Publishing Talks: David Wilk interviews Andrew Steeves

In this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Andrew Steeves and his partner Gary Dunfield, founded Gaspereau Press in Nova Scotia in 1997, starting out, as many have done, with a literary quarterly and moving into publishing books, three in their first year, eight by 2000 when they moved to the small town of Kentfield.  In Canada, there is a long tradition of government funding of the arts, including literature, through support grants to publishers of all sizes and kinds.  Bordering the giant culture machine to the south, this is an important mechanism to keep in place a vibrant and local Canadian literary scene.  Gaspereau publishes in the tradition of the long running Coach House Press (founded by Stan Bevington in 1965 and still going strong) and the wonderful Montreal based Vehicule Press, among other highly successful independent Canadian literary presses.

But there’s much more going on here than a well run independent literary press putting out a small number of excellent books each year.  Gaspereau is also, significantly, a printer, not only of their own books, but for commercial and private customers as well.  The operation maintains a great deal of equipment too, from hand set metal type printed on hand cranked proof presses, to semi-modern offset presses that have alot of miles on them.

I’ve been deeply interested in and have admired Canadian publishing and writing for a long time.  But I only heard about Gaspereau fairly recently, when reports started circulating about one of their new books, Johanna Skibsrud’s The Sentimentalists. was nominated for the major Canadian literary prize, the ScotiaBank Giller award.  I looked up the Gaspereau site, and was immediately taken with their approach to publishing and book design, and contacted Andrew Steeves to talk about the work of the Gaspereau and its fierce commitment to publishing books by hand.  We had a great talk, and that is the interview presented here.

If course a couple of days later, the big news hit – The Sentimentalists, perhaps a dark horse previously, won the Giller for its 30 year old author and her publisher.  Now in the midst of a great deal of celebrating and joy, Gaspereau is trying to keep up with the almost unbelievable demand for the book that the award has spurred.  Canada’s National Post headlined “Literary community weighs in on Gaspereau’s Giller dilemma.”  There’s a huge uproar in Canada and alot of ire directed at Gaspereau for not being able to instantly print the thousands of books needed by stores to meet demand.  Author Skibsrud is on vacation in Istanbul happily celebrating her good fortune (a $50,000 CN prize comes with the recognition) so we don’t know what she thinks about any of this.

Andrew and Gary do not want to sell the book to a bigger publisher to meet demand.  They want to maintain it as a Gaspereau book.  Personally I am on their side, but I understand the difficulty for everyone involved, including the author, and of course the many readers out there who want to read the book now.  On the one hand, selling the book off solves lots of problems, makes readers happy, puts many thousands of dollars in the hands of the author and Gaspereau, but loses them an author they have discovered and takes them out of the publishing equation, just because they are small and committed to high quality, hands on publishing.

I’d love to hear from listeners on this question: should Gaspereau stay its course, remain committed to its mission, and refuse to sell off The Sentimentalists to another publisher?  Or should they accept that the demand of mass culture is too great for an artisanal press, and maybe keep their own edition in print as the original, and license a lesser trade edition to a larger house that is built for this sort of publishing?

In any case, please listen to Andrew Steeves talking about Gaspereau, its mission, history and vision for the future.  And keep in mind that when we talked, he had no idea what was about to happen to his life. And by the way, The Sentimentalists sounds like a truly wonderful novel, and like thousands of readers north of our border, I want to read it as soon as possible!  I’m guessing I might be waiting awhile…

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Publishing Talks: David Wilk interviews Liza Daly

In this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Liza Daly and her partner Keith Fahlgren work together as ThreePress Consulting, providing “expert consulting services and software engineering in digital publishing.”  Liza’s name comes up constantly in discussions about ebooks and the emerging technology of publishing.  Recently I’ve become interested in how HTML5 operates, as this new standard appears to have a great deal of potential use for handling online display and consumption of digital publishing in a web browser environment and elsewhere.  Liza created Bookworm as a free platform for reading ePub format ebooks online and now with Keith, she has developed Ibis Reader, which enables reading ebooks on computers and devices without having to download ebook files or even understand how ebook files and devices work (and Ibis is written in HTML5).

In addition Liza and Keith are active in the open source technology community and are strong advocates for experimentation, agile development, and innovation in publishing. In April of 2010, Liza was elected to the IDPF Board of Directors. Both Keith and Liza are members of various IDPF EPUB Working Groups, including the EPUB 3.0 Working Group. Liza was a member of the advisory board for the Web 2.0 Expo NYC conference in 2008 and 2009, and was also on the board for O’Reilly’s digital publishing conference, Tools of Change 2009-2011.

I wanted to talk to Liza to better understand the emerging landscape of ebooks and e-reading as she sees it from her perspective.  She is so deeply involved in new technologies and also has a terrific understanding of use and useability, which of course are critical for the future of digital publishing.  I’ve used Ibis Reader now and it works really well.  What comes next will be very interesting to see and hopefully this talk with Liza will be useful to listeners who are interested, as I am, in how new technologies will create opportunities for publishers, writers and readers in the near future.  It’s critical that we understand how we interact with new software, how its use affects our comprehension of information and ideas, and how we can in turn influence the emerging future we are about to inhabit.  Since Liza is one of the proverbial “smartest people in the room” I can’t think of anyone better from which to learn.

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Publishing Talks: David Wilk interviews John Oakes

In this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

OR Books was founded in 2009 by two very experienced book publishing veterans, Colin Robinson and John Oakes, who realized that after many years, that the way books have been published and sold in the 20th century no longer applies in the 21st.  John’s description of their new venture (as told to O’Reilly Radar for their “TOC Evolvers” series) goes like this:

OR Books is driven by two concepts. Well, three. One: the current system of distribution and production, returns and discounts, in publishing doesn’t work for stores, authors, or publishers. Two: we will publish politically progressive and culturally adventurous work. Three: the classic rules of publishing still hold true: you need good editing, design, and marketing.

To address the first concept, we decided to scratch the Byzantine rules that surround the distribution and production of books: we sell straight to consumers, do intensive marketing, and then license the book to “traditional publishers.” We generally do not sell to wholesalers or booksellers, be they independent, Amazon, or Barnes & Noble. We are “platform agnostic,” offering consumers their books as ebooks or in physical, printed form. They choose.

I originally wanted to interview both John and Colin together, but the timing did not work out.  Colin was someplace exotic like London, so I talked to John in his tiny home office in Manhattan.  We had a great talk, as there is alot to talk about.  Alert to listeners, and while this is the longest Publishing Talks interview I have done, at about 45 minutes long, I think well worth the investment of time and you can always listen to it in more than one sitting.

OR Books was founded by John Oakes and Colin Robinson as a publishing company embracing e-books and other new technologies. They have already published some excellent (and timely) books, their first being Going Rouge (a great book to launch with), Eileen Myles’ riveting novel Inferno, and Doug Rushkoff’s new Program or be Programmed.  Their work is political, cultural, and literary, and so far has been terrifically interesting work.

John Oakes co-founded the publishing company Four Walls Eight Windows. When his company was purchased by the Avalon Publishing Group, he became publisher of Thunder’s Mouth Press, co-publisher of Nation Books, and vice president of Avalon. Among the authors he has published are Andrei Codrescu, Sue Coe, R. Crumb, Cory Doctorow, Andrea Dworkin, Abbie Hoffman, Gordon Lish, Harvey Pekar, Rudy Rucker, John Waters and Edmund White. Oakes serves on the board of PEN America. He has written for the Associated Press, the International Herald Tribune, and the Review of Contemporary Fiction.

Colin Robinson was until recently a senior editor at Scribner. Previously he was managing director of Verso Books and publisher of The New Press. Among the authors he has published are Tariq Ali, Noam Chomsky, Alexander Cockburn, Mike Davis, Norman Finkelstein, Eduardo Galeano, Eric Hobsbawm, Lewis Lapham, Mike Marqusee, Rigoberta Menchú, Matt Taibbi and Jann Wenner. He has written for a broad range of publications including The New York Times, The Sunday Times (London) and The Guardian (London) and has appeared on a wide range of broadcast media including NPR (“On the Media”), CNN, MSNBC, CBC and CSPN.

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Publishing Talks: David Wilk interviews Vikram Narayan

In this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

It’s more or less common knowledge that today more books are written and published than at any time in human history, and the current rate of production certainly shows no sign of slowing anytime soon.  This is true of all other art forms as well – we are surrounded by more music, video and every other form of art.  Being found, heard, seen, and ultimately having one’s work experienced by an audience in an environment of vast abundance must therefore be the goal of all creators, writers, musicians, film-makers, etc.  All content is competing for the valuable time that audiences have to give.  This “attention economy” is at the heart of how the web affects the business of publishing.

For some writers, the social sphere, the engagement with readers, and the marketing work they undertake is a natural extension of their creative work.  There are many other writers, of course, for whom marketing is a foreign concept, or who simply do not understand or feel comfortable with the emerging social network of the web.  Whether they are sophisticated marketers or novices just starting to figure out how to find their communities, writers who are trying to take their work from the private to the public sphere are faced with a vast and sometimes opaque ecosystem of human culture.

Of course in this environment, tools have emerged to help them navigate this fluid and highly challenging environment, and learning how to use those tools becomes another challenge for writers.

A couple years ago I met Vikram Narayan, a young technologist from India, who was setting out to launch a business dedicated to creating marketing easier for writers and publishers.  He started with one automated tool that would enable writers to make their books more visible on the web, and over the past couple of years, the business, now called BookBuzzr, has continued to evolve interesting, fun and easy-to-use tools that writers can use to better understand how they can connect with readers and to help them make that process more efficient and less daunting.  Vikram recently sent me a PDF booklet called “The 10 Book Marketing Mistakes that Authors Make” and that spurred me to talk to him about his work.

Vikram is the founder of BookBuzzr Book Marketing Technologies Pvt. Ltd. based in Bangalore.  His company provides a variety of book marketing and book promotion technologies to authors including the popular and free BookBuzzr Widget which has been referred to as a “portable author website” or “the calling card for the social Internet.” BookBuzzr also owns and operates Freado.com – the world’s biggest book-winning site with hundreds of books to be won (which is a cool way for authors to be discovered). Vikram has an MBA from Carnegie Mellon University.  I recently talked to Vikram over Skype to hear some of his thoughts about marketing and books, what amounts to news from the front lines, where writers and readers are continually engaging, where the future of writing and reading can begin to be understood.

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Publishing Talks: David Wilk interviews Andy Campbell

In this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

When I recently accidentally discovered the work of UK writer Andy Campbell, I was completely blown away.  First because the work is so good, imaginative, creative that makes full use of the digital environment to tell stories in a thoroughly new way.  But second, simply because I was so surprised that he had been doing this work for so long, and I had never learned of it before now.  It’s just proof that the creative world we inhabit is so vast and full of creative individuals, fragmented and as full of stars as the night sky.  And it is great fun to find new kinds of writers and writing, and learn so much from their own experiences.

Andy Campbell is a digital writer who has been working at the forefront of digital fiction since 1994. He is the author of Dreaming Methods, a website described by the UK’s Times Educational Supplement as “One of the most impressive purveyors of the new art of internet reading… a distinctive voice that couldn’t be replicated in print.” He is also co-director of One to One Productions Ltd, creating and facilitating multimedia projects for charities, arts organizations and others.

Andy is great fun to talk to, has some valuable insights and thoughts about the emergence and future of digital storytelling, and I hope this talk will gain him some new readers for his really exciting story telling.  I think his work represents a profound shift in the way our culture imagines and tells its stories.  (below a small screenshot from Nightingales Playground – “a young man attends a school reunion only to discover none of his old friends remember the same things he does”).  Do visit Dreaming Methods, it is well worth the time to explore (and support this digital innovator by subscribing).

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Publishing Talks: David Wilk interviews Ron Martinez

In this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Ron Martinez, is Managing Partner and Co-Founder of Invention Arts. His primary focus is on [aerbook], a web-based publishing and marketing platform that helps books and potential readers find one another on the social web (www.aerbook.com). Ron is a prolific inventor, with close to a hundred and fifty issued patents and patent applications currently in flight. He brings a combination of, technical, creative, intellectual property development and management, design, and strategic and operational business experience to his work at Invention Arts, and finds that his initial interest in computing as an expressive medium continues to define his agenda.

His introduction to the medium was in the mid-80’s, when he was an aspiring novelist in New York, writing YA adventure books, contributing to humor anthologies, writing comics for Heavy Metal and other publications–anything to put food on the table. A book packager asked him to adapt an Arthur C. Clarke novel, Rendezvous with Rama, to graphic adventure format, perhaps the first major author’s works to be so adapted. Taken with the expressive possibilities of the medium, Ron taught himself to program software and built an interactive fiction system, and went on to use that and enhancements to it, as well as entirely new systems, to write interactive fiction, original murder mysteries, political simulations, and other titles for publishers like Simon & Schuster, Spinnaker, Philips Interactive Media, Electronic Arts, and others. By the mid-90’s he was deeply interested in the design of story-rich, massively multiplayer online games. His game 10Six was one of the first of these, a social/tribal million player game published and operated by Sega. (Though built in the late 90’s, it continues to thrive as an indie game at ProjectVisitor.com. 10six introduced ownable, transactable virtual goods for the first time, a technology Ron was awarded a foundational patent for in 2001. Virtual goods models have since emerged as a dominant form of commerce for social networks and social games.

Prior to his current work at Invention Arts, Ron worked for a number of years as Vice President, Intellectual Property Innovation for Yahoo! There he designed and built the IP Innovation function which over a four year period delivered high volume targeted, patentable IP and productizable innovation. He also initiated Yahoo!’s content IP asset management and operations program, implementing a global, real-time rights infrastructure called Rights Engine.

His interests include invention techniques; the evolution of books and the current reimplementation of the publishing industry, intellectual property strategy; content rights; content IP and social distribution; electronic payments; virtual property; online payments; networked games; educational software; social media; social media advertising and marketing; social media monetization; mobile media; media metadata; media sharing and reuse; media remixing; and distributed media production.

It was from Ron’s announcement of Aerbook that I learned of his work.  I was very excited as soon as I began exploring this project, because it launched just as I have been thinking about the implications of publishing as a social endeavor in the digital universe.  Aerbook in fact is created around the notion of book as a multi-channel conversation between writers and readers, and I think it demonstrates concretely how powerfully publishing can be re-imagined.  Ron’s experience as a writer who has mastered the skills and tools of software development and storytelling in a digital environment also brings forward the changes in how writers can work in this new environment.  I hope you will find this discussion as interesting and thought provoking as it was for me talking to Ron Martinez.  I think we are just now seeing the true beginnings of a “modern” form of publishing that will in fact expand the reach of writers and change their relationships with readers for the good of all.

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Publishing Talks: David Wilk interviews Peter Brantley

In this series of interviews, called Publishing Talks, I have been talking to book industry professionals and other smart people about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses.  We must wonder now, how will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and  economics?

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in and around the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Peter Brantley is the Director of the Bookserver Project at the (totally cool) Internet Archive, a San Francisco-based not for profit library. He contributes regularly to several blogs on libraries and publishing, discussing transformations in media and information access. He serves on the board of the International Digital Publishing Forum, the standards setting body for digital books. Peter has significant experience with academic research libraries and digital library development programs, and was previously the Executive Director of the Digital Library Federation, a not for profit membership organization of research and national libraries.

As Peter pointed out to me recently, the word “rant” is a part of his name.  So we could expect him to have something interesting to say about almost any subject related to books and the digital landscape.  I think that comes across well in our talk.  He brings to bear his experience as a librarian but also has a broad perspective on many subjects simply because he pays attention to so many ideas and developments across a wide spectrum of subject areas and interest groups.  We had a lot of fun talking together, and hope listeners will enjoy our talk as well.

I am happy to say that this is the 100th post on Writerscast, a milestone of sorts, I suppose.

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Publishing Talks: David Wilk interviews Deborah Emin

In this series of interviews, called Publishing Talks, I have been talking to book industry professionals about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses. How will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and its economics?

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

I learned about Deborah Emin from an article about Sullivan Street Press and her “throwback” program called the Itinerant Book Show.  Deborah and colleagues (they call themselves “bookies”) travel to towns in the midwest as far as Iowa bringing books they select to events in art galleries, bars, coffee shops and the like.  Because they are featuring only books they have read and liked, it’s pretty easy to understand how they are connecting successfully with audiences.  And as she points out on the Sullivan Street website,  the real key is what Deborah as a publisher and writer can learn about audiences.  Face to face, one to one.  It’s invaluable intelligence for anyone concerned with understanding how a literary community works.

All of this resonates for me.  Her story reminded me of work some of us were doing more than thirty years ago, bringing books by new authors and publishers to booksellers and audiences around the country.  In the late 1970’s what was then called the Coordinating Council of Literary Magazines (still going strong and known as CLMP) sponsored a number of grassroots efforts to bring independently published poets and writers into bookstores, which involved personal visits to bookstores, libraries, schools and even bars to sell books.

There were programs in North Dakota (where a budding young writer named Louise Erdrich interned), Rochester, NY, Minneapolis-St. Paul (where I was) and other locales, all sharing a commitment to connecting innovative new writers to new audiences, sometimes, one person at a time. Many then young publishers still publishing today, were introduced to their audiences through those early efforts.

So is everything old new again?  I think the spirit of independent publishing continues.  Writers find their readers, and readers their books one at a time, after all.  The magic of literary discovery still requires the kind of personal effort that Deborah Emin and the Itinerant Book Show put forth.  Which is also the kind of personal connection forged by booksellers with their customers.  Whether the books are printed by hand on custom paper using handpresses, or created digitally using HTML or ePub, learning about a book you will love is ultimately about a deep connection between the writer, and the reader, with one or more intermediaries making the hand off.

Sullivan Street Press consists of Deborah Emin, an editor and writer, Ron Lebow, a computer technologist, a business development professional and also a writer.  It’s a pretty interesting and obviously fertile group of minds and talents.  The work they are doing is challenging and rewarding, and offers valuable lessons for publishers of any size and ambition.

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Publishing Talks: David Wilk Interviews Adam Hodgkin

In this series of interviews, called Publishing Talks, I have been talking to book industry professionals about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses. How will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and its economics?

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Adam Hodgkin is one of the three publishing and technology experienced founders of Exact Editions, which started as a digital publishing solution for magazines to run on the iPhone (and of course now on the iPad as well).    Exact Editions enables magazine publishers to sell “in-app” subscriptions, and notably, preserves the notion of the designed page, something that has been a concern for many publishers of illustrated books as well.  I’ve been reading the Exact Editions blog for some time and have been impressed with Adam’s understanding of the emerging digital publishing universe.  Something he wrote recently caught my attention immediately, as I have long been interested in the ways that authors, publishers and readers will learn to connect with one another in the online environment.  Here’s what Adam wrote about the Apple environment upon which EE is built:

“The Apple e-commerce system works extremely well in my view and with the freemium method that we are adopting at Exact Editions it works in a way in which the ratios between ‘sampling’ and ‘purchasing’ are extremely informative. And as we get more data and get on top of it and learn how to do SRO (SampleRevisionOptimisation – a bit like SEO and it will be an equally dark art) the business of presenting the right amount of content to optimise sales will be established. We currently recommend working at about 8-15% exposure, but its guesstimatory at this point. Amazon must know quite a lot about this from their system, but I am not sure if they have issued any guidance to publishers.

The Apple system is better than most physical bookshops because it can put ‘samples’ in the hands of thousands (many thousands) of potential subscribers/purchasers much more efficiently than can be done with printed paper pages. The economics of this are pretty compelling even if the ‘sample’ to ‘purchase’ ratio is as low as 1%. And in most cases its quite a bit higher than that.

Will probably blog something a bit more informative about this in the next few days. But just let me say that I am simply ASTONISHED by how much more takeup there is for the iPad than for the iPhone. More in absolute terms, by quite a margin, even though there are maybe 40X as many iPhone/IPod touches in the market than iPads.

The iPad is turning out to be a hugely strong reading environment. Absolutely no question about it. And its darn easy to buy stuff on it that you might want to read.”

I thought it would be interesting to talk to Adam about Exact Editions and some of the things he and his colleagues have learned through the experience of working in the Apple environment, not only with magazine publishers but now as they are expanding into working with book publishers as well.  My discussion with Adam covered his background and experience in traditional publishing, technology, and some of the lessons learned by the Exact Editions team in their work in digital publishing apps and proved to be as compelling as I had expected.

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Publishing Talks: David Wilk interviews Bob Stein

In this series of interviews, called Publishing Talks, I have been talking to book industry professionals about the future of publishing, books, and culture.  This is a period of disruption and change for all media businesses. How will publishing evolve as our culture is affected by technology, climate change, population density, and the ebb and flow of civilization and its economics?

I hope these Publishing Talks conversations will help us understand the outlines of what is happening, and how we might ourselves interact with and influence the future of publishing as it unfolds.

These interviews give people in the book business a chance to talk openly about ideas and concerns that are often only talked about “around the water cooler,” at industry conventions and events, and in emails between friends and they give people inside and outside the book industry a chance to hear first hand some of the most interesting and challenging thoughts, ideas and concepts being discussed by people in the book business.

Bob Stein is for me one of the great visionary innovators and someone I greatly admire.   He most recently co-founded The Institute for the Future of the Book, which quite modestly describes itself as “a small think-and-do tank investigating the evolution of intellectual discourse as it shifts from printed pages to networked screens. We are funded generously by the MacArthur Foundation, and affiliated with the University of Southern California. We are located in Brooklyn, NY and London, UK.”  Bob’s bio includes founding the excellent Criterion Collection of classic films, which he ran for 13 years, as well as The Voyager Company, which produced more than 75 innovative multi-media projects in CD-ROM formats.  Subsequently, Stein started Night Kitchen to develop authoring tools for the next generation of electronic publishing. That work is now being continued at the Institute for the Future of the Book.

In our conversation Bob talked a bit about his background and his history of working in publishing as lead in to a wide ranging discussion of digital publishing issues.  Bob’s vision of how reading and books work in the digital, networked social environment – “books as conversation” as well as or perhaps instead of “books as objects” – and how authors and readers interact in the emerging environment is compelling.  Bob has a deep experience that combines conceptual and hands-on work on so many of the issues that concern anyone interested in books and reading which for me makes his point of view so important to experience.

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