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Sony’s New DPT-CP1 Digital Paper eReader Clears the FCC

Sony is about to release a third model in their Digital Paper line of writing tablets, only this time it’s not made by Sony.

The Taiwan OEM Netronix filed a new set of FCC paperwork today for what Netronix is calling the Digital Paper DPT-CP1. According to the test reports and the FCC label info submitted in the paperwork, this device belongs to Sony.

All the interesting details, including the manual and product photos, have been embargoed until mid-April, but Sony’s name as well as the Digital Paper brand is mentioned repeatedly throughout the paperwork.

I couldn’t find any details on the screen size, but we do know that this device was tested for Wifi, Bluetooth, and NFC.  There’s also no mention of a headphone jack or audio, but the paperwork did note that the power is supplied by a USB cable.

We’re going to have to wait for a month or so to find out more.

If this really is a Sony device (and I beleive it is) then it will be the third model in Son’y line of large screen E-ink writing slates. The first model, the DPT-S1, debuted in 2013, while the second model, the DPT-RP1, launched last April.

You might be surprised that the new device has been outsourced, but I am not because I am 100% that the DPT-RP1 had also been outsourced.

Sony started developing the Digital Paper line back when it had an ereader division, but by 2017 the company had gone through several rounds of downsizing when unprofitable divisions where shut down. It would make a lot of sense to outsource hardware development at this time, and focus on software.

This explains why the first Digital Paper ran Android 2.1, just like Sony’s previous Sony Readers, while the second Digital Paper ran Android 5; someone else developed the OS running on the hardware.

And now the new Digital Paper is coming from Netronix.

Coincidentally, this company also makes ereaders for Kobo and B&N, and it files FCC paperwork on their behalf – covered in the respective brands.

Libreka to Sell eBooks on Ebay

The German ebook aggregator Libreka is partnering with Hamburg-based DigitalStores to offer ebooks on Ebay and Höbu (an audiobook retailer).

More than 1,000 publishers whose ebooks are exclusively to Libreka, will be covered by this deal. Initially it will only include ebooks that can be sold without hard DRM.

Libreka currently distributes over 3.5 million ebooks. The company supplies library service providers corporate networks, and retail platforms.

DigitalStores’s many services include e-commerce solutions for publishers and brands. Content such as ebooks, audiobooks, and music are distributed through a network of landing pages marketplaces, and retail sites.

BuchReport.de

image by maltman23

Canute Braille eReader Will Cost About the Same as an iPhone

Multi-line Braille ereaders are the holy grail of reading technology, and it looks like one may soon be available to buy.

UK startup Bristol Braille Technology has developed the Canute, a multi-line Braille reader that is expected to retail for "around the cost of a new iPhone, not far off the price of a Perkins Brailler," BBT said on their website. "That’s around twenty times cheaper per cell than existing digital Braille devices."

Canute is the world’s first viable multi-line refreshable Braille e-reader; a ‘Kindle for blind people’. Available for a price comparable to a new iPhone or Perkins Brailler, Canute has been developed by Bristol Braille Technology with, by, and for the blind community.

Canute has been in development since 2012. In March 2018 it will begin its final pre-production testing pilot, prior to beginning sales later in the year. We’d love to give a specific release date, but its important to us to be transparent with our users: we want to hear back from the pilot programme feedback before we give a definitive date, and we don’t want to rush to market, only to deliver a sub-standard machine.

The Canute is supposed to hit the market later this year, but in the mean time BBT is showing off the Canute next Friday at the Royal National Institute Of Blind People. So if you are in London, you can check it out.

Other Braille tablets include the Blitab and an ongoing research project at the University of Michigan. Neither device has been released yet.

NYTimes Launches Audiobook Best-Seller List

The New York Times is launching an audiobook best-seller list on Thursday.

The lists, which combine digital and physical audio sales, will debut online on Thursday, March 8, and in print in the Sunday Book Review on March 18.

Moving forward, the Best-Seller Lists, which previously published online on Fridays, will now publish on Thursday mornings.

“The vibrant growth of audiobooks in the industry has created a need for an impartial, reliable source for tracking and reporting the top-selling audiobooks across the country,” said Pamela Paul, editor of The New York Times Book Review. “The Times recognizes the increased reader and listener interest in audiobooks, as well as in the Book Review’s increasing depth of coverage of audiobooks, and we’re thrilled we’ll be able to provide them independent data they can rely on.”

The Book Review will continue to publish in print the Combined Lists and Hardcover Lists each week. The third page will highlight other Best-Seller Lists on a weekly rotating basis, including the following categories: Paperback (Trade Fiction and Paperback Nonfiction), the four Children’s Books lists, and Audiobooks.

The Children’s Books Lists and Paperback Lists will continue to be updated and posted weekly online, and in response to reader interest, the Paperback Lists will now expand from 10 books to 15.

They won’t name their sources, but that doesn’t necessarily mean that this list is invalid. While Amazon is notoriously protective of their sales data, there are companies, including that new venture from Data Guy, which could supply data to the NYTimes.

It could be  Data Guy, or the NYTimes could be teasing audiobook sales data out of Amazon Charts, or getting data from smaller audiobook distributors like Findaway and Downpour.

But let’s face facts: Amazon controls close to 90% of the audiobook market, and if the NYTimes isn’t getting data from Amazon then this list has absolutely no connection with reality.

image by Jon Grado

Streetlib Launches a Publishing Services Marketplace

So you are an author, and you need help with your next book, but you don’t know where to find it. You could ask other authors for recommendations, or you could visit one of the many publishing services marketplaces.

This is a term I coined in 2014 for directory sites where freelancers and companies list the services they offer.

I know of 8 such sites, and now StreetLib has thrown their hat in the ring:

We are very happy to announce the launch of StreetLib Market. Simply put, it’s an online marketplace where you can contact and collaborate with independent book publishing professionals. With StreetLib Market, an author or publisher based anywhere in the world can commission the best editor, designer, marketer, and more for the job, regardless of their country of residence, and with minimal hassle in terms of billing, international tax issues, document exchange, and more.

Why StreetLib Market? First of all, everyone who hopes to write a great book needs an editor—that’s just a fact. To publish successfully, you need even more assistance. It used to be that to gain access to this help, you had to snag a book deal, and ideally one from a major New York or London publisher. Now you can locate freelance editors and designers online with just minutes of Googling. Still, one has to wonder: Will this person leave me poorer but without a stronger book? There’s much guesswork and minimal accountability. The search was daunting, for many people.

I wrote a round up post in 2014 that listed 8 sites ranging from Kboards yellow pages to Reedsy. I just updated it this morning to include Streetlib Market.

Audible Promises to Patch Sinking Audible Romance Payments With Bonuses

Authors are still reeling from the shock at how low the Audible Romance royalty rate was last quarter. While Audible has announced that they’ve fixed the royalty rate, they do have a bandage they will apply to the gushing financial wound inflicted on romance authors.

Earlier today Audible announced announced in a closed FB group for romance readers that it will be paying bonuses to authors who had audiobooks in Audible Romance last quarter:

To our Romance Community, regarding Q4 2017 Audible Romance Package Earnings:

In the short time since the launch of Audible Romance in November 2017, we have been focused on growing the audience for authors and actors whose works are included in the package. We created the offering to increase the reach and audience of romance audiobooks by bringing the works of authors and narrators to romance fans in an innovative, all-you-can-listen model that meets the needs of their voracious consumption patterns. We are happy to announce that in the first few months of the offering, customers are listening to content included in the Romance Package at rates that exceeded our initial projections. However, this has affected royalty payments in unintended ways.

To celebrate and thank participants in the early days of the first-ever all-you-can-listen service dedicated to romance audio, we are offering an early adopter bonus on top of Q4 2017 royalty earnings of the Package. Bonuses will be allocated based on how much customers listened to the authors' titles, and we will be distributing these bonuses within the next few days. We anticipate that as the program grows, royalties from the Package will reflect an additional revenue stream on top of unit sales. We are also examining the Romance Package based on current and projected listener behaviors to ensure we grow a sustainable offering that supports authors, narrators and romance fans alike. We remain focused on continuing to attract listeners with a pioneering new service that revolutionizes romance audiobook consumption.

Audible has not revealed how much they will be increasing the payment to authors, nor have they said whether authors will be released from the program early.

Audible was contacted before this post was published, and had not responded.

The one-time bonuses are nice, but it doesn’t address the fundamental problem with Audible Romance, which is that romance fans consume stories voraciously.

The thing about Audible Romance is that Amazon took a market where it both dominated and generated a tidy profit – romance audiobooks – and then disrupted that market with a flat rate subscription service, thereby cutting retail sales (according to several independent reports) and effectively putting a cap on what authors could earn from the program while also letting subscribers use as much as they want.

This led to an entirely foreseeable outcome of an extremely low royalty rate last quarter where authors were paid 57 cents when am AR subscriber finished  a ten hour audiobook.

That rate is so low that it has authors trying to leave the program ASAP, and has other romance authors reconsidering whether, given the expected low rate of return, they want to release audiobooks at all.

Would you blame them if they decided it wasn’t worth the investment?

image  by ActuaLitté

AAP Reports Publisher Revenues Up 1.7% Through October 2017

The Association of American Publishers reported on Thursday that tradpub were continuing to strangle their ebook sales in favor of print.

In terms of category, adult fiction and non-fiction revenues were up 3.6% while YAKids and religious presses revenues were down.

Revenues from hardback books and audiobooks were up 5.2% while ebook and paperback revenues fell.

press release

Publishers saw increased revenues in October, up $251 million (+27.6%) for October 2017 vs October 2016. The strong month brings revenues for Jan. – Oct. 2017 to $12.44 billion, up +1.7% for the year-to-date. Every category saw an increase in revenues for Oct. 2017, which include sales to bookstores, wholesalers, direct to consumer, online retailers, etc.)

Trade books are up +16.5% for Oct. 2017 vs Oct. 2016 and +1.6% year-to-date. The greatest growth in the trade category was adult books, which saw $123.5 million (+25.8%) revenue growth. Publishers report that the significant increase is due to several factors including the book debuts from well-known authors.

Total Trade Net Revenue by Category for Jan. – Oct. 2017 (in millions)*

  Jan. – Oct. 2017 Jan. – Oct. 2016 Percent Change
Adult Fiction/Non-Fiction

$4,111.3

$3,967.5

+3.6%

Children’s/YA

$1,650.2

$1,692.4

-2.5%

Religious Presses

$370.0

$374.2

-1.1%

Total Trade

$6,131.5

$6,034.2

+1.6%

Trade Book Formats

In October, print books and audiobooks saw increased revenues, while eBooks declined in all categories except religious presses. The formats with the most significant growth in October were downloaded audio, up +41.4% and hardback books, up +25.1%.

From Jan. – Oct. for the year-to-date the hardback, board book and downloaded audio formats saw increased revenues.

Nine Month Total Trade Net Revenue by Format (in millions)*

  Jan. – Oct. 2017 Jan. – Oct. 2016 Percent Change
Hardback

$2,285.6

$2,173.3

+5.2%

Paperback & Mass Market

$2,261.2

$2,289.6

-1.2%

eBooks

$925.1

$978.9

-5.5%

Downloaded Audio

$275.6

$215.5

+27.9%

Other (physical audio, board book)

$384.1

$376.9

+1.9%

Education and Scholarly Publishing

The education sector saw mixed results, with +5.4% growth in Higher Education Course Materials and a -3.4% decline in PreK-12 Instructional Materials from Jan – Oct. 2017.

Revenues for Professional Books increased by +41.1% for Oct. 2017 vs Oct 2016 and are up 10.2% year to date. University Presses increased +21.8% in October and 5.1% year-to-date.

About StatShot

Publisher net revenue is tracked monthly by the Association of American Publishers (AAP) and includes sales data from about 1,200 publishers. Figures represent publishers’ net revenue for the U.S. (i.e. what publishers sell to bookstores, direct to consumer, online venues, etc.), and are not retailer/consumer sales figures.

image by Nikos Roussos

Kobo to Retire Kobo Kids Accounts on 3 April

Back in 2013 Kobo responded to the then-current hand-wringing over adult content in ebookstores by launching a Kids Account option which had limited access to only what Kobo considered age-appropriate content (and could only buy ebooks with gift cards).

I think I may be the only person who ever used the program (and I am certainly the only one in media who wrote about it). I just got an email announcing that Kobo is ending the program:

Dear Valued Customer,

We wanted to let you know we have decided to retire Kobo Kids’ Accounts beginning April 3, 2018. Although we’ll no longer support accounts for children, we will continue to offer eBooks and audiobooks for young readers of any age.

As of April 3, all existing Kobo Kids’ Accounts will be merged with their corresponding parents’ accounts. This means any books and store credit on your child’s account will automatically be transferred to your own account.

I had one book in the kids account, and a credit for $10.51 which i must have added when I opened the account four years ago, and now both will be added to my main Kobo account.

Authors Flee Audible’s Romance Subscription Over the Ridiculously Low Royalty Rate

When Audible launched Audible Romance last November, authors were thrilled at the idea that there was now a Kindle Unlimited for audiobooks where subscribers could pay a flat monthly fee and listen as much as they want.

That elation lasted until yesterday, when quarterly earnings statements from Audible arrived in authors' inboxes. Reports are coming in from KBoards that authors were dismayed to learn that Audible is paying $0.0009556 for each minute that an Audible Romance subscriber spent listening to their book.

If an audiobook is ten hours long, and an AR subscriber listens to the whole thing, Audible will pay 57 cents. (And to make matters worse, in many cases that 57 cents has to be split between the author who wrote the book and the narrator who recorded  it.)

If that audiobook had sold, the author would be getting a cut of $30 to $45 retail price, or of the $15 monthly credit.

The low pay in Audible Romance comes as a surprise given that Kindle Unlimited has worked out so well for many authors.

In comparison, the Kindle Unlimited rate was almost five times as high in January 2018, when Amazon was paying $0.0044795 for each page read by a KU subscriber. To put it another way, KU is paying just under a half of a cent per page, while Audible Romance is paying a tenth of a cent per minute.

With Kindle Unlimited, authors are getting almost as much when a book is read in KU as they would if the book sold.

The same cannot be said for Audible Romance. To put it simply, authors (and narrators) are getting screwed by Audible’s subscription service.

And the authors are pissed. "Not only is the rate absolutely terrible, but it is drastically hurting my normal sales," one wrote on KBoards. "This is ten times worse than kindle unlimited (where a novel length read through is "roughly" equal to a sale). I didn’t expect to be rolling in money, but this is far worse than even my worst expectations."

As a result many authors are discussing how they might pull their audiobooks out of Audible Romance, which could be a problem given that authors agreed to submit their audiobooks for a period of seven years.

However, several authors have said over on KBoards that they were told by Audible reps that they can pull their respective audiobooks out of Audible Romance simply by emailing Audible and making the request.

I’m still waiting for anyone to confirm that that worked, and even if it is possible to get out of Audible Romance it’s not clear whether that will help authors.

The thing about Audible Romance is that it is so popular that a number of authors have said that their romance audiobook sales evaporated when this service launched last November. "My romance audiobook sales pretty much dried up when they started this program," author Marty South wrote back in December. "I chalked it up to the doctrine of: Why buy the cow when you can subscribe to it for (practically) free?"

Audible Romance has put romance authors in a terrible position; they can join and be paid poorly, or they can sit out and see their sales fall. Neither option is great, leaving romance authors to ponder whether they should release audiobooks at all.

Given the poor returns romance authors are seeing in the audiobook market, that is not a crazy idea.

Tech Tools for Authors #3: Automation

Authors have to juggle a lot of balls in today’s book industry. Not only do they have to write that next book, they also have to market it, balance the ledgers, woo their fans on social media, do background research on their next project, and make dinner.

In past tech tools for authors posts, I gathered multiple unrelated tools and explained how each one could be useful. This time around I am going to focus on just one niche, and covers tools that fill specific needs.

Today’s topic is automation.

There are only so many hours in the day, and there is always more work to do than we can fit into a single lifetime. Finding ways to automate simple and repetitive tasks will boost your productivity by letting you focus on important activities like writing and interacting with fans.

The following post details five tools I have used to automate my workday and get more stuff done.

If you know of an automation tool not mentioned here, please mention it in the comments.

Google Alerts

Before social media took over and everyone started living their lives on Facebook and Twitter, there were these things called websites. Everyone had one, and it was where they posted their status updates, book reviews, and links to sites they like.

It can be easy to forget in 2018 but there is still a world beyond social media where people post book reviews and discuss topics that matter to them. It is impossible for any single person to follow all of the conversations on the web, which is why you should use Google Alerts.

Just give it the search terms you want and whenever Google’s search engine finds new results, you will get an email  with links. You can create as many alerts as you like, and you can set the emails to arrive daily, hourly, as-it-happens, etc.

It’s almost as if Google is giving you your own virtual search assistant, for free.

IFTTT

If you use Buffer or another service to automate your social media presence, you will also want to start tracking responses and whether anyone mentions your name.

IFTTT can do that, and so much more. This is a general purpose web automation service that lets you connect just about anything. It has a simple, clean interface that takes only minutes to learn, and it can save you hours of work.

Zapier

Zapier is basically IFTTT on steroids. It is ten times more capable and about a hundred times as complex.

Not only can you automate basic tasks in Zapier, you can also apply intermediate filters that add, remove, or change the input before it gets to the output.

I’ve used Zapier to create an automatic Twitter feed by inputting tweets from a Twitter list and then outputting the tweets to Buffer, and that is just the beginning of what it can do.

I don’t know that you will want to use Zapier, though; its interface is so unnecessarily complex that automating a single tasks can take several hours. But it is powerful, though.

Amazon Mechanical Turk

Automation is great, but sometimes you just need the human touch. For example, AIs still aren’t great at things like transcribing comment cards from a convention or reading figures off a receipt, which is why this is often outsourced to human workers.

Hiring a virtual assistant (even through Fiverr) for one task can get expensive if you need that task repeated 300 times, but luckily for us Amazon has a cheaper option.

The Mechanical Turk is Amazon’s solution to their need to automate simple tasks. You can use it for everything from deciphering handwriting to finding the contact details for people and businesses. It is designed so that you just have to submit the source data, write out the instructions for the workers, and then let them get to work. Each completed task has to be accepted individually, but once that’s done you can download the results as a spreadsheet containing neatly organized data.

dlvr.it

This service got its start years ago as a simple automated tool that could accept your blog’s RSS feed and auto-post tweets and updates.

I never used it much because IFTTT came along and could match dlvr.it’s paid features for free, and frankly I thought that I was getting better performance by manually posting FB updates.

But I am mentioning dlvr.it today because it offers a lot more tools than when I had last used it (5 or so years ago). This service is now a social media manager on par with Buffer or Hootsuite.

In particular, dlvr.it has a feature where you can fill a queue with social media updates and it will automatically cycle through that queue on schedule until you tell it to stop. This is a feature not found in Hootsuite or Buffer, and it is almost enough to make me switch.

GfK: More eBooks Sold to Fewer Buyers in Germany in 2017

The German book trade group Boersenverein just released the latest consumer market survey it conducted in partnership with GfK Entertainment.

The report shows that fewer customers bought more but cheaper ebooks in the German market in 2017. An increase in volume was offset by a decline in sales price.

The high points of the consumer survey include:

  • A stagnating share of book sales in the public market:  The share of ebooks remained at the previous year’s level at 4.6%.
  • More titles sold:  eBook sales in the consumer market rose by 1 million units to 29.1 million units, an increase of 3.9%.
  • Fewer book buyers : An estimated 3.5 million customers bought at least one ebook in 2017, compared to 3.8 million in the same period of the previous year, a decrease of 7.7%.
  • Each buyer bought more copies:  Those who did buy ebooks bought an average of 8.3 copies, an increase of 12.6% over the same period of the previous year.
  • The average price declined: The average ebook price recorded by the survey fell by 5.1% from 2016 to 2017, to 6.38 euros.

"The ebook continues to gain in importance among its users as they intensify their purchases and expenses. However, the competition for time and attention of the people does not stop at this edition form. For the second year in a row, the e-book has seen buyer drops. The industry is currently intensively analyzing the reasons and motives of shoppers," said Börsenverein head Heinrich Riethmüller.

Buch Report

image by Retinafunk

Amazon’s Createspace Now Home to Money Laundering Operation

The Kindle Store is rife with scammers who publish spam ebooks and cheat their way to the top of the best-seller lists, and apparently Createspace has its own problems.

Brian Krebs brings our attention to what was most likely some type of money laundering scam being run in Amazon’s print-on-demand service:

Patrick Reames had no idea why Amazon.com sent him a 1099 form saying he’d made almost $24,000 selling books via Createspace, the company’s on-demand publishing arm. That is, until he searched the site for his name and discovered someone has been using it to peddle a $555 book that’s full of nothing but gibberish.

Reames is a credited author on Amazon by way of several commodity industry books, although none of them made anywhere near the amount Amazon is reporting to the Internal Revenue Service. Nor does he have a personal account with Createspace.

But that didn’t stop someone from publishing a “novel” under his name. That word is in quotations because the publication appears to be little more than computer-generated text, almost like the gibberish one might find in a spam email.

The impersonator priced the book at $555 and it was posted to multiple Amazon sites in different countries. The book — which as been removed from most Amazon country pages as of a few days ago — is titled “Lower Days Ahead,” and was published on Oct 7, 2017.

Reames said he suspects someone has been buying the book using stolen credit and/or debit cards, and pocketing the 60 percent that Amazon gives to authors. At $555 a pop, it would only take approximately 70 sales over three months to rack up the earnings that Amazon said he made.

That is a tidy little scam; if not for the fact that Amazon sent the 1099 to the wrong person, we would never have even heard about it.

And clearly Amazon had no idea it was going on.

Reames told Krebs on Security that after learning of the scam, he got curious enough to start looking for other examples. “I have reviewed numerous Createspace titles and its clear to me that there may be hundreds if not thousands of similar fraudulent books on their site,” Reames said. “These books contain no real content, only dozens of pages of gibberish or computer generated text.”

When I reported on a massive piracy scam going on in Createspace back in 2015, Amazon refused to say whether they were going to take any steps to prevent the scam from happening again.

In 2015 I found hundreds of titles which combined pirated content with sound-alike titles in a fraud intended to trick students into buying the wrong textbook.

It is now 2018, and Createspace is still rife with obviously scammy titles (and as we know from David Gaughran’s work, the Kindle Store is almost as bad).

And apparently the best Amazon can do is clean up the mess after someone else points it out.

Sentiment Analysis Could One Day Tell Authors How Readers Feel About a Story

There are ebook analytics startups like Jellybooks that can tell publishers how members of a focus group are using an ebook – which pages are the most popular, how far each test subject got before dropping the book, etc.

But one thing these startups can’t do just yet is tell publishers how a reader feels about a book. Sure, they can survey readers, but that doesn’t always result in truthful answers.

But sentiment analysis might.

According to Wikipedia, sentiment analysis "refers to the use of natural language processing, text analysis, computational linguistics, and biometrics to systematically identify, extract, quantify, and study affective states and subjective information".

A simpler way to put it would be that sentiment analysis is when someone uses software to identify the emotional subtext in a text, image, or video. For example, Facebook regularly uses sentiment analysis to understand and filter your updates.

The part I want to bring to your attention is how someone might use a camera to watch faces, and then use sentiment analysis software to understand what people are feeling.

A story on the topic crossed my desk today. IHE reports on one such effort to use sentiment analysis in the classroom and track students' engagement levels.

How’s everyone doing so far? Am I being clear? Anyone confused?

Professors might ask these questions midway through a lecture to get a sense of students’ moods. The scattered answers often aren’t very helpful, if they’re even accurate.

With sentiment analysis software, set for trial use later this semester in a classroom at the University of St. Thomas, in Minnesota, instructors don’t need to ask. Instead, they can glance at their computer screen at a particular point or stretch of time in the session and observe an aggregate of the emotions students are displaying on their faces: happiness, anger, contempt, disgust, fear, neutrality, sadness and surprise.

The project team hopes the software will help instructors tailor their teaching approaches to levels of student interest, and to address areas of concern, confusion and apathy from students. If most students drift into negative emotions midway through the session, an instructor could enliven that section with an active assignment. If half the students are happy and the other half aren’t, the latter group might be getting left behind.

Consider for a moment how it might help publishers and authors understand readers.

The camera on a reader’s smartphone or tablet could track the reader’s face, taking a photo every few seconds. Those photos would then be sent to the publisher’s servers where sentiment analysis software could identify, for example, which sections of a book were the most exciting.

Yes, that is creepy, but it could still be useful for publishers who want to know whether a story hit the right emotional buttons.

So what are the chances that someone might use this?

I asked  Jellybooks founder and CEO Andrew Rhomberg what he thought about using this software, and he told me that "I think that would be way too spooky even for a typical test reader," adding that he didn’t plan to implement this because "there is so much other lower-hanging fruit (in publishing) we can and should solve with technology first."

That is reassuring to hear, but we should not be complacent on this issue. The best way to stop anyone from using sentiment analysis on readers is to object to its use the first time it is proposed, which is why I brought this to your attention today.

There will come a day where some tech startup will offer a service that can track readers' emotional responses, and it will be on authors and publishers to say "not with my books".

What do you think of sentiment analysis? Can you see an upside, or is this pure creepy overreach?

Updated: eBooks are a Stupid Product, and Other Blinkered Ramblings

Lagardère Publishing CEO Arnaud Nourry gave an interview to Scroll.in this weekend that showed both that he was remarkably ignorant about his products as well as how and why consumers value his products.

FYI: Lagardère is the parent company for Hachette Book Group (US) and Hachette (UK), and Hachette Livre (France).

The interview also showed that his PR staff needs to be fired (Nourry should never have been allowed to say this).

It’s been a little over ten years since ebooks came to the market in the form of Kindle. You mentioned a small decline – do you think the market has plateaued? Are there formats other than ebooks that publishers should be looking at?

There are two different geographies to look at for this. In the US and UK, the ebook market is about 20% of the total book market, everywhere else it is 5%-7% because in these places the prices never went down to such a level that the ebook market would get significant traction. I think the plateau, or rather slight decline, that we’re seeing in the US and UK is not going to reverse. It’s the limit of the ebook format. The ebook is a stupid product. It is exactly the same as print, except it’s electronic. There is no creativity, no enhancement, no real digital experience. We, as publishers, have not done a great job going digital. We’ve tried. We’ve tried enhanced or enriched ebooks – didn’t work. We’ve tried apps, websites with our content – we have one or two successes among a hundred failures. I’m talking about the entire industry. We’ve not done very well.

I’m convinced there is something we can invent using our content and digital properties beyond ebooks but I reached the conclusion that we don’t really have the skills and talents in our companies because publishers and editors are accustomed to picking a manuscript and creating a design on a flat page. They don’t really know the full potential of 3-D and digital. So we acquired three video game companies in the last two years to attract talent from different industries and see how we can nurture one another and how we can go beyond the ebook on digital. We need to offer different experiences to our consumers.

One could bristle in reflexive annoyance over Nourry dissing ebooks, but the bigger story is what this says about Nourry.

Edit: I thought everyone knew this, but no, ebook sales have not plateaued. Hachette’s sales are low because Hachette keeps their ebook prices high. If you check the Author Earnings report, you will see that ebooks make up a significant part of the market. And it’s not just a tiny group of readers who like ebooks; almost all of romance has gone digital, as well as around half of the SF market.

This guy understands so little about ebooks that it is almost frightening.

Edit: When he calls ebooks stupid, what he really means they are dumb, as in the opposite of a smart product like an enhanced ebook. This is true, epubs are simple dumb files, but that is what consumers want (and Nourry won’t sell consumers what they want).

Basic market research will tell you why consumers like a product and how they use it, but if Hachette has access to that research then the info is not making its way to Nourry. As a result, he is blindly leading Hachette down multiple wrong paths.

They’ve tried enhanced ebooks, ebook apps, and even ebooks on websites, all because Nourry doesn’t understand ebooks as a product. And soon they will be trying video games.

Let me say that again so it sinks in.

The CEO of a major multi-national book publishing conglomerate does not understand his company’s products or his company’s markets.

This point is so mind-boggling because it is really not that hard to find out why consumers like ebooks: just go ask them.

Consumers like ebooks because we can change the font size. We like ebooks because we can carry a hundred ebooks on a smartphone. We also like being able to search the text, add notes that are can later be accessed from a web browser, and easily share those notes with other readers.

Edit: As Andrew Rhomberg pointed out on Twitter and a reader explained in the comment section of this post, readers like ebooks because they are the exact same stories we already read, only with a few extra minor improvements.

All of these opinions are both obvious and readily available from the nearest ebook fan – including the ones that work for Nourry.

What is especially weird about this story is not just the lack of understanding but also that one would think Nourry has staffers who use ebooks constantly, and yet he has never listened to them explain why they like ebooks.

And this is the CEO of a company with annual revenues around 2.2 billion euros, folks.

Nourry has been the CEO of Lagardère Publishing since 2003, which means that every decision he has made about ebooks in that time has been based on him not understanding the first thing about ebooks.

Do you know that stereotype about legacy publishing companies being dinosaurs that don’t understand the first thing about their business?

Nourry has just shown us that there is a lot of truth behind the stereotype.

Chew on that.

Japanese City Launches Smart Bus Stop Display Pilot Featuring E-ink Screens

Papercast is a startup that specializes in developing smart bus stop displays built around E-ink screens. This is the company that supplied the 32″ color E-ink displays used in Singapore’s mass transit stations, and in other cities like Tannheim and Jerusalem.

Now they have started a pilot in Aizuwakamatsu, a city in the Fukushima Prefecture in Japan.

The project is administered by Aizu Riding Car Development, a consortium initiated by Michinori Holdings, operator of the Aizuwakamatsu bus service, Aizu Bus. Michinori is working alongside Toppan Printing, KDDI Corporation, Hakuhodo and Weathernews Corporation.

The purpose of the consortium is to improve service convenience and reduce ongoing costs by digitally connecting bus stops. It will see the replacement of traditional paper signage with real-time passenger information on electronic displays. E-paper has been selected by the consortium as the preferred technology and by partnering with E Ink, Papercast’s solar powered, wireless bus stop display technology will be used.

The neat thing about Papercast’s signs is they are solar-powered and can show real-time information on the status of the transit system. They can be updated remotely through Papercast’s platform, keeping passengers informed on how long they will have to wait.