Rubrica semanal de notícias e artigos relacionados com a edição de livros digitais.
Along with booming self-publishing services that offer various levels of editing as value-added options, a cottage industry of independent contractors is quickly replacing the fabled tastemakers who once shaped literary destiny, and the effect on its quality is an open question.
See, we consumers hate ads. On the web, we block them with ad-blockers, or skip over them entirely with services like Readability or Safari Reader. They’re annoying and distracting, and as if that wasn’t bad enough, they can transport malware into your computer. (I had a lot of experience dealing with this sort of malware in my time as a tech support agent in my day job. It’s nasty stuff.) When magazine publishers get ticked over this and rant at their readers for having the temerity to deprive them of revenue in this way, they’re missing the point that earning revenue by annoying your readers probably is not a recipe for long-term success.
The PDF document format is digital publishing’s worst enemy. For a large part, the news industry still relies on this 18-year-old format to sell its content online. PDF is to e-publishing what the steam locomotive is to the high-speed train. In our business, progress is called XML and HTML5.
In the ideal open-yet-market-driven eBook environment there won’t be DRM, but regardless of whether DRM lives on, the closed vertically integrated world of eBooks sales to libraries presents a bigger problem; it is that environment that needs to change. For libraries to both offer electronic collections and maintain their role of building collections for the long term we need a layered environment where the purchase of materials is separated from the where those purchased materials are hosted. Further, library patrons deserve distinct choices for the programs and devices they use for readings.
People continue to mix and conflate the making of a thing called a book–often beautiful, many times endowed with a spiritual aura–with other, entirely separate things called reading and writing.
Ebooks and ereaders were hot items this past holiday season, but while this is seen as a good thing by many people there has also been a concomitant rise in piracy of the digital books. Going forward, publisher's will have to find some way of dealing with a host of issues in an increasingly digital world. We asked our panelists this question:
Q: What will the publishing industry look like after 10 more years of advancing technology?Here's what they said...
Hermione, stuck in the nineties, never did get her iPad, and will have to manage in the stacks. But perhaps the instrument of the new connected age was already in place in fantasy. For the Internet screen has always been like the palantír in Tolkien’s “Lord of the Rings”—the “seeing stone” that lets the wizards see the entire world. Its gift is great; the wizard can see it all. Its risk is real: evil things will register more vividly than the great mass of dull good. The peril isn’t that users lose their knowledge of the world. It’s that they can lose all sense of proportion. You can come to think that the armies of Mordor are not just vast and scary, which they are, but limitless and undefeatable, which they aren’t.
Contemporary life is lived through screens. Initially, it was the TV that invaded our families and took over our free time. Now it’s computers, smartphones, tablets; it’s email, digital files, the cloud. For better or worse, the past quarter-century (or more) has powered a move away from the physical and into cyberspace — especially in terms of our work-life and entertainment options.
Easy downloads and convenient storage are the chief lures of a virtual library, but ownership has some irritating downsides that require your attention before you hit the e-book purchase button.
I’ve wanted to see one of these machines up close for a while now, but I had no idea that a local indie bookstore had one. So I finished my coffee, hopped on the subway, and went to buy myself a print-on-demand book.
There’s not much I can write about the inner workings of the “big fancy robot,” as one of McNally Jackson’s employees calls it in the NPR video. It’s essentially three machines stacked together: a Xerox copier to handle the initial paper management; the custom plexiglass, steel, and blade contraption that handles the collating, binding and cutting; and a small color printer to handle the covers. (The interior pages are black and white only.)
New York Times E-Book Best Sellers - 11 Fevereiro
This week’s Book Review introduces revamped best-seller lists, the result of many months of planning, research and design.
On the Web, there are three entirely new lists. One consists of rankings for fiction and nonfiction that combine print and e-book sales; one is limited exclusively to e-book sales for fiction and nonfiction; and the third, Web-only list tracks combined print sales — of both hardcover and paperback editions — for fiction and nonfiction.
1. TICK TOCK, by James Patterson and Michael Ledwidge2. THE GIRL WITH THE DRAGON TATTOO, by Stieg Larsson3. THE GIRL WHO KICKED THE HORNET’S NEST, by Stieg Larsson4. THE GIRL WHO PLAYED WITH FIRE, by Stieg Larsson5. WATER FOR ELEPHANTS, by Sara Gruen
1. UNBROKEN, by Laura Hillenbrand2. HEAVEN IS FOR REAL, by Lynn Vincent3. DECISION POINTS, by George W. Bush4.
HYMN OF THE TIGER MOTHER, by Amy Chua BATTLE5. THE IMMORTAL LIFE OF HENRIETTA LACKS, by Rebecca Skloot
Alan Moore on Libraries
Entrevista com David Steinberger (Perseus Book Group)
Neil Gaiman on Piracy
Bookeen E-ink Demo