12 de janeiro de 2014

Leituras Digitais (29 de Dezembro a 11 de Janeiro)

Rubrica quinzenal de notícias e artigos relacionados com a edição de livros digitais.

Japan may have 7518264638_dbb15b2fd5[1]given the world the first commercially available ebook reader, and it may have turned cell phone novels into a cottage industry, but their digital publishing efforts of late would best be described as tepid with new projects merely copying what had been done elsewhere years ago.News broke last week that some type of consortium consisting of 13 Japanese companies would pilot the sale of ebooks in bookstores. Saying little more than the companies wanted to “counter U.S. online retail giant Amazon, which has held the largest share in Japan’s e-book market since the launch of its Kindle tablets”, details in the English language coverage was sketchy at best and didn’t even include a complete list of all 13 of the companies.
Interviewed after winning England’s Costa Prize for Literature in late January, the distinguished novelist Andrew Miller remarked that while he assumed that soon most popular fiction would be read on screen, he believed and hoped that literary fiction would continue to be read on paper. In his Man Booker Prize acceptance speech last October, Julian Barnes made his own plea for the survival of printed books. Jonathan Franzen has also declared himself of the same faith. At the university where I work, certain professors, old and young, will react with disapproval at the notion that one is reading poetry on a Kindle. It is sacrilege.Are they right?
Para o escritor Nicholas Basbanes, que pesquisou a história dos meios de conservar a escrita, ele continuará a ser importante, porque jamais será substituído.
With the advent of ebooks, self publishing platforms such as Smashwords, and democratized distribution to major retailers, a new world order is emerging.  It's a new world order where the power of publishing is shifting from the halls of publishers to the hands of writers.  It's a world where the suffocating gatekeeping mentality  - which once measured a book's worth through the myopic lens of perceived commercial merit - can now be cast away.Books are worth more than dollars, pounds, euros and yen.  Publishers don't know what readers want to read, and they have no right to control what writers want to imagine, write or publish.  Writers deserve the freedom to publish what they want, and readers deserve the freedom to read what they want.  The new world order is beautifully democratic and fair.This is an exciting time to be a writer, author, publisher and ebook distributor.  All of us are smack dab in the middle of turbulent cross-currents of change, innovation and opportunity. 
Fast-forward to the present day and ask yourself what you have read recently. Billboards on the way to work, traffic signs, advertisements on your favorite websites, this article, the directions on top of the cup of noodles; and that’s generally what most people do read. Blurbs. Snippets. If Oprah’s Book Club or the NY Times recommends it, maybe you’ll get people to read a book—but then how many people do you know that would rather just wait for the book to be made into a movie? Perhaps I’m being too critical of the society that I live in, and that is not my purpose, but with interest in literature waning, replaced by movies, video games, and other forms of direct media, I have to wonder what the future holds for books.
A novel does not benefit from a host of videos of talking heads, interactive maps, or the kind of gunk that clutters up most DVD extras. A novel is not a movie. The film production and marketing process lends itself towards the whole DVD extras phenomenon. You have dozens of unused scenes, a special effects team, the filming crew, and an army of people performing various roles. The stars are loved by millions. The movie’s launch and its production are events. Even a bog-standard TV series has buy-in from society at large and a wealth of collateral material that is rare in publishing.
Sometimes, you just want to take a note and have it magically appear in your online journal. With eQuil, you can. The hardware, which works with a responsive app, records your input and copies it to your iOS device. We got a look at eQuil here at Showstoppers, and what we saw was subtly impressive.The hardware is currently available in Apple stores and via the eQuil site, so it’s easy to get hold of straight away if you’re interested. For those times when you want award copy and a digital one, this can be helpful. The eQuil has a reader which sits at the top of a page of text. From there, a connection with the pen is established (with a simple push of a button). After that, it’s as simple as scribbling down what you need to. It doesn’t try to transcribe, only reads what you put in via the pen movement.
It’s research claims that during the first nine months of 2013, Russia was able to overtake the United Kingdom and Brazil to take the third position. And sales continue to boom, with a 25% growth in the third quarter over the previous quarter.According to Sergei Anuriev, CEO of LitRes, Russia’s largest distributor and seller of e-books, the Russian market of electronic books is expected to reach 500 million rubles (USD $16.12 million), which is almost double that of 2012, when it was at the level of 260 million rubles. According to Anuriev, since 2011 the market has increased by almost 200% and there is a possibility that the boom will continue over the next several years.
Em 2012, os livros digitais representavam apenas 1 % das vendas das maiores editoras brasileiras. Com a entrada da Amazon, Apple, Google e Kobo no mercado brasileiro, os livros digitais já perfazem 3% das vendas, um crescimento moderado num país em que os leitores ainda testam as várias opções de leitura digital.
A Objetiva, que vendeu 15 mil livros digitais em 2012, fechou 2013 com 95 mil vendidos, um crescimento de 650 % e um total de 3 % para a editora. Já para a Sextante, que apenas tem metade do seu catálogo de 600 títulos neste formato, os e-books representaram 2 % das vendas.
Computer scientists have developed an algorithm which can predict with 84 per cent accuracy whether a book will be a commercial success - and the secret is to avoid cliches and excessive use of verbs.
New York Times E-Book Best Sellers

A version of this list appears in the January 19, 2014 issue of The New York Times Book Review. Rankings reflect sales for the week ending January 4, 2014.

E-Book Fiction

1.     SYCAMORE ROW, by John Grisham
2.     THE GOLDFINCH, by Donna Tartt
3.     THE HUSBAND'S SECRET, by Liane Moriarty
4.     TAKEDOWN TWENTY, by Janet Evanovich
5.     COMMAND AUTHORITY, by Tom Clancy with Mark Greaney

E-Book Nonfiction

1.     LONE SURVIVOR, by Marcus Luttrell and Patrick Robinson
2.     KILLING JESUS, by Bill O'Reilly and Martin Dugard
3.     THE WOLF OF WALL STREET, by Jordan Belfort
4.     TWELVE YEARS A SLAVE, by Solomon Northup
5.     NO EASY DAY, by Mark Owen with Kevin Maurer


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