Companies across the globe are full of executives who believe in the traditional model of digital marketing and may need a little convincing to recognize that times are changing. You may also find that these executives are a bit jittery because their once tried-and-true tactics are becoming less effective. The well of consumer patience for constant interruption is exhausted.
Do you think that having a recognizable and consistent look to your books helps with sales? Elda Rotor: Yes, particularly with our signature black spine editions for Penguin Classics, the uniformity helps consumers, students and book lovers spot our editions more quickly, and with that comes the understanding that the titles are in line with our overall vision for the series, a broad and diverse list of titles, carefully edited, translated and produced.
The digital revolution was a huge win for the act of publishing. Content is now everywhere and can be purchased anywhere. But how, in this sea of content, do publishers who invest in the time-honored processes that ensure quality content communicate that? There are many methods to boost content discoverability—many are technical, many are strategic, and all should be tailored to the content and audience in question. The most powerful—and most resilient—method for improving your content's discoverability, however, is to inspire your once-passive audience to actively seek you out.
Active discovery—where customers know to specifically seek out your content—requires branding.
It's no surprise that there's a lot of confusion around metadata for books. It's complicated. If only they hadn't used the "M" word—metadata. It reeks of digital complexity. And then you read the standard definition: "Metadata is data about data." Gee, thanks. As if your eyes hadn't already glazed over.
Growing up doesn't really end at age 20, so why should young adult fiction stop there? The New Adult genre, a growing subset of young adult lit, aims to give voice to the post-high school experience and its implied transition to independent living: college, moving away from home, traveling, starting first jobs and even sex. The content may be darker and more mature than what is traditionally found in YA, and the protagonists range from late teens to early 20s, but the stories offer many of the same kind of identity challenges and coming of age narratives as their YA brethren.
Ryan "Dinosaur Comics" North writes in with the improbable tale of his amazingly successful Kickstarter for a Choose-Your-Own-Adventure style adaptation of Hamlet, which has made him a fortune and prompted him to release the whole thing under a Creative Commons license:
There's a little under two days left on the project for my chooseable-path version of Hamlet called To Be Or Not To Be. You can play as Ophelia, Hamlet, or Hamlet's Dad, but if you choose him you die on the first page and play as a ghost.
For 36 years, an undaunted Irwin Zucker, himself a public relations professional, has been hosting bi-monthly meetings of the Book Publicists of Southern California, bringing together at each event a hundred or so published authors and authors on the way: to share ideas, display their works, and to learn how to sell more books.
As with IBPA -- which started a few years later as the Publishing Association of Southern California (PASCAL), with then former PW Publisher Dick Bye as President and Jan Nathan as Executive director. It then became PMA and is now IBPA, a 3,000-member strong national organization -- Zucker reveled in the trenches of book publishing outside the mainstream channels. He brought enthusiasm, hope and know-how to equip authors with the tools to work around barriers to entry and, eventually, if they found a strong enough audience, to find their way into the mainstream; or, more often, to stay independent and pocket the proceeds and the glory on their own.
The Hobbit earned nearly $85 million in theaters this weekend, setting a new record for December box office performance.
Capitalizing on Hobbit-mania, Tor/Forge Books played a book trailer for The Wheel of Time series before The Hobbit in some theaters. A Memory of Light comes out January 8, 2013, the fourteenth and final book in Robert Jordan‘s beloved Wheel of Time series.
It’s tempting to see such Technicolor absurdity as targeted more toward the adults—the sort of adults who buy avant-garde picture books, at least—than the children. And it is tempting to see it as a weird aberration in a section of the bookstore that, when you’re combing the shelves, trying to find a single non-awful book for a preschool birthday present, can seem insistently, intentionally boring. But neither is true. The picture book genre has always been a breeding ground for anarchic absurdism.
There is a unique way to trap monkeys in the islands of the South Seas. The natives drill a small hole in a coconut, hollow it out and fill it with rice. Once a monkey puts its hand in the coconut to get the food, it cannot remove its clenched fist. Refusing to let go of their prize, the monkeys are unable to escape.