The publishing landscape has changed rapidly over the past decade. With more and more brick-and-mortar bookstores closing their doors, today's marketplace can seem intimidating and discouraging to publishers. But take heart! Readers are still interested in books and are showing interest in using electronic devices as their reading platforms, so the good news is that those collections of titles gathering dust still hold value, and technology might actually facilitate increased revenue.
In this episode, Scholarly Kitchen chef and scholarly publishing business consultant Michael Clarke looks at some of the growth engines-from new end-user products and services to new business models to mergers and acquisitions-that companies in scholarly communications are tapping as their traditional individual and institutional subscription businesses cope with flattening prospects.
Another spring book season has come to pass, and with it another set of factual mini-scandals. Earlier this month, the New York Post found major inaccuracies in Primates of Park Avenue, Wednesday Martin's "study" of Upper East Siders and their wife bonuses, prompting Simon & Schuster to slap a quick disclaimer onto its best-seller. A Salon.com writer found that a key statistic in David Brooks's The Road to Character was badly mangled and wrongly sourced. (Random House will correct it in future editions.)
Sales of children's books are at an all-time high, yet it is harder for publishers to reach young readers, says the owner of a literary agency that represents more than 200 children's illustrators and writers.
Vicki Willden-Lebrecht, founder of London-based The Bright Group, said funding cuts at schools and libraries has meant there are fewer books than ever on display, making it harder to reach families that do not normally buy books.
"The saddest thing is often there isn't a showroom for books
Last week FutureBook asked, how big is the self-publishing market? The simple answer is that only Amazon knows. The more complex answer is that it is big enough - and growing.
Porter Anderson and I used various approaches. We asked some of the stakeholders for their estimates, and then ran an open survey to see if the indie hive-mind would coalesce around some numbers. Separately, as part of a wider piece on how traditional publishing was weathering the digital storm, consultant Mike Shatzkin offered his own number.
Nihar Malaviya, EVP and COO of Penguin Random House U.S., argues that despite the rapid evolution of digital technology and the rise of ebooks, publishers' core role as content curators has not changed. What digital technology has transformed is how publishers interact with and market to consumers. It is an area of massive opportunity
In the world of disruptive innovation, customers aren't just people who pay you money for whatever physical stuff your business shovels out the door.
Traditional publishers would never think this way, but authors are their "customers" because authors are seeking someone to provide the service of replicating their books and effectively moving those books into the stream of commerce.
The mega-selling 1% of authors are the most profitable customers for the services provided by publishers. They will be the last to go in part because, like the best customers of any business, they get the best deals.
Let's start with a number: 37 million.
That's not page views or a figure about student debt. It's the number of subscribers to the PewDiePie YouTube channel.
PewDiePie is Felix Kjellberg, a video gamer with a legion of fans he calls "bros." He's the latest in a series of YouTube stars who have decided to publish a book.
"This Book Loves You" is a collection of aphorisms, bits of wisdom-slash-jokes, paired with photos and other visuals. It's coming out in October simultaneously in the U.K., Germany, Norway, Sweden and France and
Author Kamila Shamsie is "right to draw attention" to gender inequality in publishing, but her suggestion of a year in which only books by women are published has been greeted with mixed views by the trade.
Writing in the latest issue of The Bookseller, Shamsie [pictured] said 2018 - the 100th anniversary of women getting the vote - should be a year in which the UK only published new titles by women.
This would help with the gender inequality female authors experience when it comes to reviews, media coverage, prize shortlistings and winnings, and more, said Shamsie.
Each June, editors, publishers, and authors anxiously await the release of the Journal Citation Report (JCR)-a dataset that reports, among other things, Journal Impact Factors for approximately 12,000 scholarly publications.
While new titles are added to the JCR each year, several dozens will be suppressed for "anomalous citation patterns." Stated in more direct language, the JCR will kick out journals that attempt to game the system. Thomson Reuters, the publishers of the JCR, prefers to use language that does not infer intent; however, the result is the same. Last year, 38 titles were delisted from the JCR