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Amazon is 20 years old – and far from bad news for publishers


Simon Rowberry, University of Stirling

It has now been 20 years since Amazon sold its first book: the titillating-sounding Fluid Concepts and Creative Analogies, by Douglas Hofstadter. Since then publishers have often expressed concern over Amazon. Recent public spates with Hachette and Penguin Random House have heightened the public’s awareness of this fraught relationship.

It has been presented as a David and Goliath battle. This is despite the underdogs’ status as the largest publishing houses in the world. As Amazon has become the primary destination for books online, it has been able to lower book prices through their influence over the book trade. Many have argued that this has reduced the book to “a thing of minimal value”.

Despite this pervasive narrative of the evil overlord milking its underlings for all their worth, Amazon has actually offered some positive changes in the publishing industry over the last 20 years. Most notably, the website has increased the visibility of books as a form of entertainment in a competitive media environment. This is an achievement that should not be diminished in our increasingly digital world.

Where to start …
raevas/Shutterstock.com

Democratising data

In Amazon’s early years, Jeff Bezos, the company’s CEO, was keen to avoid stocking books. Instead, he wanted to work as a go-between for customers and wholesalers. Instead of building costly warehouses, Amazon would instead buy books as customers ordered them. This would pass the savings on to the customers. (It wasn’t long, however, until Amazon started building large warehouses to ensure faster delivery times.)

This promise of a large selection of books required a large database of available books for customers to search. Prior to Amazon’s launch, this data was available to those who needed it from Bowker’s Books in Print, an expensive data source run by the people who controlled the International Standardised Book Number (ISBN) standard in the USA.

ISBN was the principle way in which people discovered books, and Bowker controlled this by documenting the availability of published and forthcoming titles. This made them one of the most powerful companies in the publishing industry and also created a division between traditional and self-published books.

Bowker allowed third parties to re-use their information, so Amazon linked this data to their website. Users could now see any book Bowker reported as available. This led to Amazon’s boasts that they had the largest bookstore in the world, despite their lack of inventory in their early years. But many other book retailers had exactly the same potential inventory through access to the same suppliers and Bowker’s Books in Print.

Amazon’s decision to open up the data in Bowker’s Books in Print to customers democratised the ability to discover of books that had previously been locked in to the sales system of physical book stores. And as Amazon’s reputation improved, they soon collected more data than Bowker.

For the first time, users could access data about what publishers had recently released and basic information about forthcoming titles. Even if customers did not buy books from Amazon, they could still access the information. This change benefited publishers as readers who can quickly find information about new books are more likely to buy new books.

Might Amazon’s debilitating effect on local shops be about to change?
Yulia Grigoryeva/Shutterstock.com

World domination?

As Amazon expanded beyond books, ISBN was no longer the most useful form for recalling information about items they sold. So the company came up with a new version: Amazon Standardized Identifier Numbers (ASINs), Amazon’s equivalent of ISBNs. This allowed customers to shop for books, toys and electronics in one place.

The ASIN is central to any Amazon catalogue record and with Amazon’s expansion into selling eBooks and second hand books, it connects various editions of books. ASINs are the glue that connect eBooks on the Kindle to shared highlights, associated reviews, and second hand print copies on sale. Publishers, and their supporters, can use ASINs as a way of directing customers to relevant titles in new ways.

Will Cookson’s Bookindy is an example of this. The mobile app allows readers to find out if a particular book is available for sale cheaper than Amazon in an independent bookstore nearby. So Amazon’s advantage of being the largest source of book-related information is transformed into a way to build the local economy.

ASINs are primarily useful for finding and purchasing books from within the Amazon bookstore, but this is changing. For example, many self-published eBooks don’t have ISBNs, so Amazon’s data structure can be used to discover current trends in the publishing industry. Amazon’s data allows publishers to track the popularity of books in all forms and shape their future catalogues based on their findings.

While ISBNs will remain the standard for print books, ASIN and Amazon’s large amount of data clearly benefits publishers through increasing their visibility. Amazon have forever altered bookselling and the publishing industry, but this does not mean that its large database cannot be an invaluable resource for publishers who wish to direct customers to new books outside of Amazon.

The Conversation

Simon Rowberry is Lecturer in Communications, Media and Culture at University of Stirling

This article was originally published on The Conversation. Read the original article.

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‘King Penguin’ designer David Pearson heads south


Zoe Sadokierski, University of Technology Sydney

I feel in love with the Penguin Great Ideas books the second I saw them:

David Pearson’s designs for volume 1 of the Penguin classic ‘Great Ideas’ series
Type As Image, David Pearson

I bought the box set immediately. Almost a decade later I’m still reading my way through them all, but I bought them to have and to hold as much as to read. Created by British designer David Pearson, each book is a handsome object; embossed typography and graphic elements on white uncoated stock, printed only using red and black ink. The typographic treatment of each cover reveals something about the content of the book. It is a deceptively simple looking series design that, on thoughtful reflection, is a work of genius.

I show Great Ideas, as well as Pearson’s design for Penguin’s Great Journeys, pictured below, as a way to explain series design to my students. Each cover must work aesthetically on its own, but also as part of a collection. To make each book unique but still comfortably part of a series is a difficult design challenge and as with all excellent design, when it works perfectly we can’t imagine it being done any other way.

David Pearson’s design for Penguin’s Great Journeys series
Type As Image, David Pearson

The Australia Book Designers Association (ABDA) invited Pearson to be the international judge for this year’s Book Design Awards held in May alongside the Sydney Writers’ Festival. Pearson joined local designers Kirby Armstrong, Allison Colpoys, Vince Frost and Fabio Ongarato, along with book buyer Meredith Drake, literary writer Stephen Romei and publisher Lou Johnson, to award excellent Australian book design across 15 categories.

ABDA was formed in 2014 by a group of 8 book designers and a business person, to take over running the Book Design Awards after the Australian Publishers Association announced it would no longer run the annual awards. In March 2014 the non-profit organisation was officially incorporated as the Australian Book Designers Association.

Beyond running the awards, the Association’s mission is to promote Australian book design and foster a design community through public events and educational programs. Inviting international judges is the first step in achieving this goal, with legendary UK book designer Jon Gray (better known as Gray318) joining the local judges in 2014, and Pearson this year.

In addition, ABDA has collaborated with the Australian Graphic Design Association and the Melbourne Writers’ Festival to bring David Pearson to Australia for a tour of Sydney and Melbourne next week.

Poster for David Pearson’s Australian tour designed by WH Chong
WH Chong

Pearson will deliver three public lectures in Australia. The first titled ‘We Are What You Read’ will be in Sydney at 6.30pm on Tuesday 25 August, at the Powerhouse Museum in Ultimo, co-presented by ABDA and AGDA.

The second titled ‘The Book Look: Contemporary Cover Design’ will be held at Deakin Edge as part of the Melbourne Writers Festival, 7pm on Saturday 29 August. Pearson will be in conversation with WH Chong discussing the role design plays in current and future publishing.

Chong’s exclusive interview with Pearson on his Culture Mulcher column on Crikey.com earlier this week is a fantastic appetiser for the upcoming event, including philosophical design quandries such as ‘Are you symmetric, or asymmetric? Centred or ranged?’.

In a second MWF event, Pearson will hold a workshop at The Wheeler Center at 2pm on Sunday 30 August. Participants will be given an insight into his working process and be able to ask questions.

Check the links embedded above for tickets to these events.

The Conversation

Zoe Sadokierski is Lecturer, School of Design at University of Technology Sydney

This article was originally published on The Conversation. Read the original article.

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Vanity and predatory academic publishers are corrupting the pursuit of knowledge


Michael J. I. Brown, Monash University

Radio National’s Background Briefing recently presented a grim academic tale of identity theft, shambolic conferences, exploitation, sham peer review and pseudoscience.

Presenter Hagar Cohen provided an eye-opening introduction to predatory academic publishing and conferences, with a particular focus on the publisher OMICS Group. It was also a very human story, including researchers travelling across the globe only to find they’re attending an imitation of an academic conference.

Why do predatory and vanity academic publishers and conferences exist? Why are they flourishing now? And what can they tell us about the failings of academia?

Publish

“Publish or perish” is a simplification of academic life, but contains an element of truth. There’s little point undertaking research if you don’t tell anybody about it, and this has been true for centuries. Four centuries ago, astronomers such as Copernicus, Galileo and Kepler discussed their observations, calculations and methods in books.

Publishing has long been a part of academic life.
Houghton Library, Harvard University

Understandably, academic publications, citations of publications and conference presentations have become metrics for academic performance. One can (and should) argue about the legitimacy of such metrics, but they are a fact of modern academic life.

Peer review of manuscripts by academics is also critical to academic publishing. Does the manuscript add to the body of knowledge? Does the manuscript accurately discuss previous work? Are there significant errors in the manuscript? Does the manuscript clearly communicate relevant methods, results and arguments? Are the conclusions of the manuscript justified?

Peer review is imperfect, but prevents many dubious manuscripts from being published. It effectively excludes authors who are unwilling or unable to meet the standards of mainstream academic publishing.

Vanity and predators

Both vanity and predatory academic publishers exploit opportunities created by legitimate peer review and academic performance metrics. In particular, they allow authors to publish articles that would never survive legitimate peer review.

Vanity academic journals have existed for decades, and these imitations of legitimate journals often promote particular (discredited) ideas or have strong ideological biases. For example, the Journal of American Physicians and Surgeons may sound respectable, but publishes pseudoscience including HIV-AIDS denial, climate contrarianism and anti-vaccination scaremongering.

Evidence for alien life or vanity publishing?
University of Sheffield

More recently, there has been an explosion of predatory journals, which seek to make large profits by publishing (for a fee) virtually anything that comes their way. While predatory publishers claim to peer-review articles, this is often a sham.

For example, on Background Briefing I discussed “Discovering the Total Contents of the Universe”, which was published in an OMICS journal. This article was supposedly peer-reviewed, but isn’t based on observations nor a scientific methodology. Instead, it makes claims about aliens based on “ancient Indian scriptures” and “a mathematical language, which has long been forgotten by mankind”. To be blunt, it is nonsense.

While most academics ignore dubious journals, such publications have an impact beyond academia. The vanity Journal of Cosmology often publishes bogus claims of alien life, which sections of the media credulously repeat.

I’ve also seen activists reference studies from predatory journals in an attempt to bolster their arguments.

Exploitation

Predatory publishers often exploit the goodwill of legitimate academics. Being invited to present at a conference or edit a journal is usually evidence of being held in high esteem by your peers. It can be an opportunity too good to miss, but with predatory publishers there’s a sting in the tail.

Predatory publishers often invite academics to join editorial boards, giving journals an air of legitimacy. However, they often ignore academics’ feedback on manuscripts or even use academics’ names without permission.

Similarly, predatory outfits will invite academics to present at conferences, for a hefty fee, but those conferences may be pale imitations of real conferences. Background Briefing attended a shambolic conference in Brisbane with fewer than 30 attendees. Many of the speakers listed on the program did not attend. One has to wonder if the missing speakers even knew they were on the conference program.

Online explosion

University of Colorado librarian Jeffrey Beall maintains a list of hundreds of potentially predatory publishers, which produce thousands of dodgy journals. Most of these publishers have appeared in the past decade.

This proliferation is an unfortunate side effect of online open access publishing. Online publications do not have the overheads of printed journals, as they require only a website and correctly formatted PDF documents. Conference venues across the globe can be booked online with a credit card. Since this requires only a computer, many predatory publishers operate from modest offices or suburban houses.

Zia World Press operates from a Melbourne suburban house.
Screen shot/Michael J. I. Brown

Traditionally journals have been available via subscription only, often at considerable expense to institutions. Open access publications are available to everyone instantly, which potentially unlocks academic knowledge, but requires fees from the authors (or funding agencies) to remain viable. This opens the door for predatory publishers seeking to prise money from authors, resulting in thousands of new suspect journals.

Lessons

Can the vanity and predatory publishers provide lessons for academia? Clearly, no sector of the community (including academia) is free from shonky online operators.

Why does Elsevier publish homeopathy?

While it would be cute to assume there are just good and bad publishers, sometimes the practices of the dodgy operators can be found elsewhere. Springer and IEEE have published gibberish produced by a computer program. Elsevier publishes Homeopathy, despite homeopathy having no scientific basis. Academics must strive to maintain and improve academic standards, including at major publishers.

It would also be wrong to assume that functioning peer review is a simple arbiter of right and wrong. There is a spectrum of peer review, with quality varying from journal to journal. Peer review is only a quality-control process that can sometimes fail, even at the best journals.

That said, those who knowingly avoid peer review by submitting to vanity and predatory publishers are effectively avoiding scrutiny and rigour. They are deliberately avoiding what is needed to advance knowledge and understanding.

The Conversation

Michael J. I. Brown is Associate professor at Monash University.

This article was originally published on The Conversation.
Read the original article.

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Amazon: 20 Years On


The link below is to an article that takes a brief look at 20 years of Amazon.

For more visit:
http://www.theguardian.com/books/booksblog/2015/jul/17/book-world-fear-amazon-publishers-authors

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Searching for Kindle Unlimited Ebooks at Amazon


The link below is to a simple tutorial on searching for Kindle Unlimited ebooks at Amazon.

For more visit:
http://www.teleread.com/amazon/tutorial-tuesday-how-to-find-kindle-unlimited-books/

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Argentina: The Bookshops of Buenos Aires


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Ebook Lending & Bookshops


The link below is to an article that looks at ebook lending and bookshops – does ebook lending impact on book sales?

For more visit:
http://www.theguardian.com/books/2015/jul/06/ebook-lending-wont-put-big-dent-book-sales

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Amazon may be the world’s favourite bookstore—followed by Flipkart


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World's favourite bookstores ranking shows enduring market


Paul X. McCarthy, UNSW Australia

In a business environment that has seen industries decimated by the rise of digital, one sector showing resilience is that of books.

“Books are not like recorded music,” says Shaun Symonds, general manager of Nielsen Bookscan.

If anything, the total global market for books is growing, as confirmed in research by PwC and others:

Total Market for Global Books Continues to Grow PwC
Global entertainment and media outlook 2015–2019, PwC, Ovum

If you adjust for the effects of the closure of major book chains such as Borders there is in fact only one or two years of decline in sales volume over the last decade in most major markets. Every other year including the most recent year’s figures reflect a modest year-on-year growth in total books (including eBooks) sold on the year before.

That’s not to say there’s not been significant disruption and consolidation in the industry. A large part of the highest-value highest-margin segments of the business such as hardback fiction are steadily migrating to eBook and online fulfilment. And of course the rise of online pure-play booksellers such as Amazon, Flipcart and The Book Depository has meant a new level of global competition for local independent bookstores and chains alike.

The migration to eBooks has meant the total dollar value of books sold has declined but the profitibility of some publishers has actually increased as they’ve removed a lot of their printing, wharehousing and distribution costs. A growing source of the industries profits are from eBooks at analysis by Bain shows.

Growing share of profits from eBooks
Publishing in the Digital Era, Bain 2011.

On the retail front while some bookshops have not managed to survive this last decade, many have held on. And some are thriving and flourishing – delighting their customers in ways only they know how. And being remembered for it.

The long-established Shakespeare & Company featured in Woody Allen’s film Midnight in Paris.
Tamara Craiu/Flickr, CC BY-NC-ND

In an economy increasingly governed by attention, the need for companies and retailers to have their brands recognised and remembered has never been greater. Being forgotten is one of the greatest clear and present dangers in the global, web-connected and digital economy.

Using web data it’s possible to measure the collective visibility of today’s leading bookstores from around the world.

Towards a global Top 40

Novelist & co-creator of kids TV series Hi-5 Posie Graeme-Evans recently wrote about her Top 10 Favourite Bookstores.

What if you could find out who everyone’s favourite bookstores were, around the world? And what if this list included all the legendary independent stores like Shakespeare and Company in Paris, as well as online bookstores like Amazon and bookstore chains like Waterstones, Barnes & Nobles and Dymocks. Using large scale data collections from the web, I set about doing this.

The Top 40 Bookstores list is based on how many people think about these stores and how often.

Perhaps not surprisingly online stores lead the list with Amazon.com followed by the online goliath Flipkart of India just ahead of the world’s largest bookstore chain Barnes & Noble. France’s giant cultural and electronics retailing chain Fnac is fourth with the UK’s largest bookstore chain Waterstones rounding out the top five.

What may come as a surprise is leading independent single stores or small chains including Shakespeare and Company (Paris); Powells (Portland) and City Lights (San Francisco) all feature in the top 20.

Here is the list in full:

World’s Top Bookstores 2015
 
# Bookstore Twitter HQ Country
1 Amazon.com @amazonbooks US
2     Flipkart @Flipkart India
3 Barnes & Noble @BNBuzz US
4 Fnac @Fnac France
5 Waterstones @waterstones UK
6 The Book Depository @bookdepository UK
7 AbeBooks @AbeBooks Canada
8 Shakespeare and Company @Shakespeare_Co France
9 Books-A-Million @booksamillion US
10 Hay-on-Wye @Hay_On_WyeBooks   UK
11 WHSmith @WHSmith UK
12 Infibeam @infibeam India
13 Chapters Indigo @chaptersindigo Canada
14 Powell’s Books @Powells US
15 City Lights Bookstore @CityLightsBooks US
16 Blackwell UK @blackwellbooks UK
17 National Book Store @nbsalert The Phillipines
18 Alibris @alibris US
19 Foyles @Foyles UK
20 Eslite Bookstore @eslite Taiwan
21 MPH Group @M_TWEETbyMPH Malaysia
22 Hudson Group @hudsonbooks US
23 Books Kinokuniya @Kinokuniya Japan
24 Fishpond @Fishpondcom NZ
25 Strand Bookstore @strandbookstore US
26 Hastings Entertainment @goHastings US
27 Half Price Books @halfpricebooks US
28 Popular Holdings #popularworld Singapore
29 Livraria Cultura @livcultura Brazil
30 Higginbotham’s #higginbothams India
31 Landmark Bookstores @landmarkstores India
32 Hatchards @Hatchards UK
33 Fopp @foppofficial UK
34 Dymocks Booksellers @dymocksbooks Australia
35 Harvard/MIT Cooperative Society   @harvardcoop US
36 Eason & Son @easons Ireland
37 NewsLink #newslink Australia
38 Archambault @archambaultCA Canada
39 Kyobo Book Centre @withKyoboBook Korea
40 Hodges Figgis @Hodges_Figgis Ireland
 
Ranked by Bookstore Mind Share 1.01; Paul X McCarthy, June 2015.

The methodology

To create the Top 40 I created a “Bookstore Mind Share” (BMS index) derived from web data such as global visits to each bookseller’s Wikipedia page. This approach is a proxy for popularity or notoriety. I then standardised the results to allow comparisons across categories and across the world. As the BMS is based on the English-language web it is mainly representative of English-language countries and English-language bookstores but interestingly still includes bookstores in Korea and Brazil.

By using a standard measures across global web platforms like Wikipedia traffic data, Google Books N-Gram and Google search term frequency you can create interesting and fascinating comparisons that span across time and geography.

Another example of this type of web data use is the MIT Media Lab’s Pantheon project where you can browse rankings of many people across history from ancient times to today including:

This is an experimental data project and I would encourage readers to comment or make suggestions for improvements or additions.

The Conversation

Paul X. McCarthy is Adjunct Professor at UNSW Australia.

This article was originally published on The Conversation.
Read the original article.

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Here’s What New Information J.K. Rowling Revealed on Pottermore