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Simon & Schuster, Penguin Random House Don’t Want to Talk About Their eBook Sales

In past years the Big Five/Six touted their ebook sales as a percentage of total revenue. You sometimes had to dig for the details, but they were there to be found.

That changed this week. Something tells me that they aren’t quite so eager to let us in on just how poor their ebook sales have been since they regained control of their ebook prices in early 2015.

Over the past week three of the Big Five publishers have posted either quarterly, half-annual, or annual reports, and only one even came close to telling a complete story about its ebook sales.

First up is CBS Corp and the few nuggets they shared about Simon & Schuster in the second quarter CBS financial report. Revenues were down overall, and so were ebook sales as a share of said revenues (from 24% last year):

Publishing revenues for the second quarter of 2016 were $187 million compared with $199 million for the same prior-year period. Digital revenues represented 23% of Publishing’s total revenues for the second quarter of 2016. Best-selling titles included End of Watch by Stephen King and Foreign Agent by Brad Thor.

Publishing operating income of $26 million for the second quarter of 2016 was up 4% from $25 million for the same prior-year period, as the revenue decline was more than offset by lower production, selling, and inventory costs.

That is literally everything that CBS was willing to say about ebooks, and if you think that is sparse then you should see what Pearson said about Penguin Random House.

This is the entirety of PRH’s report on ebook revenue stats (aside from a few useless factoids):

Penguin Random House had a solid performance in the first half of 2016 with reduced demand for e-books following last year’s industry-wide digital-terms changes offset by the phasing of further integration benefits.

I am not joking; that’s it. eBooks aren’t even mentioned in the transcript of the investor conference call.

Apparently PRH is so embarrassed by its ebook stats that they aren’t even going to give any figures.

I bet Lagardère wishes they had thought of that, because the slides for their year-end financial report show that ebooks, as a share of revenues, peaked in 2013:

Lagardère’s US revenues were essentially flat in 2015 (down 0.3%). Their overall book publishing revenues were up 10%, but that reflects activity in a half dozen different markets so it means less to us.

So there you have it; one publisher obliquely referred to declining ebook sales, another provided minimal stats. and a third which revealed just things have gone awry since the return to agency.

Do you suppose it’s too soon to pressure Amazon for new contracts?

image by mikecogh

Why Indie Authors Don’t Need to Bother With B&N’s In-Store POD Program

Last month B&N expanded its vanity press operation Nook Press with a new POD option where indie authors might possibly if they are lucky get their books into Barnes & Noble store.

The coverage ranged from bland in the trade press to dismissive in the indie blogosphere, but one commentator thought that this was a coup for B&N.

Thad McIlroy describes it as B&N finally having "made a competitive move that Amazon cannot match". He justifies his claim with the argument that print still accounts for two-thirds of the market:

In my coverage of last fall’s NINC conference I noted some remarks from publishing expert Lou Aronica. Lou provided a forceful reminder that self-published authors can’t afford to ignore print: it still accounts for some two-thirds of book sales overall. The larger problem is getting retail access for print. Independent booksellers have always been more open to dealing with self-published authors than the chains. But trying to get into the 2,311 outlets operated by the 1,775 American Booksellers Association (ABA) members is a logistical impossibility. Barnes & Noble has fewer total outlets than the ABA, but a lot more floor space. And just one buying office. At least one report shows bookstore chains with two-and-a-half times the marketshare of independents. Further, getting self-published books into non-bookstore outlets like drug stores and supermarkets is just a dream. And so access to Barnes & Noble should be a big deal.

Do you see the flaw in his argument?

I didn’t see it until after Data Guy dropped his bomb at the RWA conference earlier this month. DG shared data on sales of romance novels in the US, and then in the comment section of his post he added a few additional details about thriller and SF&F sales.

To put it simply, the flaw in McIlroy’s argument is that he took industry-wide figures and assumed that they applied equally well to all of a single market, when in reality the industry stats reflect revenues generated in a variety of markets and genres, each with their own quirks.

Take romance, for example.

DG showed us that ebook sales accounted for 89% of US romance unit sales. I would say that is a market where authors could afford to ignore print sales, and the same is true for thriller/mystery/suspense.

When queried about the thriller genre, DG explained that his data showed that thriller ebooks accounted for 112 million sales in the US market in 2015, while print sales in this genre only added up 40 million units last year.

That’s 40 million out of around 152 million, or about 27% of the units sold. That is arguably a market which indie authors can ignore print if they want.

The same may be true for SF&F. Data Guy’s data showed that ebooks accounted for a little over half of unit sales in this genre. Print accounted for 54 million units, while ebooks totaled 73 million units.

Print SF&F titles accounted for around 43% of units sold in this genre.

While some might point to that and argue this is a market which indie authors can’t ignore, I would remind you that indie authors get into the print SF&F market through POD, which has relatively low profit margins when compared to ebooks.

In other words, it’s not worth as much to indie authors as you might think.

Really, the only reason I see for romance, thriller, and SF&F authors to be interested in B&N’s new POD program is for the ego boost.

The real money is in digital in general and the Kindle Store in particular, which is why I have dubbed Nook Press a vanity press operation.

There isn’t enough money in POD sales through Nook Press to count as a major market, not when digital accounts for such a huge share of certain genres, not when B&N has only 640 stores, not when B&N is converting more and more floor space to things like pasta and 3d printers, and not when all four of B&N’s new stores will be restaurants first and bookstores second.

Or did I overlook something?

The comments are open.

image by mikecogh

Kobo Teases August Launch Date for its New 7.8″ eReader. the Aura One

A little over a month ago Kobo’s next two ereaders showed up on the FCC website, and now it appears we’ll be seeing the hardware itself in a couple weeks.

Last night Kobo CEO Micheal Tamblyn tweeted a teaser image which showed part of the backside of some device.

For the sake of neatness, I cropped the image to show just the device and not pebbles it is laying on:

Everyone is calling that the Kobo Aura One because that is the name mentioned in the FCC paperwork last month. The name hasn’t been confirmed, however, nor has the assumption that the Aura One will have a 7.8″ screen as mentioned in the filing.

All we know at this time is that two devices from Kobo have cleared the FCC. Both filings showed screenshots from Kobo ereader software, which suggests that these really are ereaders rather than tablets or some exotic device. Both devices were test for Wifi, but that’s where the similarity ended.

The second device was referred to as the "Kobo Aura Edition 2″ and according to the test paperwork it has a 6″ screen to the Aura One’s 7.8" screen.

Whether those details will be confirmed when the new devices launch in a couple weeks is another matter.

Google Play Family Library Lets (Some) Share eBooks, Other Content

Google formally announced the launch of its family library sharing plan today, showing that early reports of Google Play Family Library’s flawed design were greatly exaggerated.

Google announced on its official blog on Wednesday that users in Australia, Brazil, Canada, France, Germany, Ireland, Italy, Japan, Mexico, New Zealand, the UK, and the US will shortly be able to set up a family account and share content.

The service first launched last year, but could only be accessed by paying for a Google Music subscription from inside the Google Play Android app.

Now we’re going to be able to set it up via the Google Play website. Or at least that is what reports claim; it’s not available to me. And according to the FAQ page, the family library is supposed to be available through Google Play Android app.

That isn’t working for me; how about you?

According to Google, it’s supposed to work like this:

When you buy an eligible app, game, movie, TV show, or book in the Play Store, you can now share it with your family—across devices—with no additional sign-up fee.

Today’s families have a lot of devices, and it should be easy to share content no matter where we are or what we’re doing. Everyone in my family loves the Star Wars movies and we all want to be able to watch them, on our phones, tablets, laptops, or TV. All purchases added to Family Library are available across Android devices, and movies, TV shows, and books can be enjoyed on iOS devices and the web.

Is that how it’s working for you?

New Survey Shows Used and Rented Textbooks Still Trump e-Textbooks

Digital textbooks are one of those ideas which publishers and technologists love but students don’t like so much. They failed to catch on for a couple obvious reasons (money, and the fact that college students lack the same) and as a recent survey showed us this is still true in 2016.

Campusbooks.com has released the results of a survey it conducted in the spring 2016 semester. It polled 1,067 college students in the US, and found that students would rather buy used or rent than buy an e-textbook.

The survey also showed that students were savvy consumers who tended to spend less on textbooks the longer they were in college. Survey respondents averaged $488 on textbooks, with freshman spending $572 and seniors spending an average of $421.

Other results include:

  • The largest proportion of students, 67 percent, buys used textbooks, 55 percent rent, 25 percent buy new and 25 percent download e-books.
  • Nearly 66 percent of students have opted out of buying a textbook due to the cost.
  • The proportion of students who buy new textbooks decreases as their tenure in school increases, and the proportion of students who rent textbooks increases significantly.
  • Students use creativity to overcome the lack of a textbook, primarily searching content online (63 percent) or sharing textbooks with friends (58 percent).

The problem for textbook publishers is that textbooks aren’t the special snowflakes they used to be. Much of the info in textbooks can be found online both as webpages, from other people, or via other sources like Youtube.

Thanks to the internet and the prevalence of cheap gadgets, students are spending a lot of time online. The survey found that the typical student spends 41% of their 168-hour (7 day) week on all electronic devices, combined. Most of that time was spent on smartphones, which 94% of students own (only 89% own a laptop).

But even though students are on their smartphone a lot, they’re not making calls. 36% of students said texting is their main use for their smartphone, while apps account for the second highest use (1%). And only 5% reported using their smartphone primarily for phone calls.

They’re also not using that smartphone for school. The survey found that students were 2.3 times likely to use their mobile devices for personal time than for academic purposes.

And when it comes to tablets and ereaders, ereader use declined 22% while tablet ownership climbed 15%.

image by mer chau

How Many eBooks Do You Have on Your Kindle?

Last week’s post about packing books for a vacation got me thinking about how many ebook you can carry on an ereader.

The columnist in the Spectator may have struggled with keeping the weight down on vacation paper book library, but those of us who have taken up with the ones-and-zeros have no such limitations. One of the best parts about ereaders is that you can carry hundreds if not thousands of ebooks with you any where you go.

There’s no need to find the space required to store a library of paper books, no need to be concerned about clutter,  and no need to worry about leaving a book behind, never to be seen again.

The only concern is that you might run out of space, and even that won’t keep you up at night (unless your preferred format is PDFs).

For ereaders with card slots, that’s no problem at all; you can’t afford to buy enough ebooks to fill the highest volume flash storage. And even with ereaders like the Kindle which are limited to 2GB or 4GB of storage, that’s still not a serious issue; one early Kindle adopter showed us in 2008 that you could fit 10,000 ebooks on a 4GB SD card.

And that brings me to today’s questions.

How many ebooks do you have on your ereader? Have you found it hard to manage an ebook library with thousands of titles? Have you encountered any performance issues from having so many ebooks on the device at the same time?

image by jamjar

Buzzword Bingo: How Binded (Blockai) Says the Blockchain Will Protect Your Copyright, and Other Nonsense

Bitcoin and other pseudo-currencies are a hot topic right now, and startups are coming up with all sorts of ways to take advantage of the buzz by launching services which use buzzwords to hide the fact that they don’t actually do anything new.

Take Binded Blockai, for example. TNW tipped me to this startup’s claims that it is using the blockchain to protect creator’s copyright.

Edit: Blockai tried to escape the bad press by changing its name.

Here’s how Binded would have you think their service works:

  1. Create a piece of digital art, photo or anything that can be copyrighted.
  2. Register your copyright on the blockchain, a public ledger powered by Bitcoin. The record is permanent and immutable.
  3. Receive a registration certificate with cryptographic evidence that protects your copyright. You own the certificate forever.
  4. Share your creation with peace of mind. You have proof of publication that protects your copyright and copyright monitoring that alerts you when people are using your work.

While that sounds nice, it’s a complete load of hooey from beginning to end.

What Binded is doing is offering a 21st-century equivalent of a "poor man’s copyright" service.

Do you know that old wive’s tale about how you can mail yourself a manuscript as a way of showing when you created a work and thus protect your copyright?

The way it’s supposed to work is that the unopened mail provides documentation as to when a work was created. But as Snopes.com, the US Copyright office, or anyone with a gram of legal knowledge will tell you, the poor man’s copyright offers exactly zero protection against infringement (Snopes points out that this may not be the case in the UK, but I wouldn’t bet on it).

The same is true for Binded, its registry service, and the misleading claims about how much "protection" their service provides.

For example, on the very first page Binded asks creators:

Do You Know Who Is Using Your Art/Photos/Designs/Cartoons?

Claim Your Copyright For Free And Find Out!

One doesn’t need to "claim" a copyright with Binded; a creator has the copyright the moment a work is created/published/fixed in a permanent form. Again, that’s copyright 101.

Further down the page Bindedclaims that:

Most artists can’t afford to register and protect their copyrights. We’re providing a free alternative.

Except this free alternative has no legal basis as a copyright registration and does not protect anyone’s copyright.

Binded’s certificate won’t do you any good if you need to send a DMCA notice to a website, and it won’t help you if you need to file a lawsuit to protect your copyright.

You can’t use that certificate to send a takedown notice, and a lawsuit will go exactly nowhere without a formal copyright registration with the US Copyright Office (this applies to the US, but not necessarily all countries).

The only thing that Binded does which might have value is that they will search the web for copies of a registered work, but you can do that on your own with any search engine or use any of a hundred online services.

Edit: And as Alan Graham pointed out to me on Twitter, Binded’s claims in this area are just as much BS as the rest of their spiel. Binded says that they offer "copyright monitoring that alerts you when people are using your work", when in reality Binded can’t catch an image when used in a Youtube video or when it’s shared via a social network (which are encrypted).  So again, Binded is making promises they can’t keep.

In fact, the only noteworthy detail about Binded is that they are using the term blockchain as a buzzword. Aside from that, there is literally nothing new here.

Next!

Guest Post: Do Students Lose Depth in Digital Reading?

Do students learn as much when they read digitally as they do in print?

For both parents and teachers, knowing whether computer-based media are improving or compromising education is a question of concern. With the surge in popularity of e-books, online learning and open educational resources, investigators have been trying to determine whether students do as well when reading an assigned text on a digital screen as on paper.

The answer to the question, however, needs far more than a yes-no response.

Reading in print versus digitally

In my research, I have compared the ways in which we read in print and onscreen. Between 2013 and 2015, I gathered data from 429 university students drawn from five countries (the U.S., Japan, Germany, Slovenia and India).

The students in my study reported that print was aesthetically more enjoyable, saying things such as “I like the smell of paper” or that reading in print is “real reading.” What’s more, print gave them a sense of where they were in the book – they could “see” and “feel” where they were in the text.

Print was also judged to be easier on the eyes and less likely to encourage multitasking. Almost half the participants complained about eyestrain from reading digitally (“my eyes burn”), and 67 percent indicated they were likely to multitask while reading digitally (compared with 41 percent when reading print).

At the same time, respondents praised digital reading on a number of counts, including the ability to read in the dark, ease of finding material (“plenty of quick information”), saving paper and even the fact they could multitask while reading.

Measuring learning

But the bigger question is whether students are learning as much when they read onscreen.

A number of researchers have sought to measure learning by asking people to read a passage of text, either in print or on a digital device, and then testing for comprehension.

Most studies have found that participants scored about the same when reading in each medium, though a few have indicated that students performed better on tests when they read in print.

The problem, however, with learning-measurement studies is that their notion of “learning” has tended to be simplistic. Reading passages and answering questions afterwards may be a familiar tool in standardized testing, but tells us little about any deeper level of understanding.

Some researchers are beginning to pose more nuanced questions, including one scholar who has considered what happens when people read a story in print or on a digital device and are then asked to reconstruct the plot sequence. The answer: Print yielded better results.

Another aspect of learning is to see how outcomes differ when students are doing their reading in less prescriptive experimental conditions. One study let students choose how much time to spend when reading on each platform. The researchers found that participants devoted less time to reading the passage onscreen – and performed less well on the subsequent comprehension test.

This finding is hardly surprising, given the tendency so many of us have to skim and search when going online, rather than reading slowly and carefully. In my study, one student commented,

“It takes more time to read the same number of pages in print comparing to digital.”

Another complained,

“It takes me longer because I read more carefully.”

Critical thinking and reading

How does the learning question relate to educational goals? There is much buzz today about wanting students to be good at critical thinking. Definitions of that goal are elusive, but it’s pretty clear they involve being able to understand complex ideas, evaluate evidence, weigh alternative perspectives and construct justifiable arguments.

To become proficient in critical thinking – at least in a literate society – students need to be able to handle text. The text may be long, complex or both. To make sense of it, students cannot skim, rush ahead or continually get distracted.

So, does reading in print versus onscreen build critical thinking skills?

The comprehension studies we talked about earlier tell us little about the kind of reading we recognize as necessary for serious contemplation or analysis. An alternative approach, at least for starters, is asking students about their digital and paper-based reading patterns – much as physicians ask for histories (along with physicals and lab tests) to figure out what ails their patients.

While my own study didn’t directly measure learning, it did query students about their reading patterns and preferences. The responses to some of my questions were particularly revealing.

When asked on which medium they felt they concentrated best, 92 percent replied “print.” For long academic readings, 86 percent favored print. Participants also reported being more likely to reread academic materials if they were in print.

What’s more, a number of students indicated they believed print was a better medium for learning. One said,

“It’s easier to focus.”

Others stated,

“[I] feel like the content sticks in the head more easily” and

“I feel like I understand it more.”

By contrast, in talking about digital screens, students noted “danger of distraction” and “no concentration.”

Obviously, student perceptions are not the same thing as measurable learning outcomes. And my research didn’t probe connections between reading platforms and critical thinking.

However, a pattern did emerge: Print stood out as the medium for doing serious work.

Digital is convenient and cheaper

At the same time, we cannot ignore other factors impacting students' decisions about what reading platform to chose for school work.

Convenience is one big consideration: More than 40 percent of participants in my study mentioned convenience (including easy access to materials) as what they liked most about reading onscreen.

Money is another variable. Students were highly conscious about differential prices for print and digital versions of reading materials, with cost often driving choice. As one student put it,

“Cost rules everything around me.”

Many students revealed a mismatch between finances and learning. When queried about which reading platform they would choose if cost were the same, 87 percent said “print” for academic work.

Adapting to digital learning

We also need to keep in mind the growing trend for universities to adapt their curricula to fit the proverbial “procrustean” bed of a digital world – a world tailor-made for skimming, scanning and using the “find” function rather than reading slowly and thoughtfully.

Professors now toy with ditching long or complex reading assignments in favor of short (or more straightforward) ones, moving closer to digital reading patterns in the nonacademic world. This world hypes condensed versions of texts and shorter reading material that is bite-sized to begin with.

The question then is how can universities help students read text thoughtfully, reflectively, and without distraction on digital devices?

One key could be adaptation. Research suggests students may be overconfident about what they are understanding when they read digitally. Teaching them to be mindful in their digital reading (for instance, by writing down key words from the reading) may help in learning.

Another form of adaptation is happening in the realm of digital hardware and software. Modern screens cause less eyestrain, and annotation programs continue to improve. Some digital reading devices now come with tools enabling them to digitally approximate physical page flipping and multiple place-marking.

However, in my view, while short-and-to-the-point may be a good fit for digital consumption, it’s not the sort of reading likely to nurture the critical thinking we still talk about as a hallmark of university education.

reposted under a CC license from The Conversation

images by  PHSlibrary, H. Moon, ITU Pictures, MegMoggington

Bubble Zoom is Google’s Half-Hearted Solution to Reading Comics on a Small Screen

Many digital comics still based on the 6.5″ x 10.25″ floppy, and that simply doesn’t work on a 7″ or smaller screen. This is why Amazon, B&N, and Comixology each have their own version of a directed reading mode which moves the reader from one frame of the comic to the next.

Now Google has revealed its take on this idea. On Thursday Google released a new version of the Play Books Android app with a new feature called Bubble Zoom.

Here’s how Google explained the feature:

You can see Bubble Zoom in action in the GIFs below.

  

Play Books is refusing to open on either my phone or my Android tablet, so I can’t report first hand, but this looks less useful than the directed viewing mode offered by, for example, Comixology.

That let you zoom in on individual panels on a page, while Bubble Zoom simply makes the text about twice as tall. Zooming in in a single panel lets you see more of the detail which you can’t see when viewing an entire page.

Google would disagree. As they explained in the following video, they wanted to let readers see the full page image so they get the full impact of the artwork.

That’s all well and good, but the thing is Google’s competitors offer both a panel view and a full page view. So no, readers aren’t missing anything when reading panel by panel on Comixology. They can switch between one form of reading and the other, and not miss anything.

You can find Bubble Zoom in the latest version of the Play Books Android app in Google Play.

Have you tried it? What do you think?

Indigo Goes Where Amazon, B&N, Goodreads, and a Dozen Publishers and Startups Have Dared to Tread

The Canadian media retailer Indigo has apparently decided that there aren’t enough book recommendation apps in the world, so they are launching one with the unique and original name of RECO:

What separates RECO from similar apps, according to a press release, is that its recommendations are curated solely by friends and experts, not algorithms.

…

After signing up, users are led through a “smart” personalization exercise to build a profile and make their tastes known. Based on common interests, RECO then allows users to subscribe to curated book lists from experts and others with similar tastes.

At the time of launch, more than 8 million books in the app have been tagged with “rich interest profiles” to help users discover new books.

Reco is strictly iPhone-only at this time. There’s a website, but it’s just a placeholder which directs you to download the app in iTunes. An Android app is planned for late 2016.

“As a lifelong booklover, nothing brings me more joy than sharing a book I love with my friends,” said Heather Reisman, RECO’s co-founder and Indigo’s CEO. “RECO is a platform for everyone to share the joy of reading and nothing beats getting a recommendation from someone whose opinion I trust.”

Based on the post which was published on LinkedIn (and then deleted), Indigo actually launched Reco a couple months ago.  There are fourteen reviews in iTunes, which suggests that at least a few hundred people have downloaded the app.

Have you tried it? What do you think?

DBW

Romance Makes up 4% of Print, and 45% of eBook Sales

Data Guy gave a presentation at the RWA conference this week, and yesterday he posted the slides to the Author Earnings Report website (as a 128MB PDF – WTF?).

He revealed to attendees what many had long suspected: romance titles dominate the US ebook market. As you can see from the slide below, romance titles make up 4.4% of print sales (according to Nielsen) and 45% of ebook sales (according the Author Earnings Report).

Yes, 89% of romance sales in the US are digital, and much of that goes to indie authors rather than publishers.

Before we dig into the data further, here’s a question to ponder: how many of those romance titles are actually romance titles?

The thing about the AE Report is that it classifies books based on which category they’re listed in, not based on their content. this means that the data we’re looking at includes titles that a purist would tell you is not romance (no happily ever after).

That said, the data shows that far more indie authors are making a living at writing books than any other type. This is the one category in the bookstore which is the closest to achieving a post-publisher market, and that is largely due to Amazon and the Kindle.

Amazon.com accounts for 74% of the ebook market, by the AE Report’s measure. And when it comes to romance titles, a lot of that revenue comes through Kindle Unlimited. The slides show that romance titles in Kindle Unlimited earn an average of 2.5 times as much as the romance titles not in KU.

Speaking of earning more, the slides also show that romance titles from indie authors are more likely to continue to generate sales in the months and years after they’ve been published.

You can find more details on the Author Earnings website.

KoboNotes.com Extracts Notes and Highlights from Your Kobo eReader

Amazon makes it easy for Kindle users to download their notes and highlights, but we can’t say the same for Kobo, which obscures a user’s notes in a database file.

Fortunately, there’s a solution. I’ve just read on MobileRead about a new site called KoboNotes.com which can extract the notes on your Kobo ereader and present them in a usable form.

You’ll need to set up an account, and then upload the "KoboReader.sqlite" file from your Kobo ereader, and once you do you will be able to sort the notes by the book they cam from.

The site displays the notes onscreen one book at a time, with all of a book’s notes listed on a single page. As you can see, there’s no way to distinguish between a highlight (text copied from the book) form an annotation (a user’s own note):

KoboNotes.com is, to the best of my knowledge, the only tool which lets you extract note from a Kobo ereader (I can’t find a way to do this with calibre, in case you were wondering).

This is a useful site, but it’s not without its issues. One commenter pointed out on MR that this site represents a serious security concern:

Really? You want me to load a file that has a list of every book I have on the device to your web site? And includes the key information that Kobo uses to validate my device every time it calls home? Sorry, as useful as this might be, it’s not going to happen.

They’re right; this is a sound reason to avoid using the site if you read sensitive documents or have concerns about your security or privacy.

image by andsleonardo

Google Deletes Artist’s Blog: He Has No Backup, and Only Himself to Blame

Google has just given us another reminder why we should always have an independent backup.

From Fusion:

Artist Dennis Cooper has a big problem on his hands: Most of his artwork from the past 14 years just disappeared.

It’s gone because it was kept entirely on his blog, which the experimental author and artist has maintained on the Google-owned platform Blogger since 2002 (Google bought the servicein 2003). At the end of June, Cooper says he discovered he could no longer access his Blogger account and that his blog had been taken offline.

Along with his blog, Google disabled Cooper’s email address, through which most of his correspondence was conducted, he told me via Facebook message. He got no communication from Google about why it decided to kill his email address and blog.

Cooper used the blog to post his fiction, research, and visual art, and as Artforum explains, it was also “a platform through which he engaged almost daily with a community of followers and fellow artists.” His latest GIF novel (as the term suggests, a novel constructed with animated GIFs) was also mostly saved to the blog.

“Of all the things about this that concern and worry me, losing that novel is my greatest fear,” he told Artforum.

I know they’re blaming Google here, but the fault really  lies with Cooper.

He’s the one who didn’t back up his blog.

Many people have encountered similar problems when other cloud platforms have shut down in the middle of the night (taking user data with them), been attacked (and lost user data in the attack), or for one reason or another kicked users off of a platform with no warning.

This is a known problem with using online services, and those who don’t plan for it only have themselves to blame.

If you haven’t backed up your website, you should – and schedule regular backups. You should also test the backup to make sure it works.

For example, if you have a self-hosted WordPress site, you can use any number of plugins and services to make a back up. (I use BackupWP when working on a client’s site, and then simply download the backup.)

But if you have a site on Blogger, WordPress.com, or Tumblr, you are in for a world of hurt. None of the three services offer a true backup option; Blogger and WordPress.com will let you export a blog’s content as an XML file, but that is less than a complete backup. It doesn’t include images, just links to the images. If you don’t import that XML file into another site then the images could be lost should anything happen to your site.

And as for Tumblr, your options are even more limited. There’s neither an official backup nor export option for Tumblr, just unofficial tools as well as an option to import a Tumblr blog into WordPress.

Weebly, on the other hand, will let you download a backup of your site (instructions).  Other hosting services, including Squarespace, do not offer that option.

Since we’re all just one accident away from losing important info, I would recommend that you stop using any web hosting service that doesn’t offer a way to download a backup of your site and store it elsewhere.

Better safe than sorry.

P.S. If I you have a question about how to create a backup of your site, you can leave a comment or send me an email. I’d be happy to help.

image by Risager

Updated: Amazon (Denies It) Has Been Hacked, and Details on 84,000 Kindle Account May Have Been Stolen

A story came out late last week which, if true, represents a serious breach of Amazon’s security.

Edit: As I noted at the end of this post, Amazon has denied the story.

Mic reported on Friday that a hacker penetrated Amazon’s servers and made off with over info from over 80,000 accounts.

A hacker declared war on the Baton Rouge Police Department after one of its officers shot and killed Alton Sterling. Just hours after leaking thousands of police records online, the hacker has a new target — Amazon.

The hacker — @0x2Taylor — said in a Twitter direct message that he and a friend "breached a server" owned by Amazon that contained database files with more than 80,000 Kindle users' information.

"When they first got Kindles and set them up, all their stuff was being logged and put into a database," @0x2Taylor said. He added that the database includes a user’s email, password, city, state, phone number, zip code, user-agent, LastLoginIP, Proxy IP and street. He sent us several emails and passwords in an effort to legitimize the breach.

"If I don’t receive a payment from them the data will be posted online along with an older dump," he said.

@0x2Taylor is asking for $700 "because the attack was easy" and hopes that this will prompt Amazon to implement better security measures to prevent these types of attacks against their systems.

"Personally I don’t want to leak the data," he said.

He tweeted a screenshot of the leaked information to Amazon at 9:35 a.m. Eastern. At 10:17 a.m., he said in a direct message, "It’s going up now. They’re ignoring me."

The hacker posted the data dump on Mega. It’s no longer available, but according to one security researcher who saw it the data this is more of a privacy issue than a security issue.  The passwords follow a pattern, which means they were likely assigned by the system and not created by users.

"Given all this data I would have no reason to believe this isn’t valid," Vice President of Operations at cybersecurity firm Synack Tony Gambacorta told Mic. He added, "On a surface level this seems like this would be legit." 

I’m not terribly concerned, for a couple reasons. For one thing, comments made about the data dump suggest that it’s test data rather than account info:

And another techie noted that all of the emails mentioned in the data dump came from just three email providers.

The other reason I’m not concerned is that there’s no evidence that Amazon has informed anyone of an account breach.

No emails have been forwarded to me, nor have I found mentions of them on MobileRead, Amazon’s support forums, or on Kboards.

In the past Amazon has reset user passwords following possible security breaches. Those password resets have made the news back in March, and in November of last year. Amazon has in fact been sending emails to users with news of password resets since 2011, and I have found no evidence that anyone has gotten an email in the past week.

In short, the most likely possibility is that the hacker made off with a set of dummy data which Amazon’s developers were likely using for testing Amazon’s website. That is embarrassing for Amazon, but not a reason for us to panic.

Edit: And it might not even be Amazon’s data. Amazon responded to my queries, telling me that:

We have confirmed that this information did not come from Amazon’s servers, and that the accounts in question are not legitimate Amazon customer accounts.

Edit: NetworkWorld dug into the data, and they don’t think this is real either.

I checked out the data, too, choosing five names at random. Google Maps placed three of the addresses in locations without houses, such as in the middle of the woods or half way between two houses down a country road.

As for phone numbers for those five people, none of the calls connected. Three gave an error message about the “number or code you dialed is incorrect,” one had a weird fast busy signal, and the fifth resulted in “the person you called is unavailable right now.”

All of the email addresses seem to be in a weird format, such as [email protected], [email protected], [email protected]. For each of the five names, the corresponding passwords were way too random, too secure, ranging from 8 to 11 capital letters mixed with numbers. Of course, that was testing only five of the reportedly 83,899 individuals included in the data dump.

Brian Wallace, aka @botnet_hunter, is a security researcher and member of the Cylance SPEAR team. He examined the Amazon data and found quite a few problems. Hebelieves “the data does not belong to legitimate users and there is no need for concern to Amazon users.” The data has been generated, Wallace said, but he is not sure if it is “fake data or bot accounts.”

So basically there’s no story here.

It’s a non-story.

But I could be wrong, and right now Amazon has yet to comment on the breach. So if you are concerned then you should reset your password.

I have queried Amazon. It it responds, I will update this post.

image by The Preiser Project

AAP Estimates Publisher eBook Revenue Shrank in 2015

The Association of American Publishers has released its annual estimates for the US book industry revenues, and the news is mixed.

Not to be confused with the monthly reports by the same name, Statshot Annual is an industry estimate based on data supplied by 1,800 publishers. The report shows that the combined book industry revenues dropped by a fraction of a percent, while revenues from the trade book market rose thanks to coloring books.

Both paperback and hardback revenues increased in 2015, with paperbacks reaching $5.23 billion in 2015 from $5.09 billion in 2014. Revenues from hardback book sales were up 8.3% in 2015, to $5.40 billion from $4.98 billion.

Audiobooks continued their excellent growth record, increasing 37.6% in revenue and 41.1% in units in 2015, while ebook revenues declined by 11.3% in 2015 to $2.8 billion.

The AAP also estimated that ebook unit sales also declined by 9.7% in 2015, to 424 million. That last is rather curious given that the AAP had previously told us that an estimated 510 million ebooks were sold in 2014.

I have no explanation for the discrepancy, but I am following up on that last point.

Edit: I’m told that the ebook stats for 2014 were "revised after the fact,  as new data became available".

Press release:

The U.S. book and journal publishing industry generated $27.78 billion in net revenue for 2015, representing 2.71 billion in units (volume), according to the Association of American Publishers (AAP) StatShot Annual survey. Revenues and unit volume were essentially flat with a decrease of 0.6% from $27.96 billion in revenue from 2014, and a 0.5% increase in units from 2.70 billion units in 2014 (chart below).

StatShot Annual is a yearly statistical survey of publishing’s estimated size and scope. The data include sales and volume for all tracked categories, including trade (fiction/non-fiction/religious), K-12 instructional materials, higher education course materials, university presses and professional books.

Trade books grew slightly in both revenue and volume in 2015 (chart below). The industry’s relative revenue decline was largely due to a challenging year in the education markets, which comprise about one-third of tracked revenues.

2015 Overview: Net Revenue and Unit Growth

2013 2014 2015
Total net revenue $27,073,201,451 $27,957,086,149 $27,784,851,263
Total net units 2,715,600,793 2,702,337,737 2,714,877,707

Trade Category:  Net Revenue and Unit Growth

2013 2014 2015
Trade net revenue $15,131,731,515 $15,430,127,307 $15,836,696,546
Trade net units 2,436,542,311 2,431,632,249 2,455,207,555

Adult Books Grow, Childrens/YA Books Decline

 The area of largest growth for the trade category was Adult Books, which grew by 6.0% from $9.87 billion in 2014 to $10.47 billion in revenue in 2015. For the second consecutive year, Adult non-fiction books, which includes adult coloring books, was the category that sold the most units and provided the most revenue in the trade category. Within the Adult Books category, the fastest growing formats in terms of units sold were downloaded audio (up 45.9%), hardback (up 15.1%) and paperback (up 9.1%).

“StatShot Annual 2015 has confirmed print’s marked return. The paper book, just like the eBook, is here to stay,” said Tina Jordan, Vice President, Association of American Publishers. “While young adult titles were very popular last year, in 2015 adult books led the charge with successes like The Girl on the Trainand Go Set a Watchman. Those, and adult coloring books like The Secret Garden, helped the Adult Books category grow by nearly $90 million in revenue.”

Childrens/Young Adult Books declined slightly in revenue, from $4.42 billion in 2014 to $4.27 billion in 2015. The fastest growing category in terms of units sold were board books (up 14.0%).  Some formats saw increases: downloaded audio was up 1.2% and hardback was up 1.0%. Childrens/Young Adult eBooks saw a 35.0% decline in units sold in 2015 vs. 2014.

Trade Formats: Downloaded Audio Grew Significantly, eBooks Declined

Downloaded audio: Revenue for downloaded audio has nearly doubled since 2012, growing from $299 million to $552 million in 2015. From 2014 to 2015, the growth was substantial: 37.6% in revenue and 41.1% in units.

eBooks: After peaking in 2013 at $3.24 billion, eBook revenue declined to $3.20 billion in 2014 and again in 2015 by 11.3% to $2.84 billion. Unit sales also declined by 9.7%, with eBooks now making up 17.3% of the trade book market.

Paperback books: Paperbacks remain the most popular format in terms of units sold, comprising 40.6% of the market. Mass market adds another 7.3%. Revenue was up for paperbacks in 2015 to $5.23 billion from $5.09 billion in 2014.

Hardback books: Underscoring the return to print, hardback books saw growth in both revenue and units over 2014. Revenue was up 8.3% from $4.98 billion in 2014 to $5.40 billion in 2015.

Number of units sold by format

  • Paperback & Mass Market: 1.18 billion
  • Hardback: 577 million
  • eBook: 424 million
  • Children’s Board Books: 89 million
  • Physical Audio & Downloaded Audio: 81 million
  • Other: 107 million

Trade Book Market Share by Format:

Physical Store Sales Up, but Online Still Top Sales Channel

Online retail remained the top sales channel for publishers’ revenue in the trade category, with 37.4% of the market.  About 806 million units were sold online in 2015.

Publishers saw increased revenue from trade book sales at physical retail stores for the second year in a row. In 2015, physical store sales grew 1.8% from $4.08 billion to $4.15 billion. More than 610 million trade book units were sold in 2015. Physical store sales comprise about 26.2% of publisher revenue.

These sales channel numbers reflect how publishers get books into the marketplace, not retailers’ revenue from consumers. While StatShot channel sales data can provide directional information about trends, the data is limited for trade books, as much of the business occurs through wholesale and distribution.

About StatShot Annual

Produced by AAP, StatShot Annual estimates the total size of the U.S. publishing industry by collecting sales data in dollars and units from nearly 1,800 active U.S. publishers. Data is collected directly from publishers, with the help of distributors.  Estimates are used for publishers who do not participate directly, based on their company financial reports, government filings, BooksinPrint, press releases, third party research services, and other third party sources.

Note: All figures represent publishers’ net revenue from all distribution channels (these are notretailer/consumer sales figures).  StatShot Annual captures publishers’ aggregated net revenue from the formats we are able to measure across the different categories.

The StatShot Annual Executive Report with all corresponding data will be available later this summer. To place an advance order for the report, please contact Tina Jordan at [email protected].

image by FateDenied