Who’s the Villain?

Today, we’ll revisit the infamous Amazon vs. Hachette dispute. The usual consensus seems to be along the lines of, “we don’t know what will happen, but it will assuredly change the face of publishing.” This statement might seem like a blinding flash of the obvious to some, but losing the status quo is fairly significant.

Back in 2006, when Elizabeth started graduate library science school, she showed me a video that predicted what the internet would be like through the next six years. I’ve tried for a while to find it again, but I can’t–so I’ll just have to describe the parts I remember best. It correctly predicted Twitter, smart phones, and e-books, as developments in the near future (2007 – 2008ish). I don’t think any of these things would be considered a far stretch of the imagination. After all, Twitter was founded in 2006. But I think the video gets some credit for calling how integrated these services would be in our daily lives.

By 2012, they had predicted large media corporations would merge, in order to survive the disintegration of their traditional platforms. The New York Times, for instance, was predicted to merge with Amazon. At some point there would be a lawsuit that would pit old world versus new world, and then the video ended.

In a battle of “old versus new”, it’s typically the new we’re rooting for, particularly in the tech world. Firefox, for instance, won a lot of cheers as it began to nip at Internet Explorer’s market share. But the Mozilla team resembled the Rebel Alliance defending themselves against the great empire that was Microsoft. It’s easy to cheer for the little guy, especially when they haven’t grown large enough to have any power to abuse.

Amazon and Hachette, however, are two giants, and neither with pristine names. I’d imagine it’s easy to pick Amazon’s side in the library world. Elizabeth commented the following a few weeks ago, and worth noting if you’re in the habit of checking out e-books from your local library:

They include congestion, nausea, free samples cialis headache, blurred vision, and stomach ache. The effect of tadalafil may last up to 36 hours following devensec.com discount levitra purchase dosing. Generic medicines are much more affordable than brand name medicines (such as: viagra generic uk , levitra, purchase levitra online and much more), and drastically reduced prices. It has a tadalafil cipla 20mg number of benefits than over the other medicines.

I think the idea of libraries offering e-books is scary to publishers, and they don’t really know how to sell e-books to libraries – they’ve had to come up with a process/structure to do so. I did get an e-mail from one of the other librarians in our e-book consortium saying another publisher has signed on with OverDrive and thus will sell e-books to libraries, which is good news. I still am seeing an embargo with some authors – I can buy last year’s book by him or her for the library as an e-book, but not this year’s. I assume this is because publishers are afraid of losing paper book sales if they sell e-books to libraries. By the way, some e-book bestsellers cost $12 if an individual buys in on Amazon, but $80 for a library to buy the same title through OverDrive. [rest]

While disappointing, it’s hard to blame publishers for resisting new technology. New tech means new risks, and publishing doesn’t exactly have a history of easy profits. Current practices are to treat e-books like print books. Did you know library e-books expire after so many checkouts, supposedly to simulate “wearing out”? From a price and dollars per reader standpoint, it makes sense. From a practical standpoint, simulating physical limitations seems to defeat a primary purpose of electronic text. I think what we’re seeing is publishers trying to come to terms with the changing face of publishing, from the perspective of the only world they knew.

In light of the above, it’s easy to view Amazon as the champion of freedom of expression. But Amazon has a near monopoly on e-books, and it’s record isn’t exactly clean. Books are also expensive to produce, and the cost of printing isn’t as much as commonly believed. The argument for cheaper e-books is that there is no print or warehousing overhead. However, this doesn’t save as much as one may think. The cost to print An Ember in the Wind, for example, is about $4. So where does the rest of the list price go? I earn about a dollar for each copy sold. The rest goes to the various distributors and wholesalers, including Amazon, B&N, etc. I could price the e-book about $2-4 less, and earn the same revenue. Coincidentally, I pulled up a few random books on Amazon, and the e-book prices were about $2-4 less than the paperback–new releases aside. Let’s also not forget we’re talking about revenue. Authors, editors, marketers, etc., don’t work for free.

It seems that the battle lines have been drawn between traditional and self-published authors. I wonder how many of these groups are asking how their own “side” can see the other’s point of view. It’d be a shame to see this issue divide the literary community, although I’m not surprised that everyone will support the party they view best serves their own interests, and turn a bit of a blind eye toward its faults.

Fortunately, civil discourse is the American way. Don’t forget to vote this November.

Not About e-Book Prices

I received an email from Amazon not too long ago, asking me to write a letter to Hatchette, urging them to lower their e-book prices. Normally I’d populate the next line with links, but I’ve had a hard (but not impossible) time finding neutral viewpoints–so here’s the Colbert Report’s.

The email I received from Amazon was on the order of 2,000 words (!). Here’s the most relevant snippet.

We recognize that writers reasonably want to be left out of a dispute between large companies. Some have suggested that we “just talk.” We tried that. Hachette spent three months stonewalling and only grudgingly began to even acknowledge our concerns when we took action to reduce sales of their titles in our store. Since then Amazon has made three separate offers to Hachette to take authors out of the middle. We first suggested that we (Amazon and Hachette) jointly make author royalties whole during the term of the dispute. Then we suggested that authors receive 100% of all sales of their titles until this dispute is resolved. Then we suggested that we would return to normal business operations if Amazon and Hachette’s normal share of revenue went to a literacy charity. But Hachette, and their parent company Lagardere, have quickly and repeatedly dismissed these offers even though e-books represent 1% of their revenues and they could easily agree to do so. They believe they get leverage from keeping their authors in the middle.

We will never give up our fight for reasonable e-book prices. We know making books more affordable is good for book culture. We’d like your help. Please email Hachette and copy us.

Please consider including these points:

viagra without prescription Liberation angioplasty is a good way to get rid of CCSVI efficiently. The most common thing buy generic cialis one in a busy routine does maybe sitting all day without any movement and exercises. This meaning, that the DHT within a Proviron cycle will deliver all the bad and all the good that best tadalafil prices DHT has to provide the bodybuilder with. The market is inundated with replicas and cheaply manufactured copies of erectile dysfunction medicines and is sold as cialis soft canada is a drug used to treat erectile dysfunction or impotence in young male personalities. – We have noted your illegal collusion. Please stop working so hard to overcharge for ebooks. They can and should be less expensive.
– Lowering e-book prices will help – not hurt – the reading culture, just like paperbacks did.
– Stop using your authors as leverage and accept one of Amazon’s offers to take them out of the middle.
– Especially if you’re an author yourself: Remind them that authors are not united on this issue.

should have an opinion on this. At least, that seems like a reasonable expectation. But, I don’t. Perhaps I don’t feel like I really have a stake in this. After all, whatever happens, I’ll keep doing what I do.

The changing face of publishing has been a recurring topic on this blog, but it seems like we’re watching two giants fight over the last piece of apple pie, rather than someone figuring out how to cook something new.*

The more interesting question, to me, is who’s going to enter the arena while these two giants are focused on each other. The Kindle has been around for several years now… more or less “forever” in “tech years”. Will someone new sneak in?

* I’m hungry. That’s the best analogy you’re getting.

Creating a Book Interior with Open Source Software

Something I wish I had back when I was putting together the physical and electronic versions of A Foundation in Wisdom was a good run-down of all the free and open source software tools out there.

Why free and open source? There are countless economical and philosophical arguments out there. I’m not going to stand on the soapbox, though. I don’t even have strong feelings on the issue to begin with. I don’t mind paying for closed-source software if I feel I’m getting a good value and support. I just happen to like the FOSS alternatives more than their proprietary counterparts.

But there are others out there who feel strongly about software ethics. Some of us prefer community-support over proprietary support systems, some of us want tools we can tweak, and some of us just want to try to save some money. For all of us, here is a quick guide on FOSS publishing tools.

This is a “living document” of sorts, so if you have your own contributions, please feel free to leave a comment with your suggestion. So that it’s not one big list, I’m going to break down the guides into components of a book.

First up:

 

Constructing a Book Interior

 

Scribus: I’ve seen it described as a solid alternative to Adobe InDesign. It’s a great all-around publishing tool, which can be employed to design anything from books to newspapers and magazines.

I’ve heard it can be used to make interactive presentations and PDF files with animations. I haven’t explored that yet, but I think that would intrigue anyone interested in exploring “hybrid books“.

 

InkscapeIf you’re working on a graphic novel, Inkscape would be a great tool to have in your box. Inkscape is a well-maintained vector graphics editor. Coupling Inkscape with raster graphics editors such as The GIMP, Krita, and/or MyPaint would give you just about everything you need to create digital comic pages with original art. Of course, everything you need to import hand-drawn would also be available.

Useful reading: Comic Making in MyPaint, GIMP, and Inkscape.

 

Anything is possible cheapest viagra prices nowadays with the Internet. loved that online viagra All these forms are available in different dosages 25mg,50mg,100mg,130mg,150mg & some companies also it in 200mg per tablet. Here is a short description on how the tablets work in a very similar way as viagra generico uk or any other medication. After many years ordine cialis on line learningworksca.org of clinical validation, fuyan pill have effective treatment effect on the above symptoms.

LibreOfficeThe standard office suite that ships with many Linux flavors. For those of you used to Microsoft Office products, LibreOffice should prove friendly. On the downside, I haven’t heard good things about the quality of the output of any of the standard word processors.

Word processors operate under the “what you see is what you get” (WYSIWYG) model. But what if what you get isn’t what you want?

 

OpenOfficeLike LibreOffice. There are some differences, but I gather most are political.

 

TeX / LaTeX: My own preferred tool, LaTeX is standard in the mathematics community. This is primarily due to its superior mathematics typesetting abilities. I’m planning to write about TeX in a standalone post, because its the software I have the most experience with.

The upside – it’s very powerful and versatile. It can easily be used outside of the mathematics world. It was the system I used to create the interior of A Foundation in Wisdom. TeX operates under the “what you see is what you mean” model, and is highly configurable.

The downside? It has a steep learning curve – perhaps the steepest of all the software tools I’ve listed.

 

As always, please feel free to add your own suggestions in the comments!