Unless the Apple Tablet becomes a reality, I think there is going to continue to be a market for dedicated e-readers, mostly because it is impossible to read large amounts of text on a smaller screen.
Emphasis added by me.
What century is Om Malik living in again?
The data in this report is computed from a sample size of over 2,500 applications …
Um, what? There are near one-hundred thousand in the App Store.
In October, one out of every five new apps launching in the iPhone has been a book.
But what kind of book? If it’s the tenth incarnation of Think and Grow Rich, it’s meaningless!
Book-app maker eBookApp.com charges nothing to create apps that help authors and publishers promote books through the App Store but receives 50% of sales of books sold through the apps.
The thing about these places is, in some — if not all — cases, they are listed in the App Store as the publisher, not you. This could also mean having to go through that intermediary in order to do things like promotional price changes and other modifications to the App Store listing.
In most cases, the days of monstrous advances are over. Publishers can’t afford them and the few superstar authors who can command them will at some point recognize their ability to self-publish and distribute far more profitably (and quickly) than their current publishers can. Stephen King is a brand. Nora Roberts is a brand. They don’t need a publisher’s imprimatur or antiquated logistics to sell truckloads of books. Those folks will be fine.
By the same token, writers who do not rely exclusively on income to pay the bills can also self-publish. Tools and services are readily available and mostly easy to use so that the aphorism, “We’re all publishers,” is true. Some will use self-publishing as a stepping stone to more traditional publishing. Others will master it and create work comparable to the best traditional publishing has to offer. A thousand flowers will bloom.
In Comments there, someone brought up the “price vs. value” argument. Like Moriah Jovan, I bit my tongue. Here, I don’t have to: Look at real estate, what is that telling you? And there’s this:
In theory, price should be a consequence of the value people attach to something. We should be willing to pay what we think something is worth. In practice, this causality runs backwards. The price that is demanded for something makes us value it more.
Blind taste tests have long alerted us to the fact that consumers do indeed “taste the brand” with many food and drink products.
However, behavioural economics has gone further.
– Studies have shown that the efficacy of a soft drink that claimed to help mental acuity was affected by price. People who paid more for the drink performed better on mental acuity tests, benefiting not just from a trivial taste effect, but apparently gaining extra mental powers.
– Similarly, people who paid more for the same over-the-counter pain- relief products reported more effective pain relief despite price being the only variable.
– The effect is also observed with cultural products. In a notorious example, a violinist who could sell out concert halls above ground struggled to gain a few dollars underground busking in the subway. The context determined the value.
Price-cutting can, and does, reduce perceptions not just of product quality, but of experienced efficacy.
Emphasis added by me.
The race-to-the-bottom pricing for eBooks will doom them. If you haven’t read Predictably Irrational, buy it today and schedule it to read for this coming weekend.
I do know that if you live by a few simple principles, no matter what trend, tool or technology comes next, you will have a good chance to succeed. By keeping the following words and concepts in mind, you’ll be able to navigate whatever twists and turns lie ahead for you and your brand.
And three words to live by too: Never sell out. Plus this advice.
The ePUB Format for E-Books – Everything You Wanted to Know
Under How to Create ePub eBooks he has spectacularly ridiculous advice. All you need to know is Atlantis, period.
With people reading more on electronic devices, extra information doesn’t have to be static.
Precisely why digital books will win and ePub will die.
3. Higher refresh rates. Electronic ink has gotten a lot faster since my first Sony Librie, but it’s still not good enough and I continue to find the pageturn flash distracting. So will most mainstream users.
Not just that, but its limitations too. Just let them get a glimpse at a Vook and they’ll want that capability.
One of the ways to react is to develop vertical niches in product categories where you are, as Dominique Raccah put it at TOC, “Essential to the conversation!”. A vertical niche is a community organized around a particular type or genre of content, for instance, Irish History, Military History, Science Fiction or Cookery. I’ll leave it up to you to find the niches and communities that suit your market, you might even decide that you can do better than the existing ones (if there are existing ones), or indeed you may need to create some because they do not exist yet.
Months ago, I would have agreed with that. However, there are already so many niche publishers that are well-known. I believe that brilliant Ayn Rand observation: “The smallest minority is the individual.” Thus, Stephen King, James Patterson, Tom Clancy, create their own niches. When writers such as those — or others on the edge of similar prominence — break away from the dying dinosaurs of print, the rupture will be irreparable. I don’t see the current in-denial snobs of print rallying around to promote writers. They haven’t and they won’t. Ask any Hollywood director how they had to hustle to score — and they’ll tell you the bottom line is the bottom line: money talks. No studio (“publisher”) promoted them or rallied behind them. This is the future of publishing in one — literally one: the writer. And there’s this too:
Large trade publishers can’t afford to develop a deep understanding of a market that won’t support the salary of the editor assigned to learn it.
Ah, welcome to the nightmare world of Jules Verne’s Paris in the Twentieth Century — a book everyone should read for what’s up ahead.
Unlike many London publishers, Tindal Street Press always has launch parties and knows that a band of loyal supporters will turn up and buy books. There’s a ready-made local market with regional newspapers and radio programmes willing and keen to do interviews. I suspect that many authors with big publishers do not necessarily receive as much publicity or even sell more books.
Notice: this is a small publisher. They choose what they like, what they think will matter.
People can then follow those lists, which really is more like “bookmarking” them, as they do not appear in your Twitter stream. Those lists in turn keep track of how many “followers” they have, and you can see how many people “follow” the lists you create.
There’s a lot here about Twitter lists I didn’t know.
Jane Friedman is on Twitter via her OpenRoadMedia account.
And Dave Winer has created a Twitter List Browser.