to deliver content for 6,000 students. Right
with this specific business model but are fully
now the project has already reached more than
aware that technology itself won’t be enough for
170,000 students, each of them with specific needs
the customer. I am sure the customer is expecting
between over 1,000 different titles from the 1,300
much more than “text scalability”, “zoom”,
different disciplines. Since the first group of 6,000
“portability”, “text search capabilities” and other
students, we have delivered more than
features normally linked to tablets as we know
475,000,000 pages (the equivalent of 1,200,000
them right now.
academic books) to a market which wasn’t
Rather than looking for a different business
normally a textbook buyer.
model, it seems that publishers and I will have to
Right now our challenge is to find the business
re-invent the way in which knowledge is brought
model that will better fit the new electronic
to our customers. I can assure we will continue to
media. Our same main B2B customer has started a
observe them closely and try to fulfill their needs.
new form of delivery; using tablets with content
for the 70 imprints held in Pasta do Professor’s
servers.
12
PUBLUSH: CROWDFUNDING
WITH A SOCIAL CONSCIENCE
By Siobhan O’Leary, literary agent, translator and writer based in Berlin
How can you make money from the “slush pile”? And, at the same time, keep readers and authors happy,
while contributing to a great cause? Pubslush tries to make the seemingly impossible a reality –on a global
scale.
Jesse Potash is the founder and CEO of Pubslush, a crowdsourced
publishing platform exclusively for authors to raise funds and build an
audience for new book ideas. Jesse hails from a financial services
background but has also worked across a wide array of industries, including
publishing, fashion and advertising.
He was recently named by mediabistro as one of its “5 eBook Publishing
Experts to Watch”. He also serves on the board of directors for the Pubslush
Foundation, which is committed to supporting children’s literacy initiatives
worldwide. He is a native New Yorker, a yogi, a boxer and an avid traveler.
Pubslush is still in its beta phase, having started
we work with in our literacy programmes,” says
in 2011. It operates an independent publishing
Potash. The objective, he adds, is to harness the
imprint, Pubslush Press, that acquires books from
power of digital reading technology to reach some
the online platform, and for every book sold it
of the nearly one billion people in the world who
donates a book to a child in need. There’s certainly
are illiterate and the more than a hundred million
no shortage of crowd- funding platforms out
children who don’t have access to books.
there, but the Pubslush model evolved from the
team’s discussions with authors, when they
realised there wasn’t a platform available that
actually catered for their specific needs.
Kickstarter, perhaps the best known crowdfunding
platform, recently revealed that less than 32% of
its publishing projects actually get funded.
Pubslush works as a hybrid, for-profit and nonprofit enterprise. “Our goal in operating in this
fashion is to create a sustainable brand of nonprofit that purposefully involves the consumer,”
Potash added. In fact, Potash doesn’t think of
Pubslush users (“slushers”, as they’re called) as
customers. “They are part of our team,” he says.
The firm’s philanthropic focus started when Jesse
“They are the ones who are actually making the
and his partner Hellen visited an orphanage in
industry more democratic and philanthropic.” The
Kenya, at around the time the company was
Pubslush model also guarantees a certain level of
launched. The orphanage became the company’s
transparency in terms of what readers want and
first charity partner. “There’s no question that the
what they are willing to pay for it.
main motivation behind Pubslush is the children
13
The role of technology and social media
Pubslush is powered by technology. “While we strive
to keep the books on our site to high standards, those
standards are primarily technical (formatting, grammar, spelling, etc.). We’ve passed on the job of judging
con- tent directly to the readers,” explains Potash. Digital publishing has certainly led to an explosion of
content, but it also opens the door for readers to choose what they actually want to read.
“Our concept is based on social networking,” he adds. “Authors submit their book to our site, and while
we
have established a core constituency, successful authors always harness social media to their own advantage.”
Authors work to raise funds and build momentum for their books, usually starting with their own social
network. As a book gains traction, it trends higher and becomes more visible to slushers. Social media has
already enabled readers and authors to communicate directly with each other. But Potash notes that Pubslush
is taking this a step further, “by enhancing that connection with the ability to raise funds and actually
understand the analytics of social media interactions in an actionable way.”
Global reach for crowdsourced authors
Pubslush plans to launch in several additional languages in the coming months. “My dream for five years is
that we will have books from literally every country in the world on our site,” says Potash. In addition, the
company handles rights and licensing for titles published by its imprint, Pubslush Press. “Our publishing
imprint operates uniquely, in that we actually build a freelance, project-based team around each book... One
of the members of this team is a rights specialist who looks after these transactions.” One of the most
interesting changes he’s seen in rights and licensing is that authors are now taking an increasingly proactive
role – a sign that traditional publishers often fail to meet the changing expectations of their authors. “When
we acquire books,” he says, “we don’t just think of them as books, but as content that must translate across
entertainment mediums and languages.” Although the company performs almost all its operations in house, it
is about to announce a new “trusted partner network” – a group of affiliate companies that provide services
that can greatly benefit their authors.
Potash’s greatest wish is to take Pubslush’s literacy programmes to the next level. “It is my personal goal that
the phrase ‘children without access to literature’ will be a phrase of the past, and that every child will have
access to an e-Reader (and ideally have their own), essentially giving them not only a library’s worth of
books, but also the tools (text-to-speech, dictionary, built-in light, etc.) to learn and empower themselves to
build a fantastic life.”
This article was originally published in “FAQ Magazine” 04/2012.
www.2erpack.com
STORYDRIVE
LICENCE
TO
TELL
11–14 OCT 2012
Tell your story across all channels! The all-media platform Frankfurt
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business of the future and a meeting place for anyone who wants to
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Frankfurt StoryDrive – Maximise your story, maximise your business.
www.storydrivefrankfurt.com
15
PAPERPAD:
FROM PUBLISHING TO THE
MARKET IN 16HS
By Marcelo Klein, Marketing Manager at Pigmalion Studios and Leila Jenkins, TOC Latin America
In response to the growing need for quickly
adapting to changes in the world of publishing,
and as a result of the dreams of visionary
engineers who believed they could change the
world by bringing their ideas to life, Pigmalion
Studios was born. And their plan is exactly that: to
generate ideas to change people’s ways of
working, playing and communicating,
Marcelo Klein, lets us in on how this idyllic system
works…
The innovative proposal suggests selling your
content through your own application rather than
making it available on known virtual stores where
it would compete with an endless list of others’
titles and become less discoverable.
In this way users may effortlessly and rapidly find
As avid readers and tech fans, Pigmalion Studios’
your products all at the same spot, and purchase
founders realized that carrying piles of books
them with a credit card within seconds whenever
around whilst traveling was quite inconvenient, so
wanted.
they decided to buy an iPad. But the device was
lacking a good reading application which would
let them make the most out of all of iPad’s
capabilities.
And you can make it all work in three simple
steps: convert your content to PDF format; upload
the file(s) to your content management system,
and get yourself selling away all over the world in
Being the techies they are, they then came up
no time, waving goodbye to distribution costs. It
with a self-publishing, multi-compatible product;
takes 2 weeks to publish the app, and content
PaperPad. An easy and fast way to sell and
from 12 to 16 hours from publishing to availability.
distribute your publications on tablets and mobile
devices. Pigmalion Studios’ marketing manager,
Just deal with your content and leave the tech bits
to Pigmalion Studios.
16
Your application, customized with your logo,
View and manage your sales report, product prices
branding and colours, will be available to
and catalogue from Pigmalion’s web-based
download at most leading virtual stores such as
platform, which stores your content; creates and
Apple’s AppStore or Google Play, and will be
maintains your application; deals with payments,
compatible with all iPad, Android, Google devices;
and deposits your earnings into your account
and even through the web in the future. And your
monthly. And rather than charging you for the
books, magazines or newspapers will be
service of providing the application and making it
purchasable from within the app. All protected
widely available.
under Pigmalion’s own DRM.
Sounds good so far? How about this; don’t think of
engage your readers with social sharing on major
this concept as selling your content through an
social networks like Facebook or Twitter; be it
app; think of it rather as selling yourself as a
pages or news they’d like most. Advertise yourself
brand including everything you have to offer. Add
on social media monsters and spread the word.
anything from a photo gallery, to videos, or your
bio… add new titles; re-sell your old ones reviving
You need not special equipment, or millionaire
them in digi-format… include free digests of your
budgets; but purely the conviction and the want to
publications for users to look at before they decide
do so.
to purchase the full versions… offer users the
possibility to subscribe to your issues when
To stay ahead, be ahead. The future is
suitable, for periods of 6 months, 1 year, or the
applications. Overcome paper boundaries.
timeframe of your choice… and what’s more;
Welcome to the digital era.
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New York New Delhi
Casablanca São Paulo
Beijing Buenos Aires
Frankfurt Academy
With its range of conferences, workshops, and
seminars, the Frankfurt Academy offers guidance
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From 10 – 14 October 2012, the Frankfurt Book Fair will be
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Tools of Change for Publishing – TOC Frankfurt (9 October 2012)
International Rights Directors Meeting RDM (9 October 2012)
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19
FROM BUYING TO LENDING:
WHAT’S NEXT FOR E-BOOK
LIBRARIES?
“Use it, don‘t own it!” –under this slogan borrowed from the
‘collaborative economy’ a number of lending models have recently
emerged for eBooks. Skoobe is the latest in a series of technology
start-ups that offer digital reading experiences on a temporary
basis.
By Siobhan O’Leary, literary agent, translator and writer based in Berlin.
Christian Damke is the managing director of Skoobe.
After completing his studies in economics at Brunel
University and earning an MBA at the IESE Business School,
he got his start at Bertelsmann in 2005. Starting in 2006, he
supervised the digitisation of books as director of business
development for Verlagsgruppe Random House.
He is responsible for cooperation with publishers, marketing
and finance.
Christian Damke, CEO of Skoobe
In mid-June, Penguin and 3M announced a deal
to be avid e-book buyers.
with the New York and Brooklyn Public Libraries to
Launched in February 2012, the German mobile eBook
make Penguin’s e-book catalogue available for
library Skoobe is betting on eBook lending as a
lending. Amazon recently signed an exclusive license
viable commercial model. Skoobe is the brainchild of
with Pottermore to make all seven Harry Potter
Verlagsgruppe Random House, Holtzbrinck and
eBooks available for free through the Kindle Owners’
arvato. It offers readers a new form of access to the
Lending Library. Bilbary.com launched its US
world of electronic books –one that raises interesting
bookstore and library in March and its UK platform
questions about the meaning of ownership in the
this month, with more languages and territories on
age of digital reading.
the way. eBook lending is certainly a hot topic in the
US and beyond, although according to a poll by the
As managing director Christian Damke explains,
Pew Internet and American Life project, 58% of
“Readers do not buy single titles, but become
library patrons don’t know they can borrow e-books
members of an ever growing mobile library. They can
from their library and only 2% of people aged 16 or
borrow titles... and read them immediately on their
older in the US have ever borrowed an e-book. The
smartphones or tablets.” Skoobe has a limited
same study showed that e-book borrowers also tend
introductory offer that allows its first 10,000 readers
20
to borrow any number of new books each month for
The Skoobe app is currently one of the highest
9.99 euros a month, until 1st March 2013. Readers
ranked book apps in the Apple store (with 4.5 stars)
may keep up to five borrowed books in their
and can be installed on an iPhone, iPad or iPod
personal libraries at any one time. When the
touch using iOS 4 or later. It will be available for
introductory offer ends, members will be allowed to
Android devices later this year. Another goal is to
borrow two books per month for the subscription
encourage price- conscious readers to use their
fee. Publishers get an undisclosed share of revenues
smartphones or tablets to read eBooks, maybe even
based on how many times each of their books is
in combination with the printed versions at home. To
borrowed. “In developing Skoobe,” says Damke, “we
date, high prices have been a major deterrent for
have tried to understand the special needs of eBook
potential eBook readers in Germany.
readers better. Now, browsing, reading and
Although Skoobe does have a strong publishing
organising one’s own library, and the possibility of
connection, given its founding companies, it is still a
using the books on up to three devices, all offer a
very new player in the market. According to Damke,
rewarding reading experience.”
it is an ongoing challenge to raise awareness for the
brand through marketing, press and social media.
Skoobe currently works with nearly 100 publishers
“We have a very active community on Facebook, and
and it adds new titles and imprints every week (all in
we use Twitter and other social media channels to
German at present). “We are [also] in discussions
talk with our potential customers.” They even invite
with many international publishers and intend to
their customers to visit the Skoobe offices in Munich,
intensify our talks at the Frankfurt Book Fair 2012,”
and they actively request feedback. “More than
says Damke.
anything else,” says Damke, “our customers value
the ease of use, as well as the simplicity with which
eBooks still represent a very small slice of overall
they can access a great catalogue. The willingness to
book sales in Germany - around 1%, as a recent
pay depends on the size of the catalogue and the
study by the German Publishers and Booksellers
type of reader.” Skoobe is, above all, a technology
Association revealed. But Skoobe views itself as a
company that aims to meet the changing demands
way of attracting customers who wouldn’t otherwise
readers make of the eBook market, while offering a
have purchased books for their mobile devices, and
rewarding reading experience.
it hopes to have a positive effect on the industry as a
whole by making it easier for people to discover
This article was originally published in “FAQ Magazine”
titles. “Our goal is to help people find new books
04/2012.
and e-books using smartphones and tablets, by
offering a very simple, free app which provides
immediate access to book extracts,” explains Damke.
21
DUTCH DELAY APP GIVES YOU
STORIES TAILORED TO YOUR
FREE TIME
By Emile Op de Coul, Rights & New Business Manager at Querido, Nijgh & Van Ditmar and Athenaeum
publishers.
AMSTERDAM: The omnipresence of smartphones and tablets has led three Dutch literary publishers, Querido,
Nijgh & Van Ditmar, Athenaeum, to create an app for reading on the go. The first idea was to do something
with the lost time when waiting for a bus or train that is running late. A lot of people turn to their
smartphone in those situations, checking the news, the weather forecast or even worse, their email.
As an alternative, the Delay App offers stories and
The Delay App was published as a digital collection of
novel-excerpts tailored to your ‘delay:’ as a reader
stories, selected on reading length and not as a
you can choose between stories that take you 5, 10,
reissue of a previous collection in print. The
15, 20, etc. minutes to read. Stories and books in the
publishers chose a paid model, selling the app for
app vary from classic to modern, written by both
€2.99 and €0.79 at the time of introduction. The
Dutch and international authors, such as Arnon
price was much lower than most e-books of that
Grunberg, Anna Enquist, Roddy Doyle, Franz Kafka,
volume (the Delay App contains over 300 pages of
Elia Bárcelo and many others.
literature), but was in line with other book apps in
It’s different than having an e-reader or tablet with
the Apple App Store.
your own collection of e-books on it, since the app
offers a (surprise) collection of stories from authors
that you do and don’t know, enabling you to
discover forgotten classics, rising new authors or the
first two chapters from a bestselling writer. I suppose
the quote from a Dutch newspaper says it best: “If
your train or bus is late, your mobile phone
transforms into a book.”
Consequently, we the publishers offer a royalty of the
income made through Apple to the authors whose
books or stories are featured in the app. Some might
argue that the app is also a promotional tool and
that this could be an argument not to pay royalties,
but as long as we are offering it as a paid app, the
22
publishers feel they should pay royalties just the
It then took just one experiment to convince the
same as you do when publishing an e-book.
publishers that the freemium model was the right
way forward. After offering the Delay App for free
Publishers abroad recognized the potential and have
during a single day resulted in 10,000 downloads in
bought licenses to publish the app in their language.
24 hours!
German and Swedish editions of the app have
already been released by Kiepenheuer & Witsch
Obviously, a free app will mean reaching a much
(German) and Bonnier (Swedish). Both companies
larger reading audience. The concept is the same or
have initially chosen to use the paid-for app as a
even better, as the content in a free edition will be
model, with the Swedish version, Dötid, reaching #1
refreshed regularly instead of having to pay for a
of all paid book apps in Sweden. We’re also
new set of content. In a larger context, the app
confident that more publishers will follow.
changes from a form of ‘new’ publishing into a tool
for marketing and sales, since a free app will mainly
The creators of the Delay App have learned an
be –apart from being a nice service to the mobile
important lesson from their pioneering year as well.
reader– a promotional tool for selling e-books.
Even though the number of 10,000 paid downloads
in a year is nice enough for a collection of stories
The first year has proven that the concept is
that is also a promotional tool -and one that vied
appreciated by almost everyone who tries it out and
with Angry Birds for the top spot in the Dutch app
that there’s a huge potential of readers who will use
store during its first week of release- the revenue
it so long that it’s free and offers updated content.
was always going to be modest, especially at the low
price of €2.99 and €0.79.
We believe it’s a very versatile app that can be filled
with new stories and novel-excerpts by publishers,
no matter the language.
This article was originally published at www.publishingperspectives.com .
23
WHAT CAN TRADE
PUBLISHERS LEARN FROM
FANFICTION?
By Anna von Veh, co-founder, Say Books
Fanfiction has current notoriety in the publishing world because of the almost outrageous success of the
Fifty Shades series. The first book was allegedly based largely on erotic Twilight fanfiction that the author had
written. I’m not going to discuss the merits or otherwise of the book itself, but it raises the point (so to speak)
of issues that are becoming ever more pertinent in the digital world, and boundaries that once seemed
clearly defined are becoming increasingly blurred.
Nathan Fillion poses as fiction writer Rick Castle
I am a fan of ABC’s TV show Castle and tweet about
the show using a ‘Castley’ pseudonym. I ‘fangirl’
might not have read otherwise, if they read books at
all.
with the best of them (English majors, doctors,
teachers, film/media people, teenagers, and of
It is all very meta. On the one hand, there are the
course, Fireflyfans). What has become increasingly
very successful, high profile, official tie-in ‘Nikki
interesting to me as I’ve watched the show and
Heat’ novels by ‘Richard Castle’ complete with a
followed fans on Twitter over the past year or two is
cover photo of Nathan Fillion as Richard Castle,
the way the show crosses the usual boundaries of
published by Hyperion. On the other hand, there is
fandoms, age groups, media types and genres, with
‘fanfic’, fan-written fiction that flies under the radar
reading being central to it all.
and lives on the web. As I became engrossed in the
show last year, I kept seeing references to ‘fanfic’ on
...and, since it's TV, he has the hottest fans.
my Castle Twitter timeline and decided to take a
look. Expecting the worst (and believe me, the worst
Much has been written about the dearth and death
is there too), I was delighted to find not only ‘OK’
of reading, and I became fascinated with how a
writers, but truly excellent writers, such as the
show about a crime writer and his muse seemed to
fabulous ‘chezchuckles’ (it took me a while to get the
be encouraging the show’s fans, and many younger
Edith Wharton reference).
fans, to read long-form narrative, a form some
24
Fanfiction sits at the margins of mainstream creative
In many ways, Fanfiction is, and has been for many
endeavour, and interrogates established views of
years, ahead of its time in terms of its embrace of
what it means to be a writer; the meaning of
the possibilities and potential of digital technology,
intellectual property, creativity, originality,
of community and niche interests, its very
‘ownership;’ and traditional boundaries surrounding
questioning of established domains of knowledge
these concepts, as well as the whole vexed issue of
and ‘right/s,’ and its acknowledgement of the role
international rights. As a publishing person and
reading plays in writing. As Saul Bellow said, “A
daughter of an artist, I have an uneasy relationship
writer is a reader moved to emulation.” The leaching
with how Fanfiction steps on these well-established
of boundaries described above is exemplified by the
fences, particularly with regards to the Fanfiction
infinite trail of hyperlinks on the web (Derrida
based on novels, rather than TV or films. (The latter
anyone?). It is therefore apt that Fanfiction should
seems more ‘legitimate,’ but that might just be
exist online, and make use of the technology that
justification for my own interest.)
allows deferment of meaning and certainty; a
metaphorical and literal leaking of content from the
container (c.f. Brian O’Leary’s ‘Context First,
Revisited’).
Fanfiction as an alternate publishing model
Fanfiction as digital Text also embodies a paradox:
reader recommendations, both on the Fanfiction
it harks back to the days of Dickens in the way it is
sites and on social media. Once a year or so, readers
written and ‘published,’ and it shows a potential
vote on the best Fanfiction in a number of
path for mainstream trade digital publishing.
categories, and there are curated lists of
recommendations too. And disclaimers are included
The longer fanfics are serialised, with the popular
at the beginning of each chapter, with many being
ones being updated every day or so. Many chapters
very entertaining.
end on true cliff-hangers; and readers are included
in the writing process. Writers include disclaimers
about copyright ownership and many write author
notes at the beginning and end of each chapter
(many of which are very entertaining in themselves).
The writers invite their readers to review each
chapter and sometimes even to suggest pointers for
the narrative arc. ‘Beta’ readers, who qualify for the
role by being experienced Fanfiction writers
themselves, edit the chapters before they are posted.
An incredible community is built around the stories,
and Tumblr and Twitter are alive with cross blogging,
reviews, and accolades for favourite writers. The
popularity of individual stories or writers largely
depends on discovery provided by the web through
And the fans read and read.
Fanfiction shows that the web need not be just a
technology for making or distributing books (e-books
and print), or for social marketing, but a home,
distribution and communication technology for longform narrative content itself. Fanfiction and its fans
take the web seriously; it is the default mode, not an
afterthought. The online platform means that
readers can be based anywhere in the world and are
defined by their interest in the particular fandom
and genre, rather than by their own geographical or
political location. Might is not right in this
environment. The idea that someone might limit the
25
right to read a fanfiction to a particular region or
day about the latest chapter is also a way of
country would be regarded as ludicrous and
marketing the book beyond the subscribers
tantamount to abusive behaviour towards readers.
themselves.
There is a lesson here too for publishers.
So as well as being a serious fan of Castle and its
In publishing today, we can no longer rely on selling
Fanfiction, the ‘mechanics’ of Fanfiction interests me
individual products that may or may not succeed.
as it meshes with my interest in web technology and
Fanfiction suggests another way: a model based on
digital publishing. And of course, I love good writing.
the web, based on the ideals/ideas of community,
After having read a few stories by ‘chezchuckles’ last
which encourages readers to interact with authors,
year, I wrote to her to ask if she had written any of
editors, designers, perhaps where they can
her own material, and it turns out that Laura
contribute photographs and advertise wares (if
Bontrager, an unassuming school library assistant (I
related to the story), etc. The online presence also
just knew she had read widely) from Memphis,
means that publishers have tools such as Google
Tennessee, had indeed written an original,
Analytics available, providing real-time statistics of
unpublished romance. Laura was willing to
engagement and traffic. A subscription model allows
improvise with us (Say Books) in an online ‘Fanfiction
publishers to get early revenue for the author (and
model’ for her novel and we were delighted.
themselves) and early marketing too. Tweeting each
The Say Books ‘fanfiction’ model
We decided to make the first chapter of Fences
others from elsewhere); and have subscribers from
publicly available on the web
all around the world, including Mexico, the Ukraine,
fences1saybooks.pressbooks.com with subscription
France, the UK, Canada, Australia, and the USA. It is a
instructions at the end of it. We let subscribers
wonderful thing to be part of.
decide how much they wanted to pay upfront for
online access to the rest of the chapters which were
And returning to Fanfiction itself, it can be seen as
uploaded daily, with readers who paid more than $5
free marketing for the original content; for instance
getting the e-book at the end. Over 80% of our
it has been acknowledged by the writers and cast of
subscribers paid at least $5. We used Pressbooks™,
Castle that fan power, particularly on Twitter, played
started by Hugh McGuire, because it is a simple,
a huge role in getting ABC to retain the series after its
web-based book production platform with some of
modest first season (a fifth season has recently been
the features I was looking for (including a
confirmed). So perhaps we should be more accepting
commenting system, the ability to create a working
of Fanfiction and its authors who are often brilliant,
e-commerce model, and the production of valid
witty, intelligent, and very literate, and who in the
EPUBS).
Castle Fanfiction world at least, write with
The other advantage of the Fanfiction web-based
publishing model is that one can look outwards to
the world and not be limited by location. We are a
publisher from New Zealand; use technology from
Canada; have an author in Tennessee, USA, (and soon
admiration for and acknowledgement of the
‘original’ creators.
Yes, much of Fanfiction revolves around romance and
‘M-rated’ stories (and there’s a whole book to be
written about that). However, focusing only on the
26
subject matter and traditional boundary issues
online interaction between readers, writers and
obscures what Fanfiction has to offer us as
publishers, and a new way of thinking about and
publishers: a model for community engagement,
doing business.
This article was originally published at www.publishingperspectives.com .
You can meet Anna von Veh as a speaker at Tools for Change in Publishing (TOC) Frankfurt 2012 at the
Frankfurt Book Fair, Germany. Tuesday, 9 October 2012 , 8:30 a.m. to 6 p.m.
27
JUST GREAT BOOKSELLING:
BILBARY’S SIMPLE VISION,
BIG AMBITION
By Roger Tagholm, Freelance writer and journalist contributing to a variety of print and web publications,
including the Guardian, the Bookseller, Publishing Perspectives and the Herald (Scotland).
LONDON: There is no one quite like the UK’s
Tim Coates in the book industry. He has been a
bookseller, an author, a library campaigner and a
publisher. Now, with the launch of Bilbary.com
–the international eBookstore and library that
went live in the US in March and opens for
business in the UK and Europe in June– to that
list must be added the description digital
innovator, though Coates smiles at the
suggestion. As he sees it, he is simply doing
what he has done many times before –building a
bookshop.
Tim Coates
Bilbary.com allows users to download titles to any device – PCs, laptops, tablets, anything Android, Sony
Readers, Nook, Kobo, even the Kindle, although Coates concedes that “you have to be a little bit techy to
make it work.” Currently, it has some 320,000 e-books from around 2,300 publishers – chiefly academic
houses, small presses and specialist publishers. But by the end of May a further 110,000 titles will have been
added from the big six: Penguin, Macmillan, Random House, Hachette, Simon & Schuster and HarperCollins,
and he has hopes for many, many more.
A viable alternative to Amazon
He has a simple, open access vision for the site, borne of frustration at the walled garden systems that are
proliferating in the digital space. “We want Bilbary to be a place that people who like reading, who love
books, can come and find things and read them on whatever they have.”
Naturally, he wants the site to differentiate itself from Amazon –a considerable challenge. Here he starts to
sound both evangelical and frustrated. “Amazon is not a site where you want to hang around. They’ve done a
brilliant job in promoting Kindle –they’ve made e-books a proper, viable proposition and they’ve forced
publishers to act. But what they haven’t done is force backlist to emerge. We’re really only just getting started
when it comes to e-books. A lot of what Amazon offers is self-published. You can find something to read, but
the real quality is not there.
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“So at Bilbary we have this relentless pursuit of content. We want to replicate the sort of quality and range
you find in Foyles or a huge Barnes & Noble –and the text of all our books will be searchable too. I’d say that
at the moment, only 30% of a large, stockholding bookshop is available in digital format. There are vast
riches out there. How many Penguins are there as e-books? There are only about 9,000. But how many
Penguin titles have there ever been? So we’re speaking to them about Pelican, about the classic green
crime…You can go to the big six publishers and it’s the same story.
“Publishers obsess about their front lists – a certain author is about to publish their fourth novel or whatever.
Then they let things go out of print and forget they ever had them. Publishers think their job is to keep
publishing, but their job is also to sell what they’ve already published. Instead, they’re always looking for the
next pot of gold.”
Publishers blame agents for lack of eBooks
He maintains that publishers blame the agents for the lack of digital titles. “They say they haven’t been
unable to negotiate a digital deal. Well, they should sort it out. If print is going to decline, if that industry is
going to collapse, then let’s manage the transfer to digital properly. We need a massive digitisation
programme. Publishers will say it is happening, but I’m saying to them ‘where are the titles?’ Why is so little
Marquez available digitally, for example? I really don’t think we’ve got started yet.”
Bilbary will also carry reviews, as well as recommendations and comment from booksellers and teachers and
experts in their field. It has a library which has a link on the homepage that takes browsers to an interactive
illustration of an old, small town library. “We want people to have fun here,” says Coates. “This is
somewhere they can go for a good rummage around, just as in a physical library. You enter through some
swing doors and we’ll have things like a science room where you can see the books being converted into
digital in pickle jars. We’ll even have a cat on the rocking chair outside. Jo Budler at the State Library of
Kansas [which has recently signed a deal with Bilbary] said ‘librarians have a great affinity with cats’.”
Users of the State Library of Kansas who do not want to wait for one of the handful of digital files provided by
Overdrive are given the option to buy a title, with a percentage of the revenue going back to the library.
If he sounded critical of publishers above, it’s more a case of urging them to act on the treasures they have.
In fact, he despairs at some of the animosity that is currently around. “We want to be nice to publishers, not
at war with them. Publishers produce absolutely wonderful material. There are people who say why do we
need publishers, I can publish a book – but they can’t. What they produce is awful. It’s just that at the
moment, you have publishers at war with librarians over lending, and at war with agents over digitisation
contracts. And everyone is at war with Amazon. That hostile world is awful.”
Bilbary has private backers, including John Bartle of advertising agency Bartle Bogle Hegarty and a staff of
around 14, including representatives in Beijing, Delhi and the US. Its home is in London’s glorious Bedford
Square in Bloomsbury, just along from agent Ed Victor’s office and directly opposite Bloomsbury Publishing.
Occasionally, the sound of a cello can be heard from an adjacent room, which means Coates’ younger son
Oliver is practising. He’s a professional musician, artist-in-residence at the South Bank Centre and winner of
29
the Royal Philarmonic Society’s Young Artist award earlier this month. Coates’ other son, Sam, is Chief
Political Correspondent of the Times.
A long, personal commitment to bookselling
At the age of 62 Coates is embarking on a big project at a time when many might feel like sitting back.
Perhaps it’s a case of Yorkshire grit, as the English phrase has it, but this unusual figure is quite happy
tackling new ventures, taking on new challenges.
The son of amateur musician parents – his mother was a school teacher – he grew up in Huddersfield and
studied maths at Oxford, during which time he became active in musical theatre and composed. Classical
music remains a passion today. After university, he joined WH Smith as Marketing Planning Manager, thus
beginning his 40-odd years in the industry.
He ran the Smiths-owned Sherratt & Hughes chain of more upmarket bookshops, which was eventually
subsumed into Waterstone’s where Coates was briefly MD. Disagreements between Waterstone’s shareholders
and WH Smith shareholders led to his departure, with subsequent years seeing him establish Uncovered
Editions, which published government reports unearthed in the archives, such as the Titanic enquiry.
Exploring these archives led him to Mary Cornwallis West, mistress of Edward VII, whose story he began
writing for his own enjoyment. Bloomsbury heard about it and the house that is now his near neighbour
published Patsy (her nickname) in 2003.
He combined these publishing and writing activities with a growing interest in the fate of the UK’s libraries,
an interest that led him to some impassioned campaigning which gained him enemies and friends in equal
measure. In more recent years he ran Baker and Taylor’s UK office for academic library supply.
E-Lending is a Mess, this may be an answer
The idea for Bilbary arose out of his involvement in libraries, with Coates seeing its model as a solution to
the current mess that is e-lending. The last year has seen him visit the US frequently, speaking to publishers
and librarians and getting his mind around the complexities of the US tax system.
He owns a Sony Reader, currently loaded with Henry James’ Portrait of a Lady (“beautiful”) and he has a
lifelong love of Josef Svorecky and other Eastern European writers. “I do like Czech writers very much — they
are subversive in a way that English and Americans don’t quite know how to do.
People are watching Coates and Bilbary with interest. Publishers would all like to see a competitor to
Amazon, but the Seattle giant is a mighty body to take on, with a name embedded in consumers’ minds. And
yet there was a time when Twitter was a start-up no-one had heard of.
Coates has taken the bold step of building Bilbary in public, “so we can learn from people as we go along”.
He is also not taking himself too seriously in the process. “John Sargent at Macmillan in New York said to me.
30
‘Well, this is different. I’m used to having fresh-faced MBA students come and tell me how they can save
publishing – I don’t usually see a grey-haired industry veteran from across the Atlantic…”
This article was originally published at www.publishingperspectives.com .
31
DIGITAL PUBLISHING IN THE
DEVELOPING WORLD:
IMITATION OR AUTONOMOUS
EVOLUTION?
Excerpt from “Digital Publishing in Developing Countries” by Octavio Kulesz, Editorial Teseo and Digital Minds
Network
Octavio Kulesz, Editorial Teseo and Digital Minds
Network
Many assume that the digital models that work in the
United States and Europe can easily be applied to China,
Latin America, and elsewhere in the developing world. This
could not be more wrong, argues the study “Digital
Publishing in Developing Countries,” carried out
by Octavio Kulesz in October 2010, and commissioned by
the International Alliance of Independent Publishers, with
the support of the Prince Claus Foundation. The report
covers developments in Latin America, the Arab World,
Sub-Saharan Africa, Russia, India and China.
In the last 15 years, the digital revolution has
comes to testing out hardware, software and new
thoroughly modified the way in which cultural assets
digital publishing business models, which means
are produced and distributed. Music was probably
that companies like Amazon, Apple, Google or Sony
the first industry affected, but the impact has now
are taken as references in the media and at
reached all sectors, and in particular the book world.
professional events all over the world. Now, it is
Indeed, e-books, audio books, print on demand,
clear that in the case of countries from the South,
virtual stores and the expansion of cellular phones
infrastructure limitations and low rates of human
have profoundly transformed the means of
development hinder the advancement of electronic
circulating texts.
publishing such as it is known in more advanced
Digital publishing models that work in the United
regions. And certainly what little news that comes
States and Europe cannot always be applied to China,
out about digital publishing in the developing world
Latin America and the developing world.
is usually related to incursions undertaken by those
same actors from the North.
As is well known, there are marked contrasts in the
assimilation of these technologies from region to
Thus, the conclusion reached in numerous articles
region. The industrialized nations –in particular the
and international conferences is that, in order to
US, Canada, Europe, Japan and South Korea- have
promote electronic publishing, the countries of the
access to extremely efficient Internet services and
South have no choice other than to await the arrival
plentiful human resources. Their firms therefore
of successful models from the North. However, this
enjoy a considerable margin for action when it
assumption is highly objectionable. For a start, so far
32
it has not proven easy to identify a “successful
the qualitative difference in the characters used in
system” of digital publishing, even in advanced
each case. Of course, a company like Apple will
countries; indeed, the sales figures for publications
certainly find a highly profitable niche among the
through Amazon’s Kindle Store or Apple’s iBooks are
most affluent classes in developing countries, since
not widely available, which prevents us from
the cultural and consumption patterns of these
knowing the extent to which in themselves these
sectors merely imitate those of the North. But the
publishing platforms constitute as lucrative a model
interesting thing would be to find out what digital
as is publicized. In fact, the constant changes in
models might be a hit not just with the wealthiest
setting sale prices, defining formats and applying
20% of the citizens of developing countries, but with
digital rights management (DRM) –or not- show that
the rest of the inhabitants, that is to say with the
even the major players are still feeling their way.
bulk of humanity.
Secondly, we must ask ourselves how useful it would
Thirdly, given the enormous population, and above
be to reproduce the prototypes from the North in the
all the accelerated economic growth observed in
South, as in addition to the disparities in
many countries of the South, it is hard to believe
infrastructure, there are also enormous cultural,
that the developing world isn’t making its own
linguistic and even religious differences. Let’s not
contribution to the electronic age. In addition to the
forget that digital models represent more than just a
countless IT service providers in India and hardware
tool: with a notable dose of egocentrism contained
manufacturers in China that support the Western
in its very name and the attraction produced by a
platforms from behind the scenes, there are original
logo that refers, amongst other things, to biblical sin,
and innovative digital publishing projects being
an iPad may well captivate a young Westerner
carried out at this very moment in the South -– local
educated in a particular tradition, but it won’t have
platforms that will one day be able to compete with
the same effect on someone from India or the
foreign ones. In fact, some of these ventures are so
Cameroon. And, as we will point out later, the
dynamic that instead of debating who will be the
experience of reading from the screen of a cell phone
future Apple of China or the Amazon of South Africa,
means something very different to a Chinese user, for
perhaps we will soon be asking ourselves who will be
example, than it might do to a European one, due to
the Shanda of the US or the m4Lit of the UK.
A Matter of Enormous Significance
The development of electronic publishing in the
tends to be defective in these regions, then the
South proves therefore to be a topic that is in itself
infrastructure of the book sector –distribution, retail
worthy of discussion in global forums. But, more
sales and printing– is even worse. In some cases,
importantly still, it constitutes an absolutely vital
then, certain technologies can be employed to help
issue for developing countries themselves.
skip the “Gutenberg stage” and work directly in
On the one hand, according to the observations of
digital form by making use of the equipment already
the main actors involved, many of the typical
available.
obstacles of publishing in countries of the South can
be overcome by incorporating digital technology into
Likewise, the electronic solutions that certain
the book chain. Indeed, if the Internet connection
countries of the South have implemented to
33
overcome their problems of content distribution can
development (R&D). Sooner or later, these countries
also serve as a model for others, thus facilitating
will have to ask themselves what kind of digital
South–South knowledge and technology transfer. For
publishing highways they must build and they will
example, the rich prospects for mobile phones in
be faced with two very different options: a) financing
India, China and South Africa represent a fruitful
the installation of platforms designed in the North;
precedent for the Maghreb and the Middle East.
b) investing according to the concrete needs,
expectations and potentialities of local authors,
Lastly, the rapid economic growth experienced by
readers and entrepreneurs.
many nations in Latin America, Asia and Africa has
increased the funds states have available to them to
Whatever the decision of each country may be, the
invest in infrastructure, training and research and
long term impact will be immense.
Note: For the sake of expediency, we have eliminated the footnotes, which can be found in the original text.
The full report can be read free of charge in Spanish, French and English.
This article was originally published at www.publishingperspectives.com .
34
THE REINVENTION OF THE
BOOKSELLER
By Joe Wikert, General Manager & Publisher at O’Reilly Media, Inc.
If you’re a brick-and-mortar bookseller, does your
blood pressure rise when you think about e-retailers
while others are busy trying to sell a bunch of
meaningless features.
and their deep discounts? Do you look at ebooks as a
threat or an opportunity? Depending on how you
What are the benefits you’ve successfully provided in
answered those questions, you might need to ask
the past? When I think of my local bookstore, some
yourself another one: What business are you really
of the key benefits I see are personalized service and
in?
community. If I want to know more about a book I’m
If you’re simply in the business of “selling books,” I
considering, I’d rather talk with a real person than
believe you’re thinking too narrowly. Think of the
simply trust a bunch of reviews on a website,
story of the successful tools salesman who explained
especially if some of those reviews might be planted
why he was able to sell so many drills: “My
by the author or publisher. The main advantage a
competitors sell the drill while I focus on selling the
physical bookstore has over an online one is the in-
hole.” In other words, he emphasizes the benefits
person advice and support the former can offer.
A lesson from Apple
Despite the sluggish economy of the last few
some bookstores have done over the years. It’s time
years, some brick-and-mortar retailers have found
to think much bigger.
ways to grow their businesses. Apple is a terrific
These days most bookstores have some sort of coffee
example. Regardless of whether you’re an Apple fan,
shop or snack bar. Years ago it was a brilliant move
there’s always something new and interesting to
to add that dimension, as it helped turn bookstores
discover in an Apple store. I can’t tell you the last
into a hangout rather than just an in-and-out retail
time I felt that way about a bookstore. I’m not
destination. If in-store coffee shops were the game-
talking about eye candy or glitzy merchandising;
changing idea of the ’90s, what’s the new one for
when you enter an Apple store you know you’re in
the current decade? Here’s one possibility: an in-
for a treat.
store self-publishing resource. Self-publishing is
Wouldn’t it be awesome if customers entering your
red-hot and still gaining momentum. But what’s
bookstore had that same feeling? I realize Apple can
sorely lacking in the self-publishing world is a
invest a lot in its store experience because it’s selling
reliable place to go to ask all the questions. How do I
higher-priced items, but maybe that means you
get started? What’s the best platform? How do I
need to look beyond simply selling $20 or $30 books.
create a marketing campaign? Self-publishing
I’m not talking about adding stationery and toys, like
enthusiasts are left with a slew of questionable
online options and a few in-person events. Why not
35
create an in-person self-publishing resource within
“The Espresso machine has allowed us to create a
your store?
self-publishing business and more. It has changed
Take a page out of Apple’s playbook and create a
how customers view the bookstore. The self-
Genius Bar service for customers interested in self-
publishing business is a complementary business
publishing. Establish your location as the place to go
that takes advantage of technological developments
for help in navigating the self-publishing waters.
while being true to our mission.”
Remember, too, that most of the income earned in
If my self-publishing suggestion isn’t the best option
self-publishing is tied to services, e.g., editing, cover
for your store, don’t simply give up and assume
design, proofreading, and not necessarily sales of the
you’ll always have a future in selling print books. It’s
finished product. Consider partnering with an
clear to me that the number of brick-and-mortar
established expert in these areas or build your own
bookstores will continue to decline; more
network of providers. The critical point is to evolve
specifically, the number of brick-and-mortar
your business into something more than just selling
bookstores that mostly rely on selling print books will
books.
continue to decline. Bookstores have always been a
This doesn’t mean you need to invest in self-
source of inspiration and an important community
publishing equipment to enter the field, but it’s
resource for their customers. Think about your own
interesting to hear from someone who has. I spoke
store’s unique attributes and how they could be
about this with Chris Morrow, co-owner of Northshire
extended as print sales decline. If you go about it the
Bookstore in Vermont, which has had an Espresso
right way, the digital reading revolution won’t be a
Book Machine for a number of years. According to
threat but rather a once-in-a-lifetime opportunity
Morrow:
to reconceive your business.
This post originally appeared on Publishers Weekly.
You can meet Joe Wikert as a speaker at Tools of Change for Publishing (TOC) Frankfurt 2012, at the
Frankfurt Book Fair, Germany. Tuesday, 9 October 2012 , 8:30 a.m. to 6 p.m.
36
THE FUTURE FOR BOOK
DISCOVERY
In interview with Peter Hildick-Smith
By Jess Johns, Director of Operations, Publishers Launch Conferences
Peter Hildick-Smith of the Codex Group has been
that discovered it in the first wave. If publishers have
conducting consumer research for the trade book
done their job right in the flash discovery phase,
publishing industry since 2004. He believes that
then word-of-mouth will follow.
publishers face an increasing challenge now and in
the years to come in getting readers to find, and
Wave three – “persistent discovery” – applies to the
ultimately buy, newly published books online.
brands, series, and authors that readers already
know and like. Once an author has built enough
According to Hildick-Smith, the life cycle of a book
equity, the discovery process is not necessarily
includes three key “waves” of discovery. The first,
triggered by any particular event. “That’s the lock-
which he calls “flash discovery,” is the short,
in,” says Hildick-Smith. When a reader is actively
concentrated burst of marketing and merchandising
looking for your next book, choosing to stay
support when pre-press marketing and publicity,
connected to you, or continually recommending you
early bookstore placement, promotions, blogs and
on an ongoing basis, they are no longer reliant solely
book reviews all work together to capture book
on a publisher’s discovery campaigns to find you.
buyers’ attention. “For a new book by a new author,
you have 4 to 5 weeks where it has the advantage of
In the shift to online discovery, “the Janet
being “new,” and has its greatest chance to be
Evanoviches will continue to do very well,”
seen. It’s a very short period of time where debut
maintains Hildick-Smith. “It’s the flash discovery
works and authors are found. That narrow window is
that’s challenged. That’s where publishers and
the first wave, the little flash of time where the book
bookstores are struggling.” Debut authors and new
alone must attract an audience all by itself.”
fiction, he says, still rely heavily on physical
bookstore merchandising and traditional media
The second wave kicks in 4 to 8 weeks after a book is
outlets for discovery. As these traditional channels
in the market and once enough book buyers have
fade away, so too does the publishing industry’s
had the time to read and complete the book.
ability to help those books reach their audiences,
“People start talking about it, people who’ve read it
particularly in fiction and narrative nonfiction.
and liked it. That’s the real word-of-mouth that sells
books.” Publishers, says Hildick-Smith, cannot
Codex’s most recent survey of nearly six thousand
directly influence this wave as much because 90% of
heavy book buyers shows a marked erosion of
heavy book recommenders make their
discovery through physical bookstores. In February
recommendations in person, only 17% through social
2011, 27% of respondents first discovered their last
media. This organic word-of-mouth is dependent on
book purchased in a bookstore. Just a year later, in
the quality of the read itself for the initial audience
February 2012, that number had dropped to 19%.
37
Source of discovery of book last bought
Feb 2011
Feb 2012
Physical bookstore
27%
19%
Personal recommendations
14%
20%
Analog publicity
10%
10%
Internet bookseller browsing
8%
10%
Author website, blog, email
5%
5%
4%
5%
Other online (book blogs, online reviews)
4%
4%
Reading groups, analog book clubs
3%
4%
Online search
0.9%
2.1%
Social media
0.7%
1.4%
Online video/trailers
0.2%
0.4%
Professional recommendations (teachers, librarians,
booksellers)
Source: Codex Group, Feb 2011, Feb 2012
The online book discovery experience is a
Book shoppers’ openness to discovering new authors
fundamentally different, less spontaneous activity
also varies dramatically by book category. In their
than more traditional discovery mechanisms like
February survey, Codex found that in nonfiction
bookstore browsing. Among Kindle owners for
three-quarters (75%) of Diet/Health/Fitness/Medicine
example, nearly two-thirds (62%) already knew
buyers’ last book bought was by an author that was
what book they wanted to buy on their most recent
new to them; while in fiction, three-quarters (74%)
online bookseller visit. In contrast only one-third of
of genre fiction buyers’ last book bought was by an
them (32%) went to a physical bookstore knowing
author they already knew. “Fiction buyers stay with
what book they wanted to buy, making them two
the authors they like, and are simply less open to
times more open to discovering new books in a
discovering new authors than nonfiction buyers are,”
bookstore. “Discovery is conditional on where you’re
says Hildick-Smith. “For nonfiction books, people
shopping,” says Hildick-Smith. “You don’t know
are more interested in solving a problem. The author
what’s not there, and you have to know a book
is less of a priority.”
exists before you can go search for it.”
38
Books purchased last
% Written by “unfamiliar author”
Non-fiction (overall)
48%
Health and medicine
75%
Fitness and diet
75%
Biography
51%
Entertainment/celebrity
25%
Fiction (overall)
32%
Historical
47%
Women’s
46%
Literary
42%
Genre
26%
Source: Codex Group, Feb 2012
Digital sales channels, like Kindle and Nook, skew
view and create encounters with over 35 million
significantly toward fiction sales in general. Just 24%
different products.” By necessity, Internet search,
of purchases on Nook and 26% on Kindle were of
list-based browsing, and even permission-based
nonfiction titles. Physical stores on the other hand
marketing work to navigate this “long tail purgatory”
were more evenly balanced, with nonfiction
by narrowing the scope and range of discovery.
representing 46% of purchases at Barnes & Noble
“People opt in to what they know and like. It’s self-
stores.
fulfilling,” says Hildick-Smith. So, genre fiction
readers, enthusiast communities, and devoted
As more discovery and purchasing of books shifts
author fans will be able to find new books and even
online, Hildick-Smith is concerned not that readers
new authors. But as physical book outlets diminish,
will not be able to find new books to read, but
other categories of books like narrative nonfiction or
rather that they will simply find more of what they
literary fiction will become increasingly difficult to
already know they like. “As more people read
chance upon and discover. “You don’t have the same
digitally, they read more of what they’re already
brand or author equity with literary fiction as with a
familiar with, and as a result are discovering fewer
genre author. Every book is different.”
new books and authors.”
There are no easy answers, but Hildick-Smith
The paradox is that in an online market with nearly
encourages publishers to pay attention to the data
endless book choices, “we have one tiny screen to
on how and where consumers find new books and
39
other products. He tells a cautionary tale about
Buy, Staples and others. That’s when Kindle sales
Amazon’s original Kindle launch in 2007. At that time
really started to take off.”
Amazon aggressively marketed the Kindle within the
Amazon ecosystem but did not pursue any traditional
Publishers should not underestimate the power of
marketing and discovery channels. “After a full year
traditional marketing and merchandising
of online marketing, the majority of book buyers still
techniques, and Hildick-Smith encourages the
didn’t even know that the Kindle device existed.
industry to continue to look for ways to support
Amazon realized online discovery was not enough to
physical bookstores. But publishers also cannot
ensure Kindle’s success, and aggressively expanded
forget that “discovery” is just the first step.
their Kindle marketing and discovery strategy to
“Discovery by itself won’t solve the problem.”
include TV advertising, publicity and physical retail
distribution in their direct competitors – Target, Best
Three criteria that must be met before a reader buys a book:
Discovery: the book consumer has to first know a book exists.
Conversion: the book consumer must be intrigued enough by the book’s story or message to want to
make the effort to browse and hopefully buy.
Availability: the book consumer has to be able to purchase the book “in whatever format and outlet,
whenever they want it.”
“You need all three elements to sell books,” says Hildick-Smith. “Discovery is only the first step. You can
discover anchovy pizza for the first time, but that doesn’t mean you want to buy it.”
And that’s precisely where he has an encouraging message for publishers. Readers respond to the quality of
content: “The best discovery in the world won’t make a reader buy a book, but a great story just might!”
40
AMAZON, E-BOOKS AND
ADVERTISING
By Joe Wikert, General Manager & Publisher at O’Reilly Media, Inc.
It all started harmlessly enough with Amazon’s
hypothetical wholesale model title with a digital list
Kindle with Special Offers. That’s the cheaper Kindle
price of $25. Amazon is required to pay the publisher
that displays ads when the device is in sleep mode or
roughly half that price, or about $12.50 for every copy
at the bottom of the screen when paging through the
sold, but that ebook might be one of the many that
owner’s catalog of books. It is very unobtrusive and,
are listed at $9.99 for the Kindle. So every time
since it lowered the price of the device, has made
Amazon sells a copy, they lose $2.51 ($12.50 minus
that Kindle an extremely popular device.
$9.99). Amazon has deep enough pockets to continue
Now there are rumors that Amazon is selling ad
doing this, though, so they’re quite comfortable
space on the Kindle Fire’s welcome screen. That
losing money and building market share.
sounds pretty reasonable, too, as it’s a simple way
for Amazon to drive a bit of additional income that’s
So, what’s preventing Amazon from taking an even
pure profit for them.
bigger loss and selling that ebook for $4.99 or $0.99
instead? In the wholesale model world, the answer
Given that Amazon’s goal is to offer customers the
to that question is: “nothing is preventing them
lowest prices on everything, what’s the next logical
from doing that.” And if selling ebooks at a loss for
step? How about even lower prices on ebooks where
$9.99 makes sense, especially when it comes to
Amazon starts making money on in-book ads? Think
building market share, why doesn’t it also make
Google AdWords, built right into the book. Of course,
sense to sell them at $4.99, $0.99 or even free for
Amazon won’t want to use Google’s platform. They’ll
some period of time? It probably depends on how
use their own so they keep 100% of the revenue.
much pain Amazon wants to inflict on other retailers
and how much attention they’re willing to call to
The changes the DOJ is requiring for the agency
themselves for predatory pricing.
model means a retailer can’t sell ebooks at a loss,
but they can still sell them for no profit, or break
Make no mistake about the fact that Amazon would
even. In other words, the 30% the retailer would
love to see ebook pricing approach zero. That’s right.
keep on an agency ebook sale can be passed along to
Zero. That might seem outlandish, but isn’t that
the customer as a 30% discount on the list price, but
exactly what they’re doing with their Kindle Owner’s
that’s as deep a discount as that retailer can offer.
Lending Library program? Now you can read ebooks
for free as part of your Prime membership. The cost
The rules are different with the wholesale model.
of Prime didn’t go up, so they’ve essentially made
Amazon already loses money on sales of many
the consumer price of those ebooks zero.
wholesale-model ebooks. Let’s talk about a
41
Why wouldn’t they take the same approach with in-book
advertising?
At some point in the not-too-distant future, I
At the same time, Amazon will likely tell publishers
believe we’ll see ebooks on Amazon at fire-sale
the only way they can compete is by significantly
prices. I’m not just talking about self-published titles
lowering their ebook list prices. They’ll have the data
or books nobody wants. I’ll bet this happens with
to show how sales went up dramatically when
some bestsellers and midlist titles. Amazon will make
consumer prices dropped to $4.99 or less. I wouldn’t
a big deal out of it and note how these cheaper
be surprised if Amazon would give preferential
prices are only available through Amazon’s in-book
treatment to publishers who agree to lower their list
advertising program. Maybe they’ll still offer the ad-
prices (e.g., more promotions, better visibility, etc.).
free editions at the higher prices, but you can bet
they’ll make the ad-subsidized editions irresistible.
By the time all that happens, Amazon will probably
Remember that they can only do this for books in the
have more than 90% of the ebook market and a nice
wholesale model. But quite a few publishers use the
chunk of their ebook list that no longer has to be
wholesale model, so the list opportunities are
sold at a loss. And oh, let’s not forget about the
enormous. And as Amazon builds momentum with
wonderful in-book advertising platform they’ll have
this, they’ll also build a very strong advertising
built by then. That’s an advertising revenue stream
platform. One that could conceivably compete with
that Amazon would not have to share with
Google AdWords outside of ebooks, too.
publishers or authors. That might be the most
important point of all.
Publishers and authors won’t suffer as long as
Amazon still has to pay the full wholesale discount
What do you think? Why wouldn’t Amazon follow this
price. Other ebook retailers will, though. Imagine
strategy, especially since it helps eliminate
B&N trying to compete if a large portion of Amazon’s
competitors, leads to market dominance and fixes
ebook list drops from $9.99 to $4.99 or less. Even
the loss-leader problem they currently have with
with Microsoft’s cash injection, B&N simply doesn’t
many ebook sales?
have deep enough pockets to compete on losses like
this, at least not for very long.
This post originally appeared on Joe Wikert’s Publishing 2020 Blog “Why Advertising Could Become Amazon’s
Knockout Punch“. This version has been lightly edited.
You can meet Joe Wikert as a speaker at Tools of Change for Publishing (TOC) Frankfurt 2012, at the
Frankfurt Book Fair, Germany. Tuesday, 9 October 2012, 8:30 a.m. to 6 p.m.
42
SIMILAR CREATIVITY & LOW
BARRIERS: LEARNING FROM
THE MUSIC INDUSTRY
Interview with Josh McIvor, SONY Music’s Vice-President of Corporate
and Business Development for Europe and Africa
By Katharina Ewald, Interim Director German Book Office New Delhi
Katharina Ewald spoke to Josh McIvor at GLOBALOCAL 2011.The theme of the conference was “Crossing
Currents” –looking at how content is being produced, packaged, sold and consumed differently in the current
world of increasing digitization. The conference was organized by the German Book Office New Delhi.
Q: What can the digital publishing industry learn
digital music retail, the major labels insisted on
from the music industry?
restrictive DRM. Unfortunately, there was no
consistency as to which DRM was being implemented
The overwhelming lesson is to listen to your readers.
by different hardware manufacturers and music
They will tell you how they want to interact with
retailers. As a result, music fans were driven away
content online. The trick it to monetize around that
from legal DRM services and towards piracy as they
usage rather than attempting to dictate business
became frustrated with the inability to transfer music
models that aren’t a joy for readers. The music
between devices and share purchased content with
industry did a poor job of listening to music fans in
their friends. Recognizing this trend, the major labels
the nascent era of digital music. As a result, we
removed their insistence on DRM for album and track
alienated potential consumers by not providing the
downloads in 2007-2008. The lesson for the
right digital products at the right price. We’re getting
publishing industry is, to either come to a consensus
much better at listening now and so we’re seeing
on a universal DRM with reasonable usage
music fans paying for music in all sorts of innovative
allowances or don’t use it at all.
ways based on their preferred digital consumption
habits.
Q: How difficult was it to change the public’s
perception about paying for digital music
Q: DRM has evolved significantly over the years
downloads and can the same be applied to the
in the music industry which has limited the
publishing industry?
advent of piracy. Can the same DRM tools be
applied to the publishing industry?
If the music industry is being honest with itself,
there is still a lot of work to be done to meaningfully
Well, actually DRM for download purchases has
change public perception towards paying for digital
devolved in the music industry. During the advent of
music. Exponentially more fans continue to get their
43
music illegally rather than paying through legal
Q: Do you see a new model emerging in digital
services. Luckily for the music industry, Apple, the
publishing where people will only pay for
dominant digital music hardware manufacturer, has
selected content within a book similar to how
been incredibly successful at convincing a decent
people now purchase individual songs as opposed
portion of their customers to purchase music from
to entire albums?
within their eco-system. In order to convince the
broader public, we need to and are embracing
I can’t imagine a world where people will pay a-per-
several different types of services and ensuring that
chapter cost for ‘Great Expectations’ or the new Dan
they are a pleasure to use. The growing success of
Brown novel. However, I think that technology will
models such as ad-supported services and unlimited
start to influence the structure and limitations of a
all-you-can-eat paid subscriptions are a promising
traditional linear narrative. In the music industry, we
development. Copyright legislation and piracy
are starting to see incredible innovation away from
awareness campaigns have an effect but the best
the traditional canvas of an ‘album’. An excellent
solution to piracy is to license and support services
example is Icelandic singer Bjork’s new work which
that are superior to the pirates.
was released as an iPad application. The free
‘mother’ app featured a ‘cosmos’ filled with
experiences involving her music. Each week, fans
could pay to introduce a new ‘planet’ into the
cosmos. Each ‘planet’ featured a song along with
other interactive features. Similar creativity and low
barriers to entry will allow publishers to charge
micro-payments for selected content.
44
The following text is in German, as it is part of the german protoTYPE project initiated by Börsenverein des
deutschen Buchhandels. For more information please contact http://www.innovation-prototype.de/
. Die (neue) Wertschöpfung der Verlage
Von Dr. Harald Henzler, Gründer der smart digits GmbH.
Er hat mehrjährige Erfahrung in der Entwicklung digitaler Geschäftsmodelle als Produktmanager, Verlagsleiter
und Geschäftsführer bei Carl Hanser und Haufe-Lexware
Die Herausforderung für Verlage liegt in der Entwicklung ihrer Wertschöpfung im digitalen Umfeld.
Digitale Produkte werden zunehmend genutzt. Gedruckte Werke werden nicht verschwinden, aber ihre
Bedeutung im Markt wird sinken.
Für Autoren und andere Anbieter von Inhalten stellt sich deshalb die Frage, was Verlag für sie leisten. Digitale
Werke können leichter selbst produziert und vertrieben werden. Zahlreiche Plattformen bieten Dienste für die
Produktion an und die großen Plattformen wie Apple, Amazon und Co. auch die entsprechende Reichweite für
die Distribution. Fachverlage haben meistens schon einen direkten Zielgruppenzugang aufgebaut.
Publikumsverlage beherrschen das Zusammenspiel mit dem Sortiment, aber verfügen meist nicht über den
direkten Kundenzugang. Zwar werden einzelne Programme und Verlage für bestimmte Zielgruppen
positioniert, aber die Vermittlung erfolgt immer über Händler.
Für Autoren gibt es zwei wesentliche Dienstleistungen, die Verlage für sie erledigen können:
Sie können den immer komplexer werdenden Prozess der Produktion, Distribution und
Vermarktung von gedruckten und digitalen Werken anbieten.
Sie können eine erhöhte Reichweite versprechen durch die Kombination der Medienformen und
den eigenen Zugang zur Zielgruppe. Der Autor kann sich höhere Einnahmen erhoffen bei weniger
Aufwand.
Die künftige Wertschöpfung
Die Alternative liegt für Verlage in der Spezialisierung nur auf das gedruckte Werk. Damit geht allen Prognosen
nach auch eine Reduktion der Umsätze einher.
Will man aber die oben genannten Aufgaben lösen, müssen zwei Voraussetzungen geschaffen werden:
45
Branding und Reichweiten-Steigerung
Der Ausbau der eigenen Marke in die Zielgruppe im digitalen Umfeld und die Entwicklung eines geeigneten
Instrumentariums, um eine erhöhte Reichweite bieten zu können, ist notwendig, um Umsätze zu steigern und
Autoren zu gewinnen bzw. zu binden. Zum geeigneten Instrumentarium gehören social media-Marketing, der
Ausbau der eigenen Kundendatenbank und der Aufbau eines Netzwerkes von Kooperationspartnern (wie
Zeitschriften, Portale, Firmenpartner). Dadurch wird die Abhängigkeit von globalen Anbietern vermindert,
direkte Rückmeldungen der Kunden sind möglich und Kunden können frühzeitig in die Entwicklung digitaler
Produkte eingebunden werden.
Die Aufgabe besteht in der Festlegung, wie viele Marken entwickelt werden müssen. Denn für den Endkunden
werden die Werke und Autoren im Vordergrund stehen, für die Autoren aber die Verlage. Verlage sehen sich
immer in der Aufgabe, neue Werke in den Markt zu bringen. Deshalb wollen sie sich nicht auf wenige
Zielgruppen und Themen reduzieren lassen, sondern mit den Markttrends gehen können: Sie sorgen für neue,
anregende Inhalte und Produkte. Bücher werden langfristig im Spektrum aller Medien für vertraute, bekannte
Produkte stehen. Wollen Verlage auch Treiber und Sprachrohr des Neuen sein, dann müssen sie auch digitale
Produkte entwickeln.
Es empfiehlt sich, mit Partnern, die über entsprechende Zugänge zu den Kunden verfügen, gemeinsame
Programme aufzubauen. Die Qualität der Werke und der Beratung des Kunden muss hier vom Verlag
übernommen werden. Von den großen Plattformen und dem Handel wird sie nicht mehr erfolgen.
Kompetenz und Kollaboration
Der Aufbau von Projektteams für die Produktentwicklung benötigt internes Change Management,
Weiterentwicklung und Fortbildung der Produktmanager, Redaktionen und Produktioner die das Portfolios an
digitalen Produkten konzipieren und umsetzen. Diese werden über reine eBooks hinausgehen und können
zahlreiche Dienstleistungen für die Zielgruppen umfassen.
Um Inhalte in verschiedenen Formaten anbieten zu können, müssen sie mit den entsprechenden Metadaten
versehen werden. Das ermöglicht eine gezielte Nutzung für die Vermarktung und zielgruppengerechte
Beratung und die häufigere Verwendung in einem anderen Umfeld. Bei Fach- und Sachthemen wird dies
zwingend nötig sein, um kontinuierlich Themen aktuell und vernetzt zu halten und weiter zu entwickeln mit
und für die Zielgruppen. In der Belletristik kommt dies weniger deutlich zum Tragen, wenn das Einzelwerk im
Vordergrund steht, kann aber für Fortbildungswerke, Themenwelten und Genreliteratur wichtig sein (Beispiele
sind Pottermore und Perry Rhodan).
Die Wertschöpfung der Verlage wird deshalb in Zukunft auch in der Strukturierung der eigenen Inhalte, dem
Aufbau der richtigen Metadaten und der direkten Vermarktung an die Zielgruppe liegen.
46
. Curation – oder können Algorithmen die Verleger ersetzen?
In der Verfilmung von 2002 des Klassikers "Die Zeitmaschine" von H.G. Wells ist es ein Avatar, der in einer
fernem Zukunft die Kinder lehrt. Er verfügt über das gesamte Wissen der nicht mehr existierenden
Bibliotheken und führt geschickt alle Informationen zusammen.
Er ist das Schreckgespinst aller Verleger! Was, wenn ein Algorithmus all die Mühen eines Verlages ersetzt?
Wenn der Leser der Zukunft von einem Computerprogramm geleitet immer genau das erhält, was er braucht,
was er wünscht? Wenn er nicht nur wie bei Amazon andere Titel empfohlen bekommt, sondern direkt zu dem
geführt wird, was er wirklich will? Algorithem statt Verleger.
Die Herausforderung für Verlage lässt sich so auf den Punkt bringen:
Warum sind die Inhalte, die mir ein Verlag anbietet, besser als die, die ich im Netz kostenlos erhalte, bzw.
die mir von anderen Anbietern wie Firmen, Universitäten oder Autoren angeboten werden?
Warum soll ich als Autor zu einem Verlag gehen?
Irgendwas muss ja ein Verlag besser machen in der Selektion der vorhandenen Informationen als eine
Suchmaschine und ein Autor im Eigenverlag.
Der Verlag hat sich im Laufe von Jahren eine Marke aufgebaut, die für bestimmte Inhalte und eine bestimmte
Art der Qualität steht. Er hat die Vorschläge von Autoren geprüft und abgewägt und sie dann durch das
Lektorat, die Gestaltung und die Vermarktung zu einem guten Produkt gemacht. Er hat für den Leser
selektiert. Und für den Autor vermarktet.
Die Grenzen der Suchmaschine
Jetzt sorgen Suchmaschinen in Kombination mit all den von Kunden selbst abgegebenen Daten dafür, dass sie
mehr wissen als jeder Verlag. Aber sie können sich nur auf die Vergangenheit beziehen. Und so wie kaum ein
Controller für die Innovationen in einem Verlag verantwortlich zeichnet, so werden auch Suchmaschinen nicht
in der Lage sein, Neues zu produzieren. Sie können Fundstücke aus dem Netz miteinander verknüpfen, weil
diese mit denselben Metadaten versehen wurden. Aber den inneren, logischen Zusammenhang, der zu einer
Innovation führt, der kann nur zufällig erfolgen. Sie können im Wesentlichen nur Zugang verschaffen.
Es bleibt also die Aufgabe der Verlage, den Kunden, den Leser zu überraschen. Durch neue Gedanken, durch
eine überraschende Kombination von Vorhandenem, die mehr als eine Zufälligkeit ist. Und durch die kritische
Prüfung dessen, was sonst so im Netz kostenlos eingestellt wird, so wie es Corinna Milborn am Beispiel eines
Fotos aufzeigt. Im Journalismus ist man oft bei der Formulierung des eigenen Mehrwerts im Netz schon einen
Schritt weiter als in den Buchverlagen, weil die Konkurrenz der Hobbyreporter schon länger zu spüren ist als
die der Hobbyverleger.
Was bedeutet das für die multimediale Aufbereitung von Inhalten und der guten Verlinkung dieser Inhalte
mit dem Wissen im Netz?
Verlage verfügen über das Know How, Inhalte so zu veredeln, dass Wissen daraus wird. Sie sind die Experten
der Vermittlung. Aber sie müssen die multimedialen Plattformen bedienen lernen. Und sie müssen die
47
Grenzen ihrer eigenen Arbeit akzeptieren und den Leser zu anderen Quellen führen. Denn kein Verlag wird
gleichermaßen gut Texte, Bilder, Filme und Audio beherrschen. Er wird mit diesen Spezialisten
zusammenarbeiten müssen. Er wird kooperieren müssen mit anderen. Das fällt schwer, weil man bisher die
Oberhoheit hatte, die schöpferische Leistung und Botschaft des eigenen Autors unters Volk zu bringen.
Die Vermarktung
Bisher war der Autor glücklich, wenn ihm der Verlag das Buch gedruckt und in den Handel gestellt hat. Ein
eBook kann er selber herstellen. Es bei Amazon oder Apple in den digitalen Handel zu schleusen ist ein
Kinderspiel. Seinen Freunden auf Facebook kann er auch davon erzählen. Und jetzt will er wissen, wo der
Verlag das Buch vermarktet. Konnte der Einkauf von Büchertischen bei Thalia und Hugendubel bisher dem
Autor noch als Geheimwissenschaft verkauft werden, so steht der Verlag jetzt gehörig unter Druck. Er muss
beweisen, dass er die Botschaft des Autors noch besser aufbereiten kann als dieser selbst, und dass er auch
besser an die Zielgruppen gelangt als die Autoren.
Der Verleger muss sein Team neu formieren
Wir müssen Abschied nehmen von einem lang gepflegten Bild, dass das Abendessen mit dem Autor, dem
Experten, dem Wissenden auch die Geburt des Neuen ist. Das zähe Ringen von Lektor und Autor sind nur noch
ein Teil einer Wertschöpfung, die im digitalen Umfeld ein ganzes Team von Kreativen fordert. Die Veredelung
der Information braucht heute mehrere Teilnehmer als bisher. Und den ständigen Austausch von Wissen. Das
kann keiner mehr alleine.
Das heißt Curation: Das Richtige auswählen aus der Fülle der Informationen, es gut aufbereiten und in einen
neuen Zusammenhang stellen und es gut zugänglich machen für die passende Zielgruppe.
Hier liegt die Chance für das, was in fünf Jahren vielleicht noch Verlag oder Medienhaus heißt, aber eine
andere Wertschöpfungskette anbieten wird.
Immerhin ist das noch mehr als in der Verfilmung "Die Zeitmaschine" von 1962, in der die Bibliothek zu Staub
verfällt. Und damit für immer verloren ist.
. e-Books machen – so etabliert man ein dauerhaftes
Geschäftsmodell
eBooks machen in den meisten Verlagshäusern noch weniger als 10% des Umsatzes aus. Das Geld wird fast
überall noch mit den gedruckten Werken verdient.
Aber es ist klar, dass das nicht mehr lange so sein wird. Welche Strategie eignet sich zur Implementierung der
neuen Prozesse? Soll eine kleine Truppe Verschworener zu Experten werden oder gleich eine neue Firma
aufbauen, die sich nur mit digitalen Themen befasst? Oder soll crowdsourcing gleich zu Beginn in der eigenen
Firma funktionieren?
48
Der Inkubator
Ein beliebter Weg ist die Beauftragung einer Person, die das jetzt "richten" soll. Klingt vernünftig, denn die
Margen sind noch zu gering, um damit einen ganzen Stab auszustatten.
Und es folgt dem Prinzip, dass zunächst nicht die ganze Belegschaft durch das Neue irritiert werden soll.
Abgesehen davon, dass es nicht alle wollen oder können, wird so die Kompetenz schrittweise bei einzelnen
Personen aufgebaut.
So vernünftig dieses Vorgehen ist, weil man nicht gleich alles auf eine Karte setzen will und der first mover
nicht immer der Gewinner ist - einige Risiken sind zu bedenken und bei der Umsetzung im Auge zu behalten:
Wenn die erwählte Person das Haus verlässt, weil der Aufbau einer eBook-Struktur auch für andere Verlage
nach einer attraktiven Stellenbeschreibung klingt, gerät der Betrieb ins Stottern.
Ein Backup, um in der Sprache der digitalen Medien zu bleiben, erscheint deshalb dringend geboten.
Digitale Produkte sind neu im Markt. Anders als bei etablierten Prozessen ist deshalb nicht vorherzusehen,
wo und wann die nächste Frage um die Ecke kommt. Eine Person allein wird nie alle Themen beantworten
können, sondern "nur" managen. Sie ist der Projektleiter. Aber dazu braucht sie auch gute Projektteilnehmer.
Und je besser die Verantwortung auf alle Schultern verlagert wird, desto effizienter und schneller werden
Lösungen gefunden.
Dies trifft vor allem auf die Weiterentwicklung zu. Keiner weiß, wie eBooks in drei Jahren aussehen, ob sie
alle "enhanced" sind, es ein paar Produktformen nur noch als Apps/enhanced eBooks gibt (wie Reiseführer,
Lehrbücher, Ratgeber...) oder ob doch noch viele Texte genau so gelesen werden wie jetzt in gedruckter Form.
Die Schlagzahl der Neuerungen ist hoch und auf dieser See werden nur die überleben, die als Team unterwegs
sind.
Dies führt unweigerlich zum zweiten Ansatz, dem klassischen "Change Management" des gesamten Hauses.
All together now
Auch dieser birgt natürlich Risiken. Die Beschäftigung mit dem Neuen frisst Arbeitszeit, die bei sinkenden
Erlösen im Printbereich doch dringend benötigt wird, damit man gegen den Strom nicht zu viel verliert. Und
es ist nicht immer sofort einzusehen, warum man jetzt als Bester in der Sparte "Gedrucktes" plötzlich hinter
den digital natives herlaufen soll.
Aber:
Wie soll die Wertschöpfung von Verlagen neu definiert werden können, wenn nicht alle im Unternehmen
mitziehen?
Eine Chance der Verlage besteht ja gerade darin, seine Kompetenzen (Auswahl von Themen, Bearbeitung von
Themen und Inhalten mit den Autoren, Aufbau einer Marke mit einem klaren Profil zu bestimmten Themen...)
auch auf digitale Produkte zu übertragen. Man wird künftig Gedrucktes und Digitales bewältigen müssen,
sprich auf mehreren Hochzeiten tanzen lernen. Das geht nur, wenn man nicht mehr so lange auf einem Fest
verweilt und sich die Zeit besser einteilt. Und wenn alle den Tanz beherrschen. Immer nur einen auf die Reise
zum Mond zu schicken wird diesen nicht bevölkern.
49
Gerade digitale Produkte verlangen Know how aus verschiedenen Bereichen. Nicht nur die Technologie,
auch die Didaktik, die Kompetenz in der Aufbereitung verschiedenster Medien, die effizienten
Produktionsprozesse, die neuen Vermarktungsformen und das Wissen um realisierbare Geschäftsmodelle sind
zwingender Bestandteil des Vorgehens. Die Entwicklung der Strategie, die Implementierung und die
kontinuierliche Erweiterung ist in den Zeiten des Wandels zwingend eine Aufgabe aller.
Vor allem, weil natürlich die Angst umgeht, man werde seinen Arbeitsplatz verlieren. Und dieser ist am
besten mit Tatkraft, Schulungen und gemeinsamen Entwicklungen zu begegnen.
eBooks sind nur ein Schritt in Richtung Digitalisierung. Die Fülle der Möglichkeiten zeigen sich auf jeder
re:publica, Next Berlin oder K5 (um nur die aktuellen Kongresse zu nennen). Je früher die Verknüpfung der
old school mit dem new business erfolgt, desto eher werden die richtigen Geschäftsmodelle entwickelt. Da
viele Mitarbeiter privat auch schon Kunde und Nutzer von Smartphones und Tablets sind, können sie viel
beitragen zur Entwicklung. Und wer will schon in einem Unternehmen arbeiten, das selber die Möglichkeiten
des Smartphones und des Tablets gar nicht nutzen will?
Gleich welchen Weg man nun wählt: Die Digitialisierung wird für die nächsten Jahre eine dauernde
Herausforderung sein. Dabei müssen parallel verschiedene Fragen beantwortet werden:
. Technologie: "Brauche ich ein CMS über alle Produkte? Lohnen enhanced eBooks jetzt schon und wie lange
wäre denn die Entwicklungszeit? Soll ich auf native Apps setzen oder webbasierte?..."
. Methodik: "Mit welchen Tools werden digitale Produkte entwickelt? Brauche ich ein neues
Projektmanagement? Auf welchen Plattformen tauschen sich die Mitarbeiter aus?..."
. Geschäftsmodell: "Ist crossmediale Vermarktung wirklich sinnvoll? Bietet der App-Markt ausreichende
Erlöse? Sind Kooperationen zwingend nötig?..."
Die Geschäftsmodelle der Zukunft werden andere sein. Um crossmedial publizieren zu können, braucht man
andere Strukturen, andere Verrechnungsmodelle, ein anderes Portfolio. Reichweite und Kundendaten
gehören zu den wesentlichen Assets eines Medienunternehmens. Hier muss Know how aufgebaut werden.
"E-Mind" kommt nicht über Nacht
Die Entwicklung hin zu digitalen Medien muss von vielen getragen und das Know-how muss an vielen Stellen
aus- und aufgebaut werden, weil kaum jemand der Spezialist für alle Fragen sein wird. Inkubatoren sind
wichtig und hilfreich. Sie dürfen auf keinen Fall allein gelassen werden. Das Interesse für und das Verständnis
über den digitalen Markt für Verlage wird dringend für einen erfolgreichen Change-Prozess bei Verlagen
benötigt. Er entwickelt sich nicht über Nacht und schon gar nicht nur in einzelnen Köpfen. Der gesamte Verlag
muss sich auf die Veränderungen einstellen können und wollen.
Erst dann erhalten Verlage eine entscheidende Kompetenz im Markt: Sie können das komplexe
Zusammenspiel von gedruckten und digitalen Produkten managen.
Wenn nicht, droht die Agonie der Zeitschriftenverlage in den USA:
She, not busy beeing born, was busy dying. (Bob Dylan)
50
Dieser Artikel beruht auf den Markforschungen der smart digits GmbH und fasst Beiträge des Blogs
www.smart-digits.com sowie anderer Veröffentlichungen und Vorträge zusammen.
. protoTYPE - Eine Entwicklungsschmiede für die Verlagsbranche
Über Innovationen und die Zukunft der Branche sollte nicht nur geredet werden. Deshalb ging Anfang März
das vom Börsenverein des deutschen Buchhandels initiierte Projekt protoTYPE an den Start. Bei protoTYPE sind
kluge Köpfe aus verschiedenen Bereichen der deutschen Buchbranche versammelt. Gemeinsam arbeiten sie
an neuen Geschäftsmodellen und geben damit Denkanstöße und schaffen die Voraussetzungen für neue
zukunftsträchtige Entwicklungen. Nach dem Motto „Schluss mit reden, Zeit zu handeln!“ startete protoTYPE
nach dem Auftaktwochenende im März mit 7 Projekten in die Realisierungsphase. Die Projekte sollen bis zur
Frankfurter Buchmesse beispielhaft (digitale) Innovationen in der Branche beflügeln und werden im Rahmen
der Frankfurter Buchmesse präsentiert.
Die einzelnen Projekte und Präsentationstermine finden sie hier.
Einblick in die Entwicklungsschmiede – Chancen und Herausforderungen
Klarheit gewinnen
braucht, um auf dem Weg greifbare Resultate zu
Kooperation und Austausch über die
Grenzen
erzielen. Die sieben Gruppen haben sich je ein
Unsere Branche sieht sich als Förderer der Kultur und
solches gesetzt. Sie mussten zügig im Elevator Pitch
ist zugleich kleinteilig. Ihre Geschäftsmodelle fordern
ihre Ideen anderen präsentieren und Zustimmung
oft eine starken Abgrenzung: Das ist mein Autor, mit
finden. Die Kleistsche allmähliche Verfertigung der
dem ich einen Vertrag habe und dessen Ergebnisse
Gedanken beim Sprechen war aus Zeitgründen gar
ich erst nach Abschluss mit einem großen Tusch der
nicht zu umgehen.
Allgemeinheit präsentiere.
Die Projektgruppen müssen ihre Ziele definieren und
Aus der Sicht der "Textproduktion" verständlich. Die
Meilensteine festlegen. Und sie müssen konkret
Darstellung von Hüftgelenkoperationen erfordert
werden, sei es in Form eines Konzepts, einer
andere Autoren und Inhalte als ein Kinderbuch.
Demoversion oder einer Handlungsanleitung.
Das führt dazu, dass man sich schwerer tut bei der
Dadurch werden die eigenen Gedanken geschärft.
Entwicklung von Lösungen, die einer allein nicht
Und selbst wenn in der Kürze der Zeit das Ergebnis
stemmen kann. Die technologischen
im Herbst 2012 in Frankfurt noch nicht ganz so weit
Herausforderungen fressen Geld. Viele Lösungen
Jeder Projektleiter weiß, dass es ein klares Ziel
werden nur möglich sein, wenn man sich die Kosten
sein sollte, wie von allen Teilnehmern erhofft - es
teilt.
wird sehr viel weiter sein als beim Auftakt in Leipzig.
Allein bei Apps oder enhanced eBooks könnten
Ein rein geselliges Plaudern über die Digitalisierung
beispielsweise aber bei der Entwicklung und
ist nicht möglich. Die Flucht in den Konjunktiv ("man
Darstellung eines guten Storyboards Medizin- und
sollte doch, könnte man nicht") wird vermieden.
Kinderbuchverlage kooperieren, denn die
So werden die Ergebnisse angreifbar. Und fruchtbar.
51
Anforderungen an die didaktische Klarheit sind
einen Plan. Ungewohnt für eine Branche, die seit
dieselben. Viele teure Lösungen könnten durch
hunderten von Jahren ein Produkt verkauft, das
Kooperationen ermöglicht werden, ohne dass man
mehr oder minder gleich geblieben ist. Standard für
das eigene Geschäft torpediert. Die bisherigen
alle, die je digitale Produkte entwickelt haben.
Grenzen werden jetzt auch bei der
protoTYPE ist auch ein gemeinsames Lernen on the
Produktentwicklung und Vermarktung aufgeweicht.
job. Ein In-Projekten-Denken, natürlich vernetzt
Die Teilnehmer kommen alle aus unterschiedlichen
über Facebook, SkyDrive, Twitter etc. Bisher auch in
Bereichen der Branche und darüber hinaus. Und sie
vielen Verlagen keine Selbstverständlichkeit.
erkennen Synergien und schaffen sich ein Netzwerk,
auf das die Branche in Zukunft schon aus Gründen
der Kooperation im technischen Umfeld nicht
verzichten darf.
Projektmanagement und vernetztes
Arbeiten
Know-how aufbauen
Niemand wird am Ende des Projektes dümmer sein.
Jeder hat seine Idee besser durchdenken können,
weil er präsentieren musste und er die Rückmeldung
von anderen erhält. Alle Teilnehmer werden mit
neuen Technologien, neuen Vermarktungswegen und
Unsere Branche ist aufgewachsen mit dem Bild des
damit auch mit neuen Geschäftsmodellen
vertrauensvollen Gesprächs des Verlegers mit seinem
konfrontiert. Auch das hilft, die digitale Zukunft
Autor beim Italiener oder in der exklusiven Villa. Der
leichter zu verstehen, leichter zu bewältigen. Davon
Rest war mehr oder minder Standard.
wird auch der Arbeitgeber profitieren können.
Softwareprodukte, multimediale Produkte sind nur
im Team zu stemmen und deshalb hilft von Beginn
Das Team des Börsenvereins arbeitet hier sehr
an nur ein Vorgehen: gutes Projektmanagement. Es
engagiert und will sich an Ergebnissen messen
braucht Organisatoren und Wadenbeißer, kreative
lassen. Es verfällt nicht in die so naheliegende
Köpfe und Streitkultur, Moderation und Motivation
Lethargie vieler Verbände, die vor lauter Abwägung
und und und. Und der Start ist wichtig. Lieber vorher
aller Interessen der Stakeholder zwei Schritte nach
noch einmal Hirnschmalz reinstecken, bevor man an
links, zwei nach rechts gehen, um in der Mitte zu
das Lastenheft geht und hinterher merkt, dass ganz
verharren und nur ja nicht voranzugehen.
banale Punkte übersehen hat. Man braucht also
Aktuelle Informationen gibt es auf http:/ www.innovation-prototype.de, der Facebook-Gruppe
http://www.facebook.com/groups/innovation.prototype/ oder auf den Seiten des Börsenvereins
http://www.boersenverein.de/de/portal/Forum_Zukunft/175359
52
NEW BUSINESS MODELS VIDEOIMPRESSIONS
Get some new perspectives on how to successfully position yourself
in the markets of tomorrow – provided by our conference speakers
and exhibitors.
He believes the most successful game format is
online playing due to its world-wide accessibility,
and his main concern is to maintain a quality
standard, being the game a result of the
digitization of a book or movie, a form of
advertisement, or whatever else…
Richard Tsao, Managing Director for Ubisoft China
“Give a man a fish and he’ll eat once; teach him
Talk about Crossmedia connecting people globally..!
That’s what the StoryDrive Festival is all about.
how to fish and he’ll eat for life”.
Ubisoft China’s Managing Director strongly believes
in co-operative minds. As he puts it himself, “1000
brains are better than one” and no one knows
better what game players thrive on most than
players themselves.
So he’s convinced that real investment; the future;
is in providing players with the tools to further
eBookPie is an e-book store and developer of
develop user-generated-content.
innovative tools for publishers, such as the
The importance of ‘changing with change’ is best
groundbreaking eBookSlicer and eBookRemixer,
explained at the TOC (Tools of Change) conference.
which enable publishers to instantly slice e-books,
then mix and match content iTunes-like.
Nils Holger Henning, CCO at Bigpoint in Germany
As a CCO, Nils’ main interest is the Customer.
He works at BigPoint: a videogame company, which
makes the Customer the Player.
24symbols is a service for reading and sharing
digital books. 24symbols is to books what Spotify is
to music or Netflix to movies. It is a multiservice,
multi-publisher service that enables users to read
53
in the cloud and via a subscription model.
Since 2007 comiXology has been developing the
technological infrastructure to bring comics into the
digital mainstream and expose new audiences to
the rich history and culture of the industry. Through
partnerships with top comic book publishers
including Archaia Entertainment, BOOM! Studios, DC
Comics, Dynamite Entertainment, IDW Publishing,
Image Comics and Marvel Comics as well as their
own mobile and web apps which host over 16,000
digital titles, comiXology has become a leader in
digital comic book proliferation.
54
IMPRINT
Frankfurt Academy Quarterly / Frankfurt Book Fair
Publisher
Holger Volland, Frankfurt Book Fair
Chief editor FAQ Magazine
Nina Klein
Project editor
Kerstin Rothkirch
Production editor
Frederik Fensch, Leila Jenkins
Contributors
Carlo Carrenho, Katharina Ewald, Harald Henzler, Nils-Holger Henning, Leila Jenkins, Jess Johns, Marcelo
Klein, Nina Klein, Octavio Kulesz, Siobhan O'Leary, Emile Op de Coul, Roger Tagholm, Richard Tsao,
Anna von Veh
Art Direction
Dipl. des. Manuel Rauch
www.manuelrauch.com
Production & Design
Alexandre Vallette, Jouve
www.jouve.com
Media Information
Contact
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Disclaimer
The articles are property of the author. Ausstellungs- und Messe GmbH (Organizer of the Frankfurt Book Fair and the Frankfurt Academy Conferences) is
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