lunes, 19 de noviembre de 2012

Bringing EPUB to life

I participated in a fantastic demonstration of the new XQuire CCMS and continue to be amazed by some of the killer-app features in the product.
XQuire is a component content management system meant to unify the print and digital strategies of publishers. Much like the name implies, XQuire brings content management to the component level, allowing metadata annotation, re-use, and versioning on sections, images, figures, tables, even assets such as video and audio.
However we've seen that before. What really impresses me about XQuire is how it brings EPUB to life.
In the demo today, I watched as the team dropped in a Word manuscript and it was converted into XML and modified as EPUB in a web-based editor. From there, Lu Doan dragged various assets from the sidebar directly into the EPUB including images, audio and video. Within seconds, what was once a manuscript in Microsoft Word was an interactive EPUB.
To me, this is the future of publishing - the ability to leverage the power of XML without exposing it to users, enabling users to move content quickly through the editorial and production process and produce both print and digital products in multiple container formats.

lunes, 17 de septiembre de 2012

What is XQuire?



Designed to unify your print and digital strategies, XQuire is more than just content management. XQuire is a full publishing solution encompassing print through current and future digital formats.  It’s a flexible platform to streamline the execution of your print and digital strategies.  XQuire is truly a Component Content Management System (CCMS).

Below is a list of benefits of XQuire.  The goal here is to answer the question of "Why use XQuire?" in laymen and simple terms. We want to show and convey the benefits; listing features out will be in a different part.  

Why use XQuire? (list of benefits)
  1. Get your books into your reader’s hands faster.  Increase efficiency and streamline your editorial and production workflow with our automated workflow tools.
  2. We adapt to the way you work.  Our automated workflow tool is flexible and customizable.  It’s built to conform to you.  
  3. Easily manage and leverage your assets.  We securely store your content in native ePub and XML in our intelligent storage system.  Everything is indexed for fast and easy access. 
  4. Generate more revenue from your content.  Our multi-channel publishing feature enables you to instantly convert your existing and future books into multiple formats for distribution and sales. 
  5. Monetize your existing content and assets.  Weather you are creating another edition or a totally new book, our Reuse feature enables you to create new books from your existing content. 
  6. Easily edit your content.  Make a small change or create a new book from your existing content, our online content editor will make it a snap.  It’s robust but easy to use.  In simple mode, it’s a WYSIWYG editor intuitive enough for anyone to use.  For advanced users, you can turn on Code Mode and edit the XML directly. 
  7. Maintenance free; no IT needed!  You focus on publishing and leave the hassles of software development to us.  In our hosted solution, we handle all the aspects of maintaining and enhancing the platform.
  8. A platform that grows with you.  Leveraging industrial strength enterprise technologies like Mark Logic, our platform is designed to scale with you.  Our platform solves Big Data challenges for publishers.  Flexible and adaptive, our platform is architected to integrate with new technologies as they emerge.



miércoles, 22 de agosto de 2012

New Digital-First Publisher Aims to Bring French Classics to English-Speaking Audience


“If we love it, we’ll translate it.”

New York, NY – A new French-to-English publishing company, Le French Book, is launching its first books, starting with three exciting crime fiction titles. This digital-first publisher has set out to bring France’s best mysteries, thrillers, novels, short stories, and non-fiction to new readers across the English-speaking world. France has a very vibrant creative culture—in September nearly 426 French novels will be published. Yet few are translated into English.
“I couldn’t stand that so many good reads were not making it to a larger audience,” Anne Trager says. “As you can see on our website http://www.lefrenchbook.com, our main focus is to publish exciting commercial fiction, starting with prize-winning, page-turning
fiction. Le French Book is about good reads as much as we are about France. We are a bridge to the good, entertaining writing that is coming out of that country today.”

Le French Book’s first three books are:
- The Paris Lawyer by Sylvie Granotier, a prize-winning psychological thriller that doubles as a legal procedural.
- Treachery in Bordeaux by Jean-Pierre Alaux and Noël Balen, a classic whodunit set in French wine country, made for television in France.
- The 7th Woman by Frédérique Molay, a police procedural that won one France’s most prestigious crime fiction awards and was voted Best Crime Fiction Novel of the Year.



Digital Book World Debuts E-Book Best-Seller List


Confused and bewildered by too many e-book best-seller lists that don’t seem to be connected to what actually seems to be selling?  Digital Book World has built its own E-Book Best Seller-List, powered exclusively by Iobyte Solutions, with the goal of giving publishers “a better view of what is actually happening in the e-book marketplace than they already had.”
The methodology used to create the list was designed to address some of the problems seen with current e-book best-sellers: One-hit wonders, the lack of differentiation between $0.99 e-books and $12.99 e-books, and noaccounting for which publishers are actually selling the most e-books.
So instead, the list measures sales rankings over a week’s time to reward books that are on best-seller lists every day of a week versus just one day. The list also shows price, and has four separate lists that organize all the books into price categories. And, the list also shows the publisher, so that the industry can keep track of which publishers are selling the most e-books and how they’re doing it.
The basic methodology?
  1. Best-seller rank observed from five of six top retailers (Kindle, Nook, Google, Kobo, Sony).
  2. Lists observed for seven consecutive days (Sat.- Fri.)
  3. Each appearance on a list gets an unweighted score based on the ranking.
  4. Ranking scores are logarithmically determined (i.e., top scores are much more valuable than lower scores).
  5. Each retailer weighted by approximate market share as determined by the editors of Digital Book World and Iobyte Solutions.
  6. Additional appearance credit is awarded for appearing on multiple lists.
  7. Combines scores for the week determine final score for each title.
  8. Titles are ranked by final scores and also grouped into sub-lists by price (four separate price-band lists:  $0 – $2.99; $3.00 – $7.99; $8.00 – $9.99; and $10.00 and above).
  9. Minimum price that appeared at any point during the week on any retailer is used to determine price band (assumption is that low price is an importantdriver of ranking).
“As a combined list of all the retailers,” said Dan Lubart, managing partner of Iobyte Solutions, it gives as unbiased a view as possible as to what people are really buying. By taking a weekly view, this list will smooth out the one-day sales spikes from the daily deals and reveal the true best-sellers.”
The list will be published on www.digitalbookworld.com and delivered via the Monday edition of the Digital World Book daily e-newsletter. The debut list, for August 11-18th, included only three titles priced for less than three dollars, and only four from publishers other than the Big Six — the six largest publishers: Hachette, HarperCollins, MacMillan, Penguin, Random House and Simon & Schuster. Last week’s sales also reflected the continued demand for theShades of Gray trilogy, although Book One has given way to Gillian Flynn’s Gone Girl (Random House) in the No. 3 position.
Jeremy Greenfield, Digital Book World’s Editorial Director told Publishing Perspectives, “We believe that publishers, authors, and agents need to have more insight into what’s actually selling. The best-seller lists that are out there currently are more useful to consumers than to publishers. By considering price, we are showing publishers where the competition is in the markets that they focus on. And we believe that in the coming weeks and months that this bestseller list will give publishers clarity on what is actually selling in the market and ultimately help them make them better decisions, specifically on what books to publish and at what price.”
  • See the $10 and up list for the week ending 8/18 here
  • See the $8 to $10 list here
  • See the $3 to $8 list here
  • See the $0 to $3 list here
  • See the overall list here

martes, 24 de julio de 2012

At play in fields of tablets




One of the interesting trends this summer has been the ramp-up of interest in Google’s new tablet, the Nexus 7. Its launch portends far greater fireworks to come. Google has already sold out of its initial stock of the 16 GB version, and is shipping its remaining 8 GB tablets at a fast clip. The tablet, released with the newest version of the Android operating system called Jelly Bean, has received almost unanimously positive reviewsfor its functionality and responsiveness. Its 7″ screen size seems to hit a hand-holdable sweet spot between Apple’s 10″ iPad and large “phablets” like the HTC One X and Samsung Galaxy Note 2, which sport 5″ or 5.5″ screens.
The Nexus tablet was released as a portal device to Google Play, Google’s media catalog roughly comparable to Apple’s iTunes and Amazon’s more chaotic we-sell-everything online store. Early write-ups of the Nexus 7 almost inevitably describe the Google tablet as everything the first generation Kindle Fire tablet should have been – it has better construction, a more fluid user experience, a more open store, and more impressive technical specifications. The comparisons are fitting; Google is not releasing this tablet simply as a Jelly Bean showcase. This is an arms race of dreadnoughts among emerging technology superpowers.
The leaders of today’s tech hegemony are unleashing a “network industrialization” that is creating a new internet-based infrastructure for the global economy. Its core companies have rapidly converged into a homophily which would have been difficult to predict even a year ago: Apple, Amazon, Google, and Microsoft all present comprehensive, consumer-facing content distribution platforms. They have developed more or less self-contained content catalogs, e.g., iTunes and Google Play, that span films, games, music, and books; all have developed or adopted a competitive mobile OS (Apple’s iOS; Google’s Android, also adopted by Amazon; Microsoft’s Windows 8); all have released tablets converging on the 7″ and 10″ form factors; and all have released or are rumored to bereleasing mobile phones. All of them benefit by driving as much network traffic back to their own services as they can – thus, e.g., Apple’s developing its own mobile mapping services, dropping Google’s.
Placed in the context of publishing, this makes Google a critically interesting entrant in the tablet wars. Google has not heretofore made a big splash in digital book sales, although it has long been deeply engaged in publishing for years through its Google Book Search program, which has seen several iterations and re-brandings, not to mention a few “minor”legal skirmishes. Indeed, Google rather ingloriously pulled out of its partnership with independent book stores recently, leaving a market opening that others, like Zola Books, are racing to fill. Yet every indication suggests that books are integral to the Google Play release; as The Verge’s Tim Carmody notes, all of the Nexus 7′s most prominent competitors are reading tablets.
Chief among them is Amazon, whose Kindle store has garnered a significant lead in the market for ebooks and e-ink based reading devices. Despite their congruence on comparable economic strategies, Google and Amazon have strikingly different imperatives. In fact, at the Internet Archive where I work, when we think about which of the giant technology companies is most often on “our side” on critical policy issues, we almost inevitably come back to Google, despite our contention in the GBS settlement litigation. Built into Google’s DNA is an abiding commitment to open standards that is not apparent at Amazon; Apple’s support of open standards is strong but conditional on its own corporate advantage. For Google, open standards are a self-definitional element of corporate culture, and often crucial in its legal and policy positioning. Although it does not always choose open standards over narrower corporate goals, it is biased to do so.
And this is why it is really interesting to watch Google maneuver with the Nexus 7 tablet in digital books and other media content. Apple has dominance in general purpose mobile devices, but Amazon is pre-eminent in non-music content sales. For Google to challenge Amazon is a clash of more than just two big technology companies: it is a clash of corporate priorities. Google is far more likely to endorse open metadata and content standards like EPUB3 than Amazon; it has also made strong contributions to discovery standards within BISG and other industry bodies.
The dominance of technology in book retailing has deep ramifications for publishers; for example, direct to consumer sales efforts are not likely to generate significant return in general trade, although building strong reader-oriented communities may pay dividends in market intelligence. Most critically, if publishers are invested in an open competitive marketplace for books, they would do well to think about their relations with the dominant companies driving media sales. If I were in their shoes, I would seek strong contractual ties with Google and other companies more likely to parallel my strategic interests, and carefully evaluate more parochial complaints over issues such as price maintenance agreements.

If you are a peripheral country, there’s little to gain in encouraging conflict over extraction rights; the main battle is taking place on the high seas. Rather, be a shipyard for the most liberal colonial power.



jueves, 19 de julio de 2012

A New Form of DRM: A Legal and Pragmatic Solution for Protection of E-Books


For those in publishing, the current big issue in digital rights managements is pretty simple: How can we protect our ebooks with effective DRM while freeing them from being trapped in the closed ecosystems of specific reading devices?
The first obvious question is, would publishers see major losses due to copying and distributing of ebooks that do not have DRM?
Many would argue no. First, DRM is easily cracked. Anyone bent on making a copy and sending it to a third-party will do so regardless of DRM. Second, Apple has demonstrated that publishers don’t need DRM. When iTunes first launched, all files contained DRM. Sometime in the past few years Apple quietly dropped DRM. Rather than diminishing, the market for music through legitimate channels continues to climb.
Thus, there is a good argument that the ebook publishing world can go “non-DRM” without suffering any major losses. Pottormore is famously doing so. In January of this year, Anobii CEO Matteo Berlucchi gave a speech at Digital Book World suggesting that major book publishers should abandon the use DRM.
On the other hand, publishers have a legitimate concern for how they might protect works from copying en masse by counterfeiters or distribution through resale, rental or other aftermarkets. In order to protect their works in this class of infringement, publishers will need to rely on the Digital Millennium Copyright Act (“DMCA”). In order to rely on the DMCA, the publisher must have either technology that is circumvented or copyright management information that is removed. And therein lies my solution.

A Legal Solution
What ebook publishers really want to prevent is large-scale file sharing. This is not stopped by DRM. In fact, DRM is futile against large scale file sharing. So, ebook publishers should look for enforcement mechanisms against the intermediaries of large scale file sharing.
There are legal mechanisms for permitting enforcement against used ebook stores, as well as other forms of sharing, renting and reselling of ebooks. The solution that I propose is to use a combination of the existing DMCA rules in order to give a level of protection that is minimally necessary to enforce against used ebook stores, resellers and rental markets.
Publishers need not be afraid of stepping outside of book reader software and devices. In fact, the insistence on heavy DRM by publishers has unwittingly given Amazon power over the ebook market that publishers now regret. Customized DRM on Kindle devices creates a closed system that locks readers in to one retailer, which is potentially far more dangerous to the ebook publishing industry than the threat of piracy, in my opinion. We can free ebooks from DRM software and corresponding hardware and use existing legal mechanisms for enforcement against the worst copyright breakers.
The solution proposed is to create ebooks (in ePub or even PDF) with a watermark randomly placed throughout the book (visible and invisible). The watermark would contain the personal information of the customer who purchased the ebook and a warning not to resell, or distribute the book in any way. The user who purchases such a book will agree to terms and conditions (i.e. a “clickwrap”) that prohibit copying and distribution, as well as a statement that the consumer’s personal information will be prominently displayed on the book as a deterrent from distributing or copying in violation of the agreement.
The point of making a watermark that shows the user’s personal information is to create a disincentive for the user to pass the book along to unknown third parties, deputizing the user to act as a gatekeeper, protecting the book from wrongful distribution. If a file-sharing service or ebook reseller removed the watermark, it could be a violation of the DMCA Section 1201.
The watermark of the personal information could also have the publisher’s serial number embedded. Doing this creates an additional remedy under the DMCA Section 1202, which prohibits the removal of “publisher information” such as serial numbers. (Hat-tip to Cory Verner, who came up with this part of the mechanism. Verner is president of eChristian, Inc., an Escondido, Calif.-based Christian audio-book retailer. He has filed a patent application for the idea.)
The DMCA provides a variety of protections for digital works, such as Section 1201, which prohibits the “circumvention” of “a technological measure that effectively controls access to a work protected under this title.” The DMCA also prohibits the removal of copyright management information (“CMI”) under Section 1202, which includes the work’s title, author, and the copyright owner, as well as certain other “publisher information.”
What makes this “DRM” unique is that the removal of the watermark would likely violate the DMCA’s prohibition on circumventing a technological measure as well as the removal of “publisher information.” While the case law is not clear that this would be considered a circumvention, I present a novel rationale for applying Section 1201 of the DMCA to removal of a watermark.
In previous cases, technologies that are “passive” are generally not considered to “prevent access” under Section 1201. However, I believe that making the user an active participant in the protection of the book, the technology does not operate as a “pass through” the way a username and password would. But, the technology deputizes the user as the means of preventing access to the work by unauthorized third-parties.
This solution will not prevent a user from sharing a book with the user’s family or close friends. But publishers probably don’t want to sue their customers for sharing ebooks with their aunt or sister. Traditional printed books are often shared with family and friends. What ebook publishers need is a way to distribute ebooks with as little hassle as possible, while ensuring that the publisher can sue pirates and stop ebook resale, rental and large scale sharing.
To accomplish this, we don’t need heavy DRM, but something lighter. Why not use a form of DRM that lets the market grow, and reap the rewards of the next technological revolution as the ebook wave brings a massive new volume of sales and sweeps printed books to the side?
drm
Thus, I propose using personal information as a deterrent against wrongful distribution of the book. We can deputize our customers to prevent wrongful distribution. The customer agrees not to distribute the book. If they do, the next reader will see the personal information of the original owner placed throughout the book, both visibly and invisibly. As such, not many users will violate their agreement because they will not want to have their personal information shared with unknown third-parties. Further, if they strip the information, they’re in clear violation of the DMCA.
Readers might “share” book with family and friends who already have their personal information; but they would have been free to do that with a non-digital book in the printed book business. The watermark is likely to confine file sharing to the close family; those with whom the original purchaser has a personal relationship, which is the very type of person with whom paper books are typically shared.
These are the abridged version of my conclusions. I will be publishing a much longer, more detailed piece on the topic titled Digital Rights Management Lite: Freeing ebooks from Reader Devices and Software. Can Digital Visible Watermarks in ebooks Qualify for Anti-circumvention Protection under the Digital Millennium Copyright Act?  (Virginia Journal of Law & Technology, volume 17, Issue 2 (Summer 2012,forthcoming).


martes, 26 de junio de 2012

E-Book Price-Fixing Trial Date Set for June 2013, an Eternity Away in the E-Book Era


A month is an long time in an emerging market driven by new technology. A year is an eternity. By that logic, Judge Denise Cote has set the trial date for the Department of Justice’s e-book price-fixing lawsuit an eternity from now, June 3, 2013, according to multiple news reports.

Apple, Macmillan and Penguin will have to wait at least a year to find out whether their denial of collusion and price-fixing will hold up in court.
The three settling publishers in the matter, however, Hachette, Simon & Schuster and HarperCollins, will find out in just a month whether the settlement agreement they entered into with the Department of Justice will be approved by Judge Cote. Legal experts familiar with the case say the settlement is likely to be approved.
For the publishing industry, the dichotomy between the swiftness of the settlement and the delay of the trial presents an interesting prospect. For the next year or so, three of the largest U.S. publishers — Macmillan, Penguin and Random House — will likely continue to operate under the agency pricing model across all e-book retailers while the three settling publishers will likely be forced onto a different model.
The agency model and the most favored nation clause that the publishers have in their contract with Apple that mandates the model across all retailers that are at the heart of the government’s complaint will persist in the marketplace for at least another year. And in that time, who knows what could change in the digital book world?


viernes, 15 de junio de 2012

Five digital lessons from BookExpo America 2012



Self-publishing, part I: “There are no unrealistic expectations anymore”

Self-publishing platform Smashwords announced this week that it’s making self-publishing faster: Smashwords authors who sell e-books on Kobo and Apple will see faster “shipments” to those platforms, meaning that if they update their e-book’s price the change is reflected in near-real time. “We try to listen to people with unrealistic expectations,” CEO Mark Coker told me, “because their unrealistic expectations are the leading indicator of where we need to go.” Near-instantaneous price changes would allow an author to, say, sell an e-book “at $0.99 for the next five hours only.”
Smashwords is now working with library distributors 3M and Baker & Taylor’s Axis360 so self-published authors can get their e-books into libraries. Right now, the libraries buy Smashwords books at list price (publishers like Random House, meanwhile, charge more for the e-books they make available to libraries). Soon, Smashwords will allow its authors to set special pricing for libraries, Coker told me. “A lot of them are going to want to offer libraries lower pricing,” he said, or “will want to offer their books for free to libraries.”
Smashwords will soon let authors specify the countries where their books are distributed. Right now, authors (and the agents Smashwords works with) have the rights to sell their e-books in some territories, but not others. With the changes, for instance, an author could define that his or her e-book should be distributed “globally, except for commonwealth countries.” Smashwords will also let authors specify their prices by currency — a change from now, when authors have to price in dollars and retailers convert the currency automatically.
Also, Coker said, Smashwords will start accepting EPUB files (as opposed to Word files) later this year. With EPUB 3, that means the company could “potentially take more sophisticated books or enhanced books.”

Getting rid of DRM: This is going to take forever

Macmillan’s Fritz Foy announced at the Publishers Launch BEA conference that the company’s sci-fi/fantasy imprint Tor/Forge will launch a DRM-free digital bookstore this summer, and it may include DRM-free e-books from other publishers too. Meanwhile, distributor IPG announced that it will give client publishers the option to sell e-books DRM-free, and Kobo will give authors the option to sell DRM-free through its new self-publishing platform Writing Life. Still, publishers are moving slowly and it looks as though changes are going to happen in trickles.
Penguin global digital director Molly Barton said at Pub Launch that “Penguin is interested in methods of file security that would allow greater interoperability between platforms,” but Random House president of sales, operations and digital Madeline McIntosh called the DRM discussion “a red herring in a publishers panel at the IDPF conference, Publishers Lunch reports (paywall). She noted DRM’s not the only thing that keeps readers using a particular digital bookstore’s platform: “We have to be clear about what the goal is and commercial reason [to remove DRM].”

Self-publishing, part II: It’s getting closer

“We saw that seven percent of the units sold [on Kobo] were coming from self-published authors,” Kobo EVP of content and merchandising Michael Tamblyn told me, making those authors “collectively the size of a major publishing house,” so we “wanted to get closer” to them. Thus the launch of Kobo’s new self-publishing platform Writing Life. Authors using it get a 70 percent royalty on e-books priced between $1.99 and $12.99 and a 45 percent royalty on books below $1.99 or above $12.99. By “looking at how e-books sell in general,” Tamblyn said, “we know that after $12.99 there’s a drop…and after that it’s difficult to generate significant demand.” So the royalty structure “encourages authors to stay within that space.”
Amazon took up a lot of floor space, with separate sections for Amazon Publishing and self-publishing platforms Kindle Direct Publishing and CreateSpace. At KDP, the company set up rows of chairs and, all day long, self-published authors gave presentations on why they use KDP. “I also sell on Nook [Barnes & Noble's self-publishing platform is PubIt],” I heard one author say, but Barnes & Noble doesn’t rent a public booth at BEA — which seems kinda dumb considering both Amazon and Kobo’s emphases on self-publishing at the show. Kobo, too, had the self-published authors participating in the beta launch of Writing Life speaking at its booth.

Startups: Maybe we’ll find a better way next year

The Javits Center’s vastness makes it tough for publishers and startups to randomly encounter each other, a lame “Digital Discovery Zone” is removed from the rest of the floor, and terrible or nonexistent WiFi prohibits quick demos or many interactions you need the Internet for. (Can I throw in one more complaint? There’s no WiFi in the press office and the woman who runs it yelled at me for “drinking all the water.”) The founder of one fairly well-known startup told me he was finding it tough to meet with the publishers who could get use out of his product. Despite a few panels that try to bring traditional publishers and newer companies together, BookExpo America remains, primarily, an event where publishers and authors pitch new books to librarians and booksellers. Maybe that’s what it should be, but since it’s also the largest book industry event in the United States, it’s not surprising that digital companies arrive with expectations about who they’ll meet and leave wanting more. It seems as if there should be a more efficient way to make these meetings happen — stay tuned on that.

Don’t hold your book party on a rowboat

OK, this one’s not digital. Author Robert Sullivan took BEA-going booksellers to the Hudson to promote his upcoming book “My American Revolution,” which is about the historical importance of New York Waterways. As the New York Times reports, “two rowboats – built at the boathouse to imitate 19th-century New York Harbor craft known as Whitehall gigs – left the pier loaded with booksellers, volunteer coxswains and local residents.” Unfortunately, one of the boats “struck a pier” and flipped, “dumping three BookExpo conventioneers, two instructors and two others into 60-degree water.” Five were able to climb onto the pier. “The other two drifted 100 yards away.” There were no fatalities.

iPad Dominates, But Nook Web Traffic Tops Kindle Fire

Chitika June Tablet StatsNot surprisingly, the iPad continued to dominate tablet traffic during the first week of June, but more notable is the fact that traffic for the Barnes & Noble Nook surpassed that of the Amazon Kindle Fire, according to stats from mobile ad network Chitika.
Apple's iPad made up 91.07 percent of the hundreds of millions of impressions captured on the Chitika Ad network between June 4 and June 10. That was down 3.5 percent from May, but still a sizeable chunk, Chitika said.
Coming in at No. 2 was Samsung's Galaxy Tab, but it was a distant second. Samsung's tablet only had 1.77 percent of the market, followed by the Acer Iconia Tab, Toshiba Thrive, and Asus Transformer Prime, which captured between 1 and 1.5 percent market share.
Chitika, however, took note of the fifth most popular tablet - the Barnes & Noble Nook. The retailer's device captured 0.85 percent of the market, which bested Amazon's Kindle Fire at 0.71 percent.
"Barnes & Noble has launched a new advertising campaign, and their newest device sold out within weeks," Chitika said. "While that device is a simple e-reader without Web browsing capabilities, the increase in Nook use may be attributed to brand familiarity through these advertisements."
Barnes & Noble and Amazon unveiled their respective tablets late last year, just prior to the holiday shopping rush. By December, the Fire was the No. 2 tablet on the market, but that dropped off in the New Year. According to May data from IDC, Amazon's Kindle Fire market share dropped from 16.8 percent over the holidays to 4 percent several months later.
Going forward, Chitika predicted that the iPad will eventually have a tablet market share that's comparable to its smartphone penetration. But that won't happen overnight; the release of Windows 8-based tablets will be a big determiner.
"The rise in use of non-iPad tablets is likely an effect of the increased options for consumers (hundreds of models are available), in addition to declining tablet prices," Chitika said.
"Without a doubt, the tablet market has become a real and significant source of Web traffic, and developers must be sure their sites are formatted across all operating systems," the firm continued. "Outside of Web traffic, applications running on tablets present a huge opportunity for advertisers to reach their desired market."
For more, see PCMag's full review of the new iPad and the slideshow below. Also check out our reviews of the Amazon Kindle Fire and Barnes & Noble Nook Tablet.
New Apple iPad


viernes, 8 de junio de 2012

New Metadata Handbook for Publishers


As traditional book shelf space continues to melt away and online storefronts become more important for book publishers to sell and market their wares, digital metadata becomes an increasingly important issue for publishers.
According to an upcoming report from the Book Industry Study Group, nearly 100% of publishers reported seeing their metadata displayed incorrectly at the online point of sale when it had been correctly sent from the publisher originally.
A new handbook from Digital Book World contributor Thad McIlroy covering the finer points of book metadata seeks to address that issue.

PRESS RELEASE:
The Metadata Handbook Launched at BEA 2012
Available in printed, PDF, and multiple ebook versions, The Metadata Handbook is the first comprehensive reference to serve English-language publishers of both print and ebooks. Covering ONIX 2.1 and 3.0, the book also features self publishers.
New York, NY (PRWEB) June 05, 2012
Renée Register and Thad McIlroy announce the publication of their jointly authored handbook of metadata for book publishers.
Renée Register is Principal of DataCurate, focused on supporting publishers in the development of 21st century data policies, practices, and systems designed to connect readers to content.
Thad McIlroy is Principal of The Future of Publishing, a consultancy devoted to helping publishers at the intersection of production, markets, and technology.
The Metadata Handbook is a one-stop guide for professional publishers, large and small, who need to get a handle on how metadata for books operates in the real world, and who need to implement a strategy to master the development and transmission of comprehensive metadata for the books they publish.
Its over 100 pages take the reader from metadata fundamentals through to the latest information on the use of ONIX 2.1 and 3.0. A comprehensive glossary simplifies numerous technical terms while a full listing of vendors and relevant industry organizations provides an annotated directory of resources available to publishers.
The Metadata Handbook frequently references “best practices” documentation published by the Book Industry Study Group (BISG), BookNet Canada (BNC), and Book Industry Communication (BIC). The authors fully support the work of these organizations in promoting the adoption of shared metadata standards and practices. The authors also support and eagerly anticipate the results of the study commissioned by BISG from Magellan Media examining “how physical and digital book metadata is created, managed, modified and employed throughout the supply chain.”
The Metadata Handbook will be published in July 2012.
It will be available as a PDF (or EPUB or Mobi file) for immediate download for $95 (USD). The printed version retails for $125.
Advance orders receive a 10% discount of list price (bulk discounts are also available). The online order form and additional information can be found at http://www.themetadatahandbook.com.


jueves, 7 de junio de 2012

Creating pop-up footnotes in EPUB 3

Apple sent around an email today announcing that EPUB 3 is now supported by iBooks and the iBookstore. It also tantalizingly suggested that EPUB 3 supports pop-up footnotes and said you could find information in the EPUB 3 spec on the IDPF website. The first part is true, and the second part is sort of true, but if you like, read on and I'll explain just how to do it.

The IDPF website explains the proper syntax for marking up footnotes symantically, that is, by labeling them as footnotes:

<p>In chapters 24, 89, and 90, we substituted a capital L for the symbol for the British pound, a unit of currency.<a epub:type="noteref" href="#n1">1</a></p>

This snippet is from an EPUB 3 version of Moby Dick, coded by Dave Cramer.

And then the EPUB 3 spec goes on to say that a Reading System may associate specialized behaviors with that syntax, and it looks like Apple has associated the pop-up functionality to the combination of epub:type="noteref"and epub:type="footnote" attribute/value pairs.

So, to make a pop-up footnote in EPUB 3 (which works in iBooks), you just have to create your footnote marker link as shown above, paying special care to include theepub:type="noteref" attribute/value pair. I'll repeat it here for good measure:

<a epub:type="noteref" href="#n1">1</a></p>

Next, create an aside element that contains the text that should appear in a pop-up display when the link is pressed. 

The aside element must also have the epub:type="footnote"attribute/value pair to mark it as the footnote content as well as an id attribute that matches the value of the hrefattribute in your link.

<aside epub:type="footnote" id="n1">
<p>These have been corrected in this EPUB3 edition.</p>
</aside>


Note that the aside element, which is new to HTML5, isautomatically hidden by iBooks. If you put your footnotes in, say, a div element, it would still pop-up when the link was pressed, but it would always be visible as a regular part of the text as well.

Another thing that I noticed is that you can enclose your aelement in sup elements so that your footnote markers are raised with respect to the surrounding text, but make sure it's outside the a element or else it will break your pop-up footnote.

And that's it. Look! It works! 

Here it is in a horizontally-oriented iBooks:



pop-up footnote, horizontal

And here it is vertically:


pop-up footnotes, vertical

Note that I completely disabled the CSS on this document, to be sure that the pop-up had nothing to do with any CSS effect. 

And notice that the font in the pop-up changes to match the font chosen in the Font menu (here I've chosen Seravek):



pop-up footnote in Seravek

Again, you can download this and other EPUB 3 examples from the EPUB 3 Samples site and view it in iBooks 2.1.1 (from April!). You can view this particular pop-up footnote on the third page of the Moby Dick book, called "Original Transcriber's Notes" in the table of contents (preface_001.xhtml). Thanks to Dave Cramer who coded the example (in January). And thanks to Apple for adding this functionality... and hinting that it existed so I could figure it out! I love, love, love that Apple totally followed the standard on this one: supporting symantically marked footnotes, and then "associating specialized behaviors" as the spec directs. No extra CSS or Javascript required. Well played, Apple.

OK, there are now two desktop EPUB 3 readers, and iBooks and the iBookstore have officially announced support as well. And there are pop-up footnotes. What are you waiting for to start creating EPUB 3 ebooks?