iPod

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It’s been a big week for Scott Pilgrim fans. First the official film poster artwork is revealed, and now, (arguably even bigger news) the cover and the title of the final Scott Pilgrim book have been posted up on ONI press‘ site.

Scott Pilgrim 6 cover

I cannot tell you how excited I am about this. According to ONI’s site:

On Tuesday, July 20th, 2010 comic shops and bookstores across North America will celebrate the release of SCOTT PILGRIM VOL. 6: SCOTT PILGRIM’S FINEST HOUR.

The UK edition will of course be published by Fourth Estate. If you haven’t discovered this ‘epic of epic epicness‘ yet, check out Volumes One to Five (UK editions) or go to ONI’s site, for the US editions.

There’s also some awesome iPhone/ iPod wallpaper, as well as some computer wallpaper, available for download, from the website of Bryan Lee O’Malley, the incredibly talented, and lovely, creator of Scott Pilgrim.

If you’re on Twitter and you don’t follow Bryan  yet, what are you waiting for? He’s  @radiomaru and he’s very funny; and whilst you’re there why not add @onipress to be ahead of the curve for future ONI announcements, and @FifthEstate too, for more of the usual!

I know people have been various levels of ‘whelmed’ by Apple’s announcement. But I for one am extremely whelmed, and think this could be a really significant step for the publishing industry. Why?

iBooks video courtesy of CNET.com

1. iBooks. We heard the figures yesterday: 125 million registered iTunes accounts. This is versus an estimated 1.49 Kindle Users with an estimated 3m by the end of 2010 (true figures unknown as Amazon have chosen not to release them.)

iBooks just makes sense. It follows Law of the Internet #1 – go to where people already are. Don’t build minisites and spend $marketing money to drag them there.

Now I know Kindle users versus iTunes users is not an exact parallel, as I’m sure there are gazillions of people who have Amazon accounts, but in my mind and the minds of many people my age iTunes has become almost synonymous with digital content downloads. Amazon is where I would go to get cheap, physical books, but not traditionally to download mp3s, tv episodes or movies.

2. The price. At the previously rumoured $1000 mark, the iPad would never have been aimed at the mass-market. Cheaper than any recent Mac laptop, and far cheaper than it’s equivelant in terms of weight, the Macbook Air, it seems the iPad has been pitched just right. Had it been released much higher, the device would have been all but irrelevant to the publishing industry.

3. Landscape reading – 2 pages. It’s a simple thing, but it’s amazing how much difference aesthetically this could make. According to David Kaneda:

The reading interface looks very pleasant, using a two-page layout when in landscape mode and one-page when in portrait.

This to me means that the experience of reading on an iPad will be far closer to the traditional experience of reading a book, than even a Sony e-reader or Kindle with their e-ink technology, could achieve.

4. The majority of apps will run on the device. This is great news – although does it spell a bad time for developers who might have had a bonanza holding publishers over a barrel – as the primary way for them to get their content onto an Apple platform?

5. Have some writers shot themselves in the foot? Earlier in the week it was reported that Ian McEwan signed an exclusive deal with Amazon.com to distribute some titles on his backlist in digital form throughout the US. Does the exclusivity of this deal mean he’s locked himself out of the iPad? Or will Amazon books, in the form of the Kindle App for iPhone still be available on the Apple platform? Will people still go to the Kindle app to get their books or straight to the iBooks store?

Although the deal McEwan has struck sees him receiving more than 50% of royalties (which is 50 % more than he would through most traditional publishers) has he locked himself out of a bigger slice of the pie? After all, having 25 % royalties of books that are in front of 125 million eyes might be better than 50 % royalties in front of (an estimated) 1.5m eyes.

Downsides: Not many – except, perhaps, the name, the lack of flash, and the tiny storage that is pretty equivelant to the iPhone (16GBs for the cheapest model, max 64GBs.)

Click here for a pretty humourous take on the iPad’s shortcomings.

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I’ll admit it. I’m a little bit addicted to Google Analytics. But particularly to Google Insight. If you haven’t played around with it yet, have a go. It’s free and available to everyone.

Let me tell you why it’s great. Google Insight measures what people are searching for. So in a way, it’s a really organic guage of people’s interest level in a certain subject.

In my opinion, it’s more reliable than consumer insight surveys since it’s not a measure of what people will admit they are interested in (to themselves, or to a researcher), but of what they are actually interested in. In other words, it counteracts the oldest of consumer research problems – of cognitive dissonance.

The one drawback of Google Insight that comes to mind is that it’s not subtle. It doesn’t, for example, differentiate between people who are interested in the “iSlate” in a vaguely curious way from those who are interested in a ready-to-buy type way. Unless, I suppose you run a search on “buy iSlate” or “iSlate cost”.

Given this morning’s apparently game-changing announcement that Amazon plan to open the Kindle up to third-party apps, I thought I’d take a look to see how the “iSlate” and the “Kindle” stack up in terms of search engine interest.

It seems that, somewhat unsuprisingly, interest in the Kindle last year was charging ahead, probably largely due to the fact that it was actually on sale (i.e. more than a rumour!), and aided by high profile announcements such as the Kindle international launch, and the fact that the Apple tablet had no agreed name. So far, so predictable.

Then finally, January this year, Apple confirms a date and searches for “apple tablet” peak – only a few points less than the Kindle. Add in people searching for “iSlate” and the amount of people interested in the rumoured tablet is far greater than the Kindle. Does this give any indication as to how the iSlate will do?

Certainly Google Insight has proved a good predictor for the sales patterns of the iPhone and the iPod.

As shoutmeloud.com reports,

It took the Apple iPod around 17 quarters to have sold 30 million units whereas it took only 10 quarters for the iPhone.

We can see the steep uplift in iPhone purchasing mirrored by the steep interest rise – interest in “iPhone” appears to take off much quicker than interest in “iPod” (although it is hard to compare this like for like with the level of interest in iPods at their inception – since Google Insight only goes back to 2004.)

Another interesting thing the graph shows us – the steep peaks in iPod interest occur every year at Christmas, suggesting the majority of iPods are given as gifts. Interest in iPhones on the other hand mainly peaks in July 08 – when iPhone 3G was announced – and June 09 – when the 3GS was released.

On first glance, interest in the Kindle seems to work the same way as the iPhone, with peaks at the point of big press releases, but the highest peak yet was at Christmas 2009, which also corresponds with what was probably their biggest sales peak. iPhones are much harder to gift, due to their reliance on contracts or top-ups, but not impossible. If the main purchasers of Kindles are gifters, maybe the Kindle is the iPod of the book world, and the tablet the iPhone?

Following this morning’s apparently game-changing announcement that Amazon will open up their platform to 3rd party app developers, publishers might be tempted to abandon any iPhone plans and diversify, for fear of eggs & basket syndrome. But, before we throw those prototype iphone apps on the fire, lets maybe take a look at one last search chart…

Tomorrow: Can Google analytics predict the winner of Celebrity Big Brother? Am I joking? Come back to find out…

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Browse Inside our books on your iphone

Over the weekend the iPhone came to Britain – and we announced our own mobile publishing initiative.

We’ve made fifteen of our newest titles available on Apple’s hottest gadget. Along with sample chapters to read, there’s also plenty of audio and a few interviews too, and you can find it all at http://mobile.harpercollins.co.uk.

Wild statements seem to fly thick and fast in the brave new world of the eBook. End of the Page! Print is dead! The ecstatic tone of more than a few press features suggests the whole ebook debate is just one long shoot-out between print and screen – that the entire discussion boils down to one (meaningless) question: “Which is better?”

A shame, really – because it means the book trade has been led into some fairly pointless comparisons. Can you put ebooks on a shelf? Can you make them smell of paper? Most often, and most persistent: can you read them in the bath? If e-books aren’t definitely ‘as good’ as paperbacks – so the current wisdom goes – there can be little point in them at all.

The British launch of the iphone offers a somewhat different perspective. It’s striking to notice that the device’s menu offers single touch access to two of the largest banks of entertainment on the planet. One tap on the screen brings up YouTube’s enviable mountain of free video. Another tap pulls up iTunes — not only delivering music but now movies, games and educational materials. Despite its shortcomings, the iPhone really does offer a glimpse of a completely new way of consuming all kinds of content.

The iPhone — and the new iPod — are just the first in a new wave of devices and services that within a few years will see consumers look instinctively to their pockets for instant entertainment and information. Suddenly the ebook question seems less about ‘fixing’ something that isn’t broken, and more about making sure that the book industry can take a proper stake in a rapidly shifting media world – in which the public might prove increasingly averse to products that aren’t available ‘on demand’; in which media companies of all description will be able to serve their wares directly into the pockets of their customers.

The music, film and gaming industries are all lining up to serve travellers in the very same airports, train stations and tube carriages that the book world has always owned — and directly into the hands of those members of the public now less and less likely to visit bookshops.

Book content might not seem to make the digital transition as easily, or as obviously, as the movies and music of competing media. But if the book world is late to this party, wont publishers and authors have more to worry about than dropping their e-readers in the bath?

Hierarchy of power is a concept, presuming concept is the correct word, that has always fascinated me. In modern parlance it might be termed as who is hot and who is not; the great and the good reduced to one-sentence summaries in Heat and trash tabloid supplements. At the upper end of the market they might be filed away under lists entitled ‘100 Most Powerful People in the World’ or ‘The Times Rich List’ but it all boils down to the same cataloguing and list-making that may give the featured subjects a boost and the industry minions something to aspire to.

Taken from the list of Quotes That Never Were (But Should’ve Been):

“And why not?” — Barry Norman

It does engage a certain amount of common sense; if an industry, any industry, is going to be judged and lauded over, then why not judge that industry on the achievements of its champions and not its runts? By being constantly reminded about the successes of The Few in computing, in politics, in publishing, in countless other British industries, we give those just starting out a level of prestige to aspire to. I can hardly imagine a young undergrad majoring in Business Management hoping to become the next Robert Maxwell; but in becoming the next Richard Branson, yeah, sure, why not. He may not be the coolest cat on the block, but then again who is?

Power and popularity seem inextricably linked in the sense that the individual personalities succeed, primarily because they know that self promotion adds a lot of potential to their business practice, and they understand that no-one else is going to promote them. This is how the hierarchy of power is fashioned; the determined individuals don’t wait around for opportunity to come knocking and as such they rise to the top. A pyramid of semi-determined, then vaguely-determined, and then don’t-cares develops below. In order for the young undergrad to get to the top, he has to ascend the ranks, slowly; or else create his own pyramid of power and hope the followers fall into place. The former option is the most stable, even though it forces one to ascend in a structured way. You can’t just jump to the top. To do so would be akin to me challenging Richard Charkin, current King of the Publishing Blogs, to an arm-wrestle.

Now there’s an idea.

So yes, Chark, you may get several hundred hits a day for your blog; you may be seated in a prime position in Macmillan at the moment; you may have thirty-plus years experience in the publishing industry on me. But can you swim the English channel in under two hours forty-three minutes, eh? Can you write a novel in less than three weeks whilst holding down a full-time job and then see several publishers bidding furiously on the MS, Chark? Can you drink eight pints in succession and still sing for Sunday Choir?

The fact that I can’t do any of these things is besides the point. Charkin has found a niche and developed it. He’s an all singin’, all dancin’ industry professional who promises secrets and tips for those interested in publishing and, for the most part, doesn’t disappoint. No false prophet, he. The rather difficult task I would face, should I wish to usurp him from his throne, is to come up with another angle on the whole business. A post-modern novelty trick up there with the inspired devices of Tristram Shandy and B.S. Johnson; a weekly controversial rant to spark up attention; a free iPod for every tenth reader of my blog (to come out of Fifth Estate’s marketing budget). I would be in the enviable position of likening my David to Charkin’s Goliath.

But away with such fancies.

A slow-track progress to the top, to gaining that power so precious, keeps some people sane, I think. Chances are we will never get there anyway, but only within reach. Even for those who do make it, what are the available options? It can’t be abused much further than asking someone to make the tea for you, for as we all know abuse of power leads to this:

Bair/Bush

(Sorry, easy target).

The nice guys succeed at the top of these power hierarchies but so too do the bad ones, who have the habit of usurping any threat to their own elevated status and position. The printed lists of powerful beings keep a check on who is where and as a result may provide a warning check on any evident loonies rising through the ranks, but the obvious side effect is that they also promote competition.

My mission this week is to apply the brakes to this whole crazy power scheme; and not in relation to the lists. It may sound gospelly, but: Let’s all us as individuals stop scurrying for the power, yer hear, can I get a Hail Mary? There’s nothing wrong with wanting to better oneself, to get money and material distractions, but that’s not my point. This is — if we ignore the power lists, if we cease to care about those at the top and care more about those around us, those known to us, then we may find ourselves a tad happier. We need to stop worrying about becoming the next Branson, the next Bill Gates, the next Chark (some would argue that nobody would want to be the next Richard Charkin anyway . . . but they would be unkind people).

Besides, if we ignore the figureheads at the pinnacle of our various industries, they might get worried, and scrabble for our attention. They might slip up, make some colossal failure; and the throne will be ours for the taking. Cover your eyes, England — the new order is about to rise!

Radio Diaries is committed to helps people produce their own oral histories. They work with people to document their own lives for public radio: teenagers, seniors, prison inmates and others whose voices are rarely heard. We help people share their stories—and their lives—in their own words, creating documentaries that are powerful, surprising, intimate and timeless.

The project trains diarists to be radio reporters and gives them a tape recorder for between three months to two years. The diarists conduct interviews, keep an audio journal, and record the sounds of daily life. Most will collect over 30 hours of raw tape. The material is then edited to produce a radio documentary for the National Public Radio show All Things Considered.

Technical Tips for producing your own radio diary

1. Get comfortable with the equipment
Play around with the recording device (minidisc recorder, DAT machine, tape recorder) on your own until you are very familiar with all the buttons and knobs. It’s important to do this before you begin; if you’re relaxed with the recorder and the microphone, the people you’re interviewing will be too.

2. Get organized
Always make sure you have enough minidiscs, DATs or cassettes and an extra set of batteries. Don’t leave long cables hanging out, or you’ll have to spend time untangling everything. Get a shoulder bag to hold everything. The more prepared you are, the more you can concentrate on the important things.

3 Do a test
Always do a test before you begin. Record a few seconds, then play it back to make sure the sound is good.

4. Label your tapes and disks
Always label everything before you start. When you’re in the field it’s easy to forget and tape over something you’ve just recorded. (It happens.) And after you’re done recording, pop out the safety tabs to make sure you don’t erase over anything.

5. Always wear your headphones
Recording without headphones is like a photographer taking pictures without looking through the viewfinder. Headphones help you focus on exactly what you’re recording. If something sounds weird, stop and check it out.

6. Beware of the pause button
When recording, make sure the tape is rolling and that you’re not in pause mode. Don’t use the pause button. It’s a very tricky little button it can make you think you are recording when you’re not.

7. Keep the microphone close
The most important thing of all: keep the microphone close to the sound source (your mouth or the mouth of the person you’re interviewing). About 5-6 inches is good, the length of your outstretched hand. If it’s any farther away you will still be able to hear what people say, but the recording will lose its power and intimacy. It’s also best to keep the microphone a little bit below the mouth to avoid the “popping P” sound.

8. Collect good sounds
Every time you record, collect all the specific sounds you can think of: dogs barking, doors slamming, the radio being turned on, the sound of your blender, or even your mum snoring. Be creative. You will use these sounds later when you produce the story.

9. Record everything
Long pauses are okay. Umms are okay. Saying stupid and embarrassing things is okay. Often the stuff you think is weird, worthless, or that you initially want to edit out, will end up being the best and most surprising parts of the story.

Taken from the oral history guide for young people, the “Teen Reporter Handbook”, published by Radio Diaries and available on its website.

Act now!

1. Listen to Thembi’s story. (23mins).
One of the most successful radio diaries is Thembi’s story. Thembi is a South African teenager. For more than a year, she kept a radio diary capturing the small details of her life that tell a larger story: her first conversation with her mother about AIDS; a visit to the township clinic to apply for life-saving drugs; facing neighbors and friends as they slowly learn her status; a moment of quiet, late-night dancing at home with her boyfriend. www.radiodiaries.org/aidsdiary

2. Become a radio diarist.
Get a recorder and create your own radio diary — of aspects of your life, such as going green, tackling obesity, setting up a band… or of how you are trying to change the world.

As I write this post, the Apple keynote speech over in San Francisco has just begun. Rumour has it Apple will announce the launch of the Apple mobile phone some time in 2007. We’re talking an integrated phone and music player. This little machine, if and when it comes could, just could, be a massive opportunity for books, audiobooks to be precise.

Here’s how it works: The connectivity in adding the mobile phone element would make a mobile phone more like a handheld computer that can combine music, entertainment and communication.

From the Guardian blog a few minutes ago:

In anticipation of Apple’s mobile phone announcement, Telephia released research showing that [currently] one in ten mobile phone users in the US have a phone with integrated music player. That’s 23.5m people. But very few of those buy music through their phone – most sideload the music from their computer. Only 8.5% of people with these phones paid for music through an over-the-air, or OTA, downloads.

Needless to say, Telephia predicts than an Apple product could revolutionise this market, doing for mobile music downloads what it did for web music downloads.

Clearly, music is not the only media that could benefit from such a revoltion.

On the Hyde household Christmas list this year was a whole bunch of audiobooks: some classics that have slipped through the net. Trollope, some Dickens, Robert Louis Stevenson and Tolstoy. Yes yes, it’s really shocking I don’t have time to do it the proper way and read the books.

Of course, writer and publisher Andy Miller is doing it the proper way in his Year of Reading Dangerously – his diaries of the experience of ploughing through all The Greats and putting a stop to all fakery for good sound completey brilliant. But we’ll have to wait til 2008 to read that.

Meanwhile, for us mere mortals, we fit in a sublime education amongst the dull bits of life like catching the Tube, seeing friends and family, housework, reading for work, and keeping up to date with the news and zeitgesit. And the truth of the matter is there’s a healthy portion of folk there who’d far prefer to have read certain Big Books than to be reading one right here right now. And in my mind, audiobooks, undermarketed and underexploited as they are, are an ideal place to start. If I love the audio, I’ll invest some hard cash and time in the hardback.

Any publisher with a direct sales channel or who hosts a website linking to an online retailer, plus Waterstones.com, Amazon and Audible.com, to name just a few, should meet any widespread adoption of mobile downloads with a tranche of their audio production backlist.

With hardware and software created by Apple, if committed to by publishing houses and perhaps some individuals a la lulu.com, it could yet be easy as downloading a ring tone. I’d love to see a fully developed dedicated site, designed specifically for phone access, to market exactly this: maybe throw in a few hand-holding documentary videos and podcasts to whet the appetite plus a simple comments facility for bookclub-like comraderie and feedback. Does anyone know of anything like this out there yet?

Who knows, it could all lead to a burgeoning appetite in classic and new literature. Okay okay maybe I’m getting carried away here, but imagine the sheer audacity of someone who manages to loosely familiarise themselves with the entire canon of Proust, not a book or a computer in sight, whilst washing the dishes. If I was setting it all up, I’d call that Audacious.mobi.

This weekend I accidentally and very vigorously washed and tumble-dried my 2GB USB stick. The stick is carries most of the digital photo archive for fifthestate, as well as a couple of manuscripts containing my edits, and some open source software, essential for the smooth running of this blog. Of course, it’s absolutely fine, and everything still works perfectly. A normal occurence now, but cast your mind back 3 years and consider the likely effects of a gallon of water and a dose of persil would have on a hard drive.

Whilst I waited for half of fifthestate’s work in progress to finish soapily clanking around behind the glass window of the washing machine, here’s what was spinning though my mind:

Wikipedia on flash memory (as opposed to a conventional hard drive with moving parts):

flash memory is non-volatile, which means that it does not need power to maintain … Another allure of flash memory is that when packaged in a ‘memory card’, it is nearly indestructible by ordinary physical means, being able to withstand intense pressure and boiling water.

One of the most convincing arguments I’ve held in my armoury for the superiority of the physical book is that you can do almost anything to it (drop it, write in it, tear pages out, bang nails into the wall with it) and it survives in a useable form. This is more than you can say for most pieces of prototype hardware designed for e-books, especially if my 1998 laptop is anything to go by.

Well, you’ll still have a long way to convince me that specialised (dedicated) hardware for ebooks is a winner. But times are changing, as anyone with an iPod nano (also uses flash memory, unlike the full size iPod which has a hard drive) will tell you. Electronic media hardware is getting about as robust as a baby elephant. FutureoftheBook have been efficiently tracking this, seemingly since before the days when email replaced letters.

Storage space and volatility no longer such an issue, and battery life improving, we can concentrate on more qualitative barriers to bringing books to a fresh audience, such as conflicting form-factor requirements (Large amounts of text require large screens to be read comfortably, right? While market pressure for portable devices is for them to be smaller…)

So with the stretch of flash improving on an almost daily basis, even the dawn of an age where it is no longer necessary to store/house anything locally, and the widescreen iPod just around the corner, the answer is probably sitting within 4 feet of us. Given the widespread adoption of the video-MP3 player it is slightly baffling why we publishers don’t experiment with the iPod (and Microsoft’s forthcoming rival player Zune) more thoroughly. Who knows, maybe Apple and Microsoft would be even quicker off the mark in developing on a competive platform for books if sample content was already there to meet them?

Here’s 4 suggestions/thoughts from the laundrette. By no means an expert opinion, but more a snapshot of the mind of an editor who’s a very recent but willing recruit to the 21st Century:

  • Use iTunes as a means of distributing extracts from books. An exclusive extract PDF from The Long Tail is offered by Random House in such a way for free, but has anyone explored distributing full text for payment?
  • If copyright holders (usually the author) are interested in experimenting with this, perhaps under a Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Licence, there are some pretty workable hacks for converting text files into iPod books Might be fun to experiment with some in-the-field or nature books or short classics. (Slight deviation here, but I’ve got the whole of wikipedia on my iPod for 2GB, and, though it is pretty clunky in terms of usability, it’s nice to carry so much information around for pub arguments).
  • Create visual content? Of course nobody is saying Hammersmith or the Strand are/should be Hollywood, but given new platforms for audiobooks, would simple graphics and videoclips of author events and lectures add value and appeal? or simply reproduction of plate sections and graphics at correctly-timed moments? An Inconvenient Truth is the third highest grossing documentary in the US to date and it’s based on a slide show. Wouldn’t be fantastic if publishing industry was there to greet the Zune and the next generation iPod with content to rival EMI?
  • Spend extra time considering the format of digital text we’re warehousing? Most publishers’ digitisation programmes centre round storage of PDFs and jpegs. Fine for current initiatives such as Google books and Amazon search inside, but not so good beyond it. The iPod hack I mentioned above uses .txt files. And with a wealth of hardware about to be launched amongst a cacophony of questions regarding the multitude of file types supported and what DRM is available to protect them, maybe book publishers next move will be to warehouse a more ‘unlockable’ format as well.