In a move that defies every NSFW comic stereotype, the German Publishers & Booksellers Association has been told by the country’s Youth Protection Authority that all digital publications aimed at an adult audience can now only be sold between the hours of 10pm and 6am, effectively instating a watershed comparable to the transmission of adult material on British television after 9pm. When submitting ebooks to digital stores, publishers will now be met with a metadata entry field asking them to specify if the book should be classified as being specifically for adults. If so, the title will only be visible on digital retail sites between the designated hours.
Posts Tagged ‘ebooks’
This is an interview with Blanca Rosa Roca, speaker at BookMachine Barcelona on 26th February. Blanca (
@RocaEditorial) is the founder and director of Roca Editorial, set up in 2003, by five professionals with substantial experience of publishing. Here Maria Cardona (@mmcardona) finds out more about the publishing house.
1. Roca is a medium-sized Spanish publishing house with a particularly strong digital presence. What are you planning at the moment, and what do you foresee happening in the near future?
Like other Spanish publishers, we have been affected by the recession. However, although sales of print books are down, we have witnessed double-digit year-on-year growth in digital revenues.
In what’s turning out to be quite the week for internet-based publishing innovations, Amazon has brought its Kindle Unlimited service to British shores. The subscription service, billed as a literary equivalent to Netflix and Spotify, allows users unlimited access (as the name implies) to over 650,000 Kindle books and an extensive library of Audible audiobooks for £7.99 a month (at current exchange rates nearly £2 more, incidentally, than the $9.99 a month charged by the American service, which launched earlier this summer). Amazon is offering a free 30 day trial of the service to all those who sign up.
Penguin Random House today launched My Independent Bookshop, a combination social network and e-commerce platform that hopes to benefit independent booksellers whilst providing a virtual counterpart to browsing their shelves. The site allows users to create their own ‘bookshops’, selecting 12 titles they would recommend to others and giving them space to tell other users why, hoping to capture the feeling of a personal recommendation that might be found in brick and mortar bookshops, outside of the standard Amazon algorithms. Those 12 titles can be rotated as often as desired, and the bookshop containing them can also be personalised to users’ own tastes.
One of the more common complaints of those who have held out against eBooks thus far is the comparative difficulty (and subsequent lack of charm) of presenting a book as a gift digitally rather than physically. Gift an eBook, however, launched this past week, is a venture that aims to level the playing field between the two.
Clearly feeling threatened by others edging in on its whole ‘selling books at unsustainably low prices’ thing, Amazon has started to price-match Sainsbury’s October e-book promotion, which sees the supermarket selling a shifting variety of popular titles digitally for 99p each. The promotion, which began last week, features a selection of one day only special offers that changes every weekday, alongside a stock of dozens of other titles that will remain at the reduced price for the whole month. Yesterday’s (October 9th) daily titles included David Mitchell’s Cloud Atlas, Sarah Winman’s When God Was A Rabbit and John Banville’s Booker-winning The Sea, all of which were subsequently brought down to 99p on Amazon too. The title with the largest discount was Bridget Asher’s The Provence Cure for the Brokenhearted, down £6 from its usual Sainsbury’s retail price of £6.99.
‘I do not like my books in print
I do not like having to squint
I only read my books on Kindle
Anything else seems like a swindle’
…might be the weird Green Eggs and Ham-influenced manner in which a particularly bright yet techno-snobbish child would care to tell the world that it had not yet been exposed to the iconic works of Dr. Seuss due to their only being available in print and not digitally. Although in that case, if it hadn’t actually read the book, how would it be able to make a reference like that? Let’s not think too deeply about this. The point is, as of this month, Random House will be filling a void in that delightfully uppity child’s life, with the first batch of a planned 41 digital releases from the erstwhile Theodor Geisel’s bibliography.
The phrase can’t see the wood for the trees is most often used in a reflective situation framed by the word ‘I didn’t, or ‘we couldn’t’, rather than ‘we can’t’ or ‘we don’t’, because it’s generally only after we mess something up beyond repair that we realise we were focussing on a small and perhaps unimportant element of a larger whole the entire time.
It’s difficult in publishing, perhaps, to identify what constitutes the wood and what are the trees. Bookshops, authors, readers: all these avenues vie for the top tier of our attention, and at different points someone is always willing to tell us which of them are the most important to our business and how. But when I think back to why I got into publishing in the first place, the thing that remains are the stories.
I do love a good first. The first t-shirt day of the summer; the first beer on a night out; the first time you wear a new hoodie. Last week saw the announcement of the first digital-only literary list in the UK, Blackfriars from Little, Brown. The list promises to curate 9 to 12 titles a year from new or established authors, and is launching in June. Now there’s a first to get out of bed for.
In the last two years, a lot of publishers have been buying into self-published ebook successes in a big way. There’s the Amanda Hocking trilogy, John Locke (the first man to really “crack” the KDP system and sell one million kindle ebooks), 50 Shades of Grey, and, quite recently, Wool by Hugh Cowey to name a few of the main deals. Some of these have earned seven-figure advances, something debut authors would only dream of. But are they worth it?