26 de janeiro de 2014

Leituras Digitais (12 a 25 de Janeiro)



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

According to a new study from children’s entertainment research and consulting group PlayCollective and Digital Book World, 67% of U.S. children aged two-to-thirteen are now reading ebooks. That’s up from 54%, the number recorded in a similar study from last year.
“In the last year, based on this research, the kids e-reading and reached and passed a tipping point,” said Paul Levine, co-CEO of PlayCollective. “This is becoming a normal part of their lives and becoming habitual.”
Françoise Héritier, Herdeira intelectual de Lévi-Strauss, a antropóloga francesa diz que os pequenos prazeres da vida foram perdidos e que os recursos modernos impedem a reflexão.
Developing digital solutions for non-narrative content is still a challenge for publishers, according to experts taking part in a discussion of those issues at Digital Book World 2014 in New York this afternoon.That’s true despite significant technological advances. Nathan Myhrvold’s The Modernist Cuisine was one of Inkling Habitat’s big successes for the interactive publishing platform in 2013. But according to Gus Gostyla, vice president of partnerships at Inkling, at the time Myhrvold came forward with the project, “there was no platform that could possibly do that piece of work justice–in his mind.”
Embora seja uma mina de ouro, há várias dúvidas sobre os rumos que esse tipo de atividade deve tomar nos próximos anos.
The publishing industry has bought into this idea wholesale. Some publishing markets are, according to this worldview, further ahead on the progress timeline than others. It also implies that advancement along the timeline is inevitable, even if it progresses at varying speeds. Romance and other genre fiction tend to dominate ebook sales and so must have more ‘future’. Non-fiction less so and must therefore have less ‘future’ and more of that crippling ballast called ‘past’. Big mainstream titles hit the ebook market in seemingly unpredictable ways. Some garner decent ebook sales while others seem to sell only in print. There, the ‘future’ seems to be randomly distributed, like a stress nosebleed over a term paper.This, obviously, implies that the ebook will either eventually dominate universally or at least capture the same large percentage uniformly across the market.I don’t think that’s going to happen.
How much should you pay for an ebook? $9.99? $0.99? $0? And how much should you price your ebooks? I’m going to tell you what people have actually paid for their ebooks, based on some hard data from Luzme. You can set the price of your book to be anything you want; what really matters is what someone will pay for it!Last year, Luzme captured a large amount of ebook price data and reader pricing preferences. I am analysing this data and will share any interesting results.
"A tecnologia deve entrar de forma gradual e deve entrar de forma complementar ao papel. O papel ainda é a mídia universal, usado por qualquer aluno em qualquer lugar do Brasil, independentemente de condições externas", disse Rafael Torino, diretor de Ações Educacionais do Fundo Nacional de Desenvolvimento da Educação (FNDE).
A revolutionary concept in fostering free use of books launched only a few years ago with GlueJar’s Unglue.it model. This model relied on crowdfunding to propel a book into Creative Commons status, essentially paying the rights holder an agreed upon amount in order to “unglue” the book.Now, Unglue.it has announced the first ebook created under its new funding mechanism. Under the new model, the first title, Lagos_2060, was sold with its Creative Commons license in tact. As the book continues to sell, the date of the final release of the copyright will draw even closer.
High bandwidth costs, low access to e-readers and choking e-commerce legislation will keep South Africa's adoption of e-book technology "limited" for the next five years.
There’s a lot of controversy circulating throughout the publishing industry about the pricing of ebooks, and it’s a significant topic that warrants discussion. Independent authors are rallying around the controversial 99-cent price point. Some authors feel the 99-cent price point devalues their hard work, while others feel that readers will not take a chance on new authors at a higher price point. To further complicate the matter, it’s not just new authors that are using the 99-cent strategy, and the issue doesn’t only affect independent authors, but publishing houses and agents as well.
Yes, after over 4 years of quietly ignoring the fact that their DRM was hacked, Adobe finally took a step to repair the broken lock. And as part of their effort Adobe also updated Adobe Content Server 5 (there’s also a new RMSDK), thus enabling ebookstores to provide ebooks that use the new DRM and allowing app and device developers to integrate the new DRM.
There’s this tendency among advocates to compare the absolute worst of the enemy with the perfect, best case scenario on your own side. The crowd that is hostile to self-publishing often likes to compare the worst dinosaur porn (which still sold, though, and made more money than many other titles) to one of those wonderful, Never-Neverland publishing companies that to this day invests massively in editors, doesn’t use exploitative covers, spends its untold riches on making the book’s typography absolutely perfect, has a workflow that spits out beautiful, error-free ebooks with ease, gives every author a personal PR rep, and has a multi-million dollar marketing budget for every title.
Of course self-publishing looks bad when you compare it with a piece of fiction that’s less realistic than the more deranged parts of Alice in Wonderland.
The reality is that book retail has been steadily deteriorating over the years and publishers themselves have been compromised by decades of cost-cutting. Most book sales are online. Titles today get much less editorial attention than similar titles did years ago. Covers have always been completely disconnected from the book’s actual content.
We used to know what it took to be a writer – you had to publish a book. But electronic publishing is piling pressure on myths of the author's life.
National Library of Norway puts more than 135,000 copyright-protected books online for free – and pays authors and publishers.
Thanks to anti-piracy and price comparison websites, the ebook market is looking healthy.
When you go and buy a comic book or paperback novel from your local bookstore, there is a clear understanding of ownership. You simply pay for the title, bring it home and it is  yours to keep and loan out to friends as you see fit. When it comes to eBooks and digital comics the entire situation is more convoluted, 99% of the time you do not own the book you purchased, you are merely licensing it.
New York Times E-Book Best Sellers

A version of this list appears in the February 2, 2014 issue of The New York Times Book Review. Rankings reflect sales for the week ending January 18, 2014.

E-Book Fiction

1.     THE GOLDFINCH, by Donna Tartt
2.     SCANDALOUS BRIDES, by Annette Blair and others
3.     SYCAMORE ROW, by John Grisham
4.     THE ROSIE PROJECT, by Graeme Simsion
5.     THE HUSBAND'S SECRET, by Liane Moriarty

E-Book Nonfiction

1.     DUTY, by Robert M. Gates
2.     LONE SURVIVOR, by Marcus Luttrell and Patrick Robinson
3.     TWELVE YEARS A SLAVE, by Solomon Northup
4.     THE MONUMENTS MEN, by Robert M. Edsel with Bret Witter
5.     KILLING JESUS, by Bill O'Reilly and Martin Dugard

Vídeos

American Libraries Live - The Future of Libraries

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

            

8 de janeiro de 2014

Prémio Bang! 2014



É com muito orgulho que anunciamos o PRÉMIO BANG! 2014. Promovido pelas Edições Saída de Emergência, é o primeiro prémio internacional de língua portuguesa para a literatura fantástica.

Tem por objetivo encontrar o George R. R. Martin, a J. K. Rowling ou o Stephen King da língua portuguesa e visa distinguir um romance inédito de fantasia, ficção científica, história alternativa, horror, realismo mágico, entre outros.

O que pretendemos? Excelentes manuscritos. O prémio? 3000 euros e a garantia de publicação nos dois lados do Atlântico: Brasil e Portugal.

Para concorrer, leiam o regulamento e façam as vossas inscrições nesta página.

Boa sorte, muita inspiração, e vamos mostrar ao mundo que a melhor literatura fantástica se pode escrever em português.

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