Categoría: Commercialization

  • NFT is also a matter of publishers and readers. 

    NFT is also a matter of publishers and readers. 

    Non-fungible tokens, popularly known as NFTs (non-fungible token) are encrypted digital assets. NFTs validate the ownership of a digital asset unique to its owner. How does this happen? The digital item is identified in a decentralized digital registry known as a blockchain. Typically, these items are images or videos, but technology makes it possible to sell and own virtually any digital object in this way.

    In 2022, educational book publisher Pearson announced that it would enter the world of NFTs to cater to second-hand sales of its books. Educational books are often sold more than once, as students sell used study materials. Until now, publishers could not profit from secondhand sales, but the rise of digital textbooks has created an opportunity for companies to profit.

    Selling books as NFTs is not an entirely new concept. NFT technology is primarily used in books as a form of self-publishing by authors. However, it is not yet becoming standard practice in the publishing market, because readers tend to place more value on having read a book than on owning it.

    Many publishing directors believe that in a few years NFTs will enable a method of selling limited digital copies of books. Andy Bird, CEO of Pearson, is already exploring how other new technologies could be used in the company: he has a “whole team” working on “the implications of the metaverse and what it could mean for us”.

    Source: “Pearson plans to sell its textbooks as NFTs”, in The Guardian, August 2022. Translated and adapted by LivrizTeam.

  • Close to home: small bookstores are bringing readers back to their homes

    Close to home: small bookstores are bringing readers back to their homes

    Between 2020 and 2022, small bookstores sprang up, a phenomenon that is linked to mandatory quarantine and the need to access stores close to home. Thus, the visit to the neighborhood bookstore in search of a book or the bookseller’s recommendation was revived.

    In many small and medium-sized cities, access to books depends on the initiative of small booksellers. There, their role is of vital importance. They are the ones who go out in search of the books that readers request, but who also bring them books they do not yet know.

    In Argentina there is a peculiar city that has the highest number of bookstores per capita: the City of Buenos Aires. There, events such as the Noche de las Librerías (Bookstore Night, in English) stand out, during which stages, authors, publishers, bookstores and readers fill Corrientes Avenue.

    During these years, online book sales also escalated, but they lack the personalized and warm treatment of the neighborhood bookseller. “It is true that you can find absolutely everything on the Internet, but you will only find what you know you are going to look for,” reflects Víctor Malumián, co-founder of the book fair for independent publishers. “Small bookstores help you find what you don’t know you’re looking for.”

    Richard Charkin, director of Mensch Publishing, observes, “[the current model] tends to exclude many traditional booksellers who rely on relatively high discounts and generous return policies from publishers. There is a balance to be struck between maximum distribution and minimum waste, and we have yet to establish that balance point.”

    While space could be a constraint on a small bookstore’s offerings, today they are able to offer their readers a broader catalog than exists physically in the store. “The possibility of accessing an online catalog and requesting copies on demand guarantees the reader’s encounter with his book within 72 hours,” explains Damián Cuello, director of Livriz Sell & Print. “This optimizes space for the bookseller, stock availability and logistics for the publisher.”

    Technologies make new practices available and at the same time make it possible to recover others that were longed for.

  • Ebook design is not an oxymoron

    Ebook design is not an oxymoron

    The production of an ebook starts with an internal tension: what design decisions should we make knowing that when the ebook is on the device, the user will be able to change absolutely everything? The alignment, the line spacing, the font size, the background color. This is something that makes publishers desperate, as they often want the digital book to be as similar as possible to the paper book. An impossible task that even goes against the nature of the ebook and its potential as a product: the ability to adapt to the needs of the user. A dyslexic reader may choose a sans serif typeface and left alignment, a blind reader may choose to have the device read the book aloud.

    A well-designed ebook will be one that has clean, semantic HTML, so that the markup makes as many formatting choices as possible. In this regard, Laura Brady, of Epub Secrets, states that the three main pillars of ebook design are responsive design, interoperability and the use of fonts designed specifically for screens. 

    Says Karen McGrane: “With the rise of mobile devices, we need to abandon the fantasy that we have any control over the presentation of content. That’s history and it’s not coming back.” We can’t know what devices our book will be read on or exercise control over how it will be read. This is a hard thing for anyone coming from the print book to understand. We must relinquish control over how content is displayed and entrust the heavy lifting of design to semantic markup. Some tips for good responsive design are to understand the difference between absolute and relative units to avoid strict definitions (whenever possible) and to make use of good stylesheet practices. This is impossible to achieve with an export from InDesign: just because the book looks good on screen does not mean it is well constructed. ePUB files generated in InDesign will always need a thorough cleanup to remove “junk code”.

    Interoperability is a simple concept: it is about ensuring that the eBook works well on all devices. To do this we must avoid getting overly creative with CSS, as what looks great on one device or application could cause a disaster on another. How to achieve this? By keeping the code as simple as possible and testing the ebook on as many devices and apps as we can. 

    Finally, we must keep in mind that screen reading needs are different. Font size is just the tip of the iceberg. Print fonts are made for paper: they have areas on their various faces that are designed to accommodate ink compression or dot gain. When these typefaces are used on screens, their blocks of text can appear pale, thin and difficult to read. Details such as fine lines or serifs can hinder legibility. The way to ensure proper legibility is to use a professional font. Monotype and Creative Cloud will be our best allies. 

    While it’s not as simple as an innovative page layout or interesting typographic contrast, ebooks can be beautiful and well-designed. It has as much to do with what’s under the hood as it does with how the content is presented. An ebook that uses sound semantic markup is designed with screens in mind, works well across the spectrum of devices, and is responsive to screen size, meets all the requirements of good ebook design.

    Source: Laura Brady, “Ebook Design Is Not an Oxymoron,” in EpubSecrets, 2018. Translated and adapted by LivrizTeam.