Posts Tagged ‘publishing’
Here are this week’s interesting publishing and media stories. Add your favorites to the comments section.
E-books, E-readers, and Apps
- In Russia, 95% of e-books are pirated. A company has developed an app to stop the trend. All Tech Considered
- Self publishing is big in Germany and has helped Amazon dominate the e-book market. Publishing Perspectives
- E-books are increasingly popular holiday gifts. Forbes
- The Internet is a valuable distraction for this writer. New York Times
- How technology changes language. Prospero
- 18 games for typography fans. Mashable
- 10 surprising social media facts. FastCompany
- 5 tools for identifying online influencers. PR Daily
- Derek Thompson reviews the video sharing site Upworthy. The Atlantic
- The semantics of online advertising. The Guardian
Media and Publishing
- Publishing experts debate the future of the book. Publishers Weekly
- A roundup of independent print magazines and interviews with the editors. New York
- Brief interviews with very small publishers. The Morning News
- Five female writers discuss sexism in the literary world. Brooklyn Based
- Reality TV shows for writers are cropping up around the globe. The Guardian
Lifehack and Business
- How to build a strong team at work. Fast Company
- How to build a balanced creative team. 99u
- 10 brands that changed the world. AdWeek
- Coca-Cola is aiming to kill the press release. PR Daily
Writing and Grammar
- 10 types of writers’ block and how to fix them. io9
- Creative nonfiction subgenres. LitReactor
- On anonymous authorship. Page-Turner
- The import of ALL CAPS. Lingua Franca
- Author, publisher, and Powell’s bookseller Kevin Sampsell talks to Brad Listi. Other People
- Media strategist Ryan Holiday talks to Mitch Joel. Twist Image
This is an excerpt from an interview that ran on The Rumpus. Read it in full here.
When I first saw Concrete Fever on the front table of a local bookstore, I knew it was something special. With e-books on the rise, smart publishers are taking more care to create physical books that are also art objects. With its colorfully-splashed, slightly-ribbed cover, French flaps, and interior illustrations, Nathaniel Kressen’s debut novel stood out among the sea of many new releases.
Kressen, a playwright, screenwriter, and a graduate of NYU’s Tisch School of the Arts, brings to his fiction a love of acting, a knowledge of stagework, and a desire to tell stories without waiting for permission.
We met up at Café Grumpy in Greenpoint, Brooklyn, and talked about Kressen’s experience creating the book from start to finish, the importance of editing, the difference between self-publishing and independent publishing, and what writers can learn from musicians.
The Contextual Life: I saw your book in the store and found myself picking it up over and over again. It’s so gorgeous. It’s well-designed and the textured cover feels so great when you handle it. I immediately needed to know who published it. When I looked on the spine, I saw it was a small press I’d never heard of, Second Skin Books. On closer look I noticed it was you who was behind it. You are also the author. To me, this felt like it was more than self-publishing, like you were taking it to a whole other level. In my mind, it’s more like indie publishing rather than self-publishing.
Nathaniel Kressen: I think that’s definitely a phrase that’s worth noting: independent publishing versus self-publishing. I think the difference is, an author by themselves who can’t wait to get their stuff out to people might not necessarily take the time to edit everything, think about the design and the materials. They’re just so happy about finishing their product they want to get it out to people, which is totally valid, but I think that’s what self-publishing is. Indie publishing is where you do research and look at other small presses. You see what fits what you’re trying to do, what you would like to explore. You make sure it’s edited to a T, no typos. Make it tight as can be. You give it out to people to look it over and give you notes, and then you make the best possible product you can; make something that people will pick up off the table time and time again. That’s what I think the main difference is.
There are a lot of people doing that around this area. I’ve spoken on a couple of panels about indie publishing, at Spoonbill and WORD, where there are a few people coming from the same place I am. Authors who aren’t necessarily writing stuff that’s so outside of what the mainstream wants, but for whatever reason it doesn’t get the initial traction. So we decided maybe we’re chasing the wrong dream; let’s just make this the best possible thing we can, make it look sexy as all hell, and get it out to people.
The Contextual Life: A stage is public. Performing is public. Do you see the novel as a stage? Is there any connection?
Kressen: Recently, I’ve been thinking about novels as physical art objects, with everything from judging a book by its cover to how it feels in your hand; we chose this textured stock because I wanted something that feels really great in your hand. I mean, I’m a no-name author at this point; I need this to be my marquee. You walk by a restaurant and you see a great typeface on the awning and you think, Oh, I bet they have good food.
The Contextual Life: What have you learned about publishing from doing this?
Kressen: Tons. One thing is that it’s accessible. It’s not this monster out there that one day you hope to get into as a writer, that somebody believes in your piece. Nobody is going to fight for your piece as much as you. It’s like anything else. As long as you write the hell out of your book, get somebody to look it over, take notes, and revise it fully, as long as you pair up with a designer who understands your vision and really makes it fly, and as long as you’re willing to work your tail off, go around the stores, talk to people, come up with really unique events, just work tirelessly on behalf of your product, at the same time making new writing because that’s the only way you grow, and just go ahead and do it. Nobody has to give you permission.
As a Publicity Manager specializing in online media for a publishing house, every week I’m required to put together a roundup of links to send out company-wide. Since everything looks like a blog post to a blogger I thought putting it here as well was a no-brainer. So, from here on out, I’ll have weekly link roundups featuring publishing and tech news. Please feel free to share your favorite news and sites in the comment section; I’m going to need all the help I can get!
E-books and Readers
- PM Press in Oakland, Calif., is the first book publisher to bundle free e-books with nearly every one of the physical books purchased on its Web site. Publishers Weekly
- How popular are digital magazines? The Guardian
- Can traditional bookstores survive? A roundup of opinions. The New York Times
- B&N reports a 20% decline in Nook revenue. AppNewser via B&N press release
Apps and Tech
- There’s a new, free scheduling app that breaks down your day into people, places, tasks, and locations. Fast Company
- Best Android Apps for writers. AppNewswer
- This interactive device is threatening to kill the mouse. FastCoLabs
- Four tips for tweeting content. All Twitter
- 10 social media tips from the Financial Times. Journalism.co.uk
- How to use Google+ for book promotion. Digital Book World
- 10 journalism sites and media people to follow on Twitter. PR Daily
- Using multimedia in your tweets increases the chance people will share it. Poynter
- How bookstores promote events today. Shelf Talker
Media and Publishing
- Conde Nast signed a distribution deal with Amazon that is the first of its kind. Conde Nast president Bob Sauerberg said, “We want to go from selling print subscriptions to selling access to all our content.” Fast Company
- Listicles are here to stay, because the kids like them. DigiDay
- Cory Doctorow on improving book publicity in the 21st century (spoiler: know who uses NetGalley). Locus Magazine
- The “Today” show has a new book club. Publishers are happy. New York Times
- A new online and print magazine called The Riveter highlights longform writing by women. Poynter
- What’s up with cover reveals? Beyond Her Book
Writing and grammar
- “Proofreading is the last line of defense for quality control in print and online publishing.” Here are 7 proofreading steps to make sure your writing is up to snuff. Daily Writing Tips
- 9 tips for a better author bio. LitReactor
- What was once called “small talk” is now “conversational intelligence.” Here are five stages of a successful conversation. WSJ
- If you still need help, here are six tips for having productive conversations. Fast Company
- A critical look at Google’s “20% time,” which allows employees to work on hobbies during work. Harvard Business Review
Podcasts and Radio
- What Lady Gaga can teach business about building and maintaining customer loyalty. Twist Image Podcast
- Freelance book publicist Lauren Cerand shares some useful insight. Late Night Library
- Media mogul and teen fashion blogger Tavi Gevinson talks to Books & Arts Daily. Radio National
- Jeff Bezos, The Washington Post, and the Future of Newspapers. On Point
This past week there were a number of articles that addressed the fate of bookstores, mainly announcing their impending demise. While this is nothing new—the topic has become a perennial favorite in the publishing industry now that the Digital Age is in full-scale disruption mode—this latest round struck a chord with me. As someone who spends many of her non-work hours in these shops—browsing, buying, going to readings—I give a lot of thought to the future of the bookstore.
I work for a publishing house, as do many of my friends; many of my other friends are booksellers and still others are authors. Admittedly, I have a stake in the bookstore’s survival beyond mere personal enjoyment.
I’m also aware that by living in New York City, a place teeming with bookstores, I am spoiled and possibly have a skewed view of their place in society. Nearly every one of these stores hosts an author event most nights of the week, giving me and the local community a reason to show up other than to buy a new book. They are a place to congregate, to catch up with friends, and occasionally meet new ones. They’re where you meet your favorite author and listen to poignant conversations among writers.
So, while I praise bookstores for doubling as neighborhood spaces and expound on how wonderful it is to have access to tens of thousands of square feet of books within a 10-mile radius, it would be narrow-minded of me not to acknowledge that there are people outside of my urban area who might not have one bookstore within driving distance. For that reason—among others—I am grateful for online retailers and ebooks.
Many detractors of bookstores often cite the seemingly infinite selection of and ease with which they can buy both print and digital books online as the main reason why bookstores are bound to go belly up. The first article I read was a recent post from Seth Godin. I’m a huge fan of Seth’s and always take what he says seriously, even if it sometimes makes me uneasy, like “The End of Books” did.
The death of the bookstore is being caused by the migration to ebooks (it won’t take all books to become ‘e’, just enough to tip the scale) as well as the superior alternative of purchase and selection of books online. If the function of a bookstore is to stock every book and sell it to you quickly and cheaply, the store has failed.
My argument is that the bookstore is not there to carry every book under the sun; they are there to curate a modest selection based on the demands of the community, the owner’s tastes (more so in independent bookstores than chains), possibly the staff’s tastes, and yes, based on the commercial success of a particular title at any given moment. Many stores, it should be noted, also sell ebooks through their websites and are happy to order a physical book that is not on their shelves.
In a recent episode of the Adventures with Words podcast, co-host Rob Chilver, a senior bookseller at a university branch of Waterstones, a British book retailer with nearly 300 stores in the UK and Europe, shared how he, as a book buyer for the store, decides which titles to stock.
When asked by people how he knows what books to buy he says, “It’s kind of a gut feeling. You get to know your shop. You get to know your customers. You get to know what people buy. … We occasionally get to see reps, these are reps from publishers. They walk you through the catalog, you can ask a few things.” He reads trade publications, pays attention to what’s getting covered in the media, and relies on an internal website where his coworkers discuss books they’ve read and what they’ve enjoyed.
Mike Shatzkin, a publishing theorist who specializes in digital changes in the industry, also discussed the future of the bookstore this past week in his post, “Losing bookstores is a much bigger problem for publishers than it is for readers.” He said:
The obsession with the false dichotomy between printed books and digital ones is beginning to give way to attention for the more important shift taking place between purchasing books online and purchasing books in stores.
… Online book buying — whether print or digital — takes business away from bookstores. So bookstores close or reduce shelf space. That decreases both their attraction and their convenience, which makes online buying increase even more. So bookstores close or reduce shelf space further. (This is called a “vicious cycle”.)
Shatzkin goes on to say that in this new world of online book discoverability—as opposed to the old way where people found books in stores—puts publishers on the defensive where they now have to explain how and why they’re still of value to authors. I can think of many: editors, publicists, sales reps, marketing and art departments, and distribution.
However, the question of physical vs. digital availability is an important one. The future of the bookstore depends heavily on merging the physical showroom with digital technology. Interactive screens where stores maintain their curatorial nature—giving prominent visual space to select titles—but allowing an additional layer for increased selection is something I would like to see. With those screens would come a delivery service where those with ereaders could download books immediate, purchasing them from the store in which they stand. This latter part would be enforced either by blocking competitors’ sites within the store or by the honor code.
A recent episode of the Twist Image podcast addressed online shopping more broadly. Host Mitch Joel spoke with author and “retail futurist” Doug Stephens about the future of retail in our digital world. Stephens explained the impact of pervasive technology on consumer behavior and, in turn, on retail space. Because people can find what they want online he asks what the role of a physical store is now: “Is the job of a retail store still to distribute products? Or is it about distributing brand impressions? Is it about distributing relationships or connections?”
Just this past weekend, The New York Times took a look at the other side of retail development. Technology reporter Jenna Wortham explored in her article “Hanging Out at the E-Mall” one challenge facing online sellers: how to create a social experience.
The Web has yet to duplicate the real-world feel of a mall, where shoppers can pop in and out of multiple stores, easily browsing racks of clothing, display cases of jewelry and shelves of housewares. And online, friends can’t join you in a dressing room to help you avoid buying fashion faux pas.
Jenna highlights the problem of online discoverability and shows how a new crop of entrepreneurs are attempting to remedy it:
as more companies and shops migrated to the Web, it became harder to find cool, stylish and quirky items, giving entrepreneurs an opening. … The [new] shopping sites do not sell one type of item or good — instead, they mimic a bazaar where people can browse through bins at their leisure. … In addition, most social shopping sites let their users find and follow their friends and favorite brands or shops, which creates a feed akin to those on Instagram, Twitter or Facebook. The feed is filled with new items that they might like to buy.
It’s often said that with disruption comes innovation. Do I think bookstores need to get creative if they’re going to survive, let alone thrive, as we become increasingly digitized? Absolutely. Are they doomed? I’m not ready to concede that just yet. I like to believe I live in a world that values in-person interaction and that readers, although a group known for its introversion, sees the benefit in moving these spaces into the future.
**Disclaimer: I work in publishing but am not a spokesperson for my company.