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This post originally appeared on Publishers Weekly.

Imagine buying a car that locks you into one brand of fuel. A new BMW, for example, that only runs on BMW gas. There are plenty of BMW gas stations around, even a few in your neighborhood, so convenience isn't an issue. But if one of those other gas stations offers a discount, a membership program, or some other attractive marketing campaign, you can't participate. You're locked in with the BMW gas stations.

This could never happen, right? Consumers are too smart to buy into something like this. Or are they? After all, isn't that exactly what's happening in the ebook world? You buy a dedicated ebook reader like a Kindle or a NOOK and you're locked in to that company's content. Part of this problem has to do with ebook formats (e.g., EPUB or Mobipocket) while another part of it stems from publisher insistence on the use of digital rights management (DRM). Let's look at these issues individually.

Platform lock-in

I've often referred to it as Amazon's not-so-secret formula: Every time I buy another ebook for my Kindle, I'm building a library that makes me that much more loyal to Amazon's platform. If I've invested thousands or even hundreds of dollars in Kindle-formatted content, how could I possibly afford to switch to another reading platform?

It would be too inconvenient to have part of my library in Amazon's Mobipocket format and the rest in EPUB. Even though I could read both on a tablet (e.g., the iPad), I'd be forced to switch between two different apps. The user interface between any two reading apps is similar but not identical, and searching across your entire library becomes a two-step process since there's no way to access all of your content within one app.

This situation isn't unique to Amazon. The same issue exists for all the other dedicated ereader hardware platforms (e.g., Kobo, NOOK, etc.). Google Books initially seemed like a solution to this problem, but it still doesn't offer mobi formats for the Kindle, so it's selling content for every format under the sun — except the one with the largest market share.

EPUB would seem to be the answer. It's a popular format based on web standards, and it's developed and maintained by an organization that's focused on openness and broad industry adoption. It also happens to be the format used by seemingly every ebook vendor except the largest one: Amazon.

Even if we could get Amazon to adopt EPUB, though, we'd still have that other pesky issue to deal with: DRM.

The myth of DRM

I often blame Napster for the typical book publisher's fear of piracy. Publishers saw what happened in the music industry and figured the only way they'd make their book content available digitally was to tightly wrap it with DRM. The irony of this is that some of the most highly pirated books were never released as ebooks. Thanks to the magic of high-speed scanner technology, any print book can easily be converted to an ebook and distributed illegally.

Some publishers don't want to hear this, but the truth is that DRM can be hacked. It does not eliminate piracy. It not only fails as a piracy deterrent, but it also introduces restrictions that make ebooks less attractive than print books. We've all read a print book and passed it along to a friend. Good luck doing that with a DRM'd ebook! What publishers don't seem to understand is that DRM implies a lack of trust. All customers are considered thieves and must be treated accordingly.

The evil of DRM doesn't end there, though. Author Charlie Stross recently wrote a terrific blog post entitled "Cutting Their Own Throats." It's all about how publisher fear has enabled a big ebook player like Amazon to further reinforce its market position, often at the expense of publishers and authors. It's an unintended consequence of DRM that's impacting our entire industry.

Given all these issues, why not eliminate DRM and trust your customers? Even the music industry, the original casualty of the Napster phenomenon, has seen the light and moved on from DRM.

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Lessons from the music industry

Several years ago, Steve Jobs posted a letter to the music industry pleading for them to abandon DRM. The letter no longer appears on Apple's website, but community commentary about it lives on. My favorite part of that letter is where Jobs asks why the music industry would allow DRM to go away. The answer is that, "DRMs haven't worked, and may never work, to halt music piracy." In fact, a study last year by Rice University and Duke University contends that removing DRM can actually decrease piracy. Yes, you read that right.

I recently had an experience with my digital music collection that drove this point home for me. I had just switched from an iPhone to an Android phone and wanted to get my music from the old device onto the new one. All I had to do was drag and drop the folder containing my music in iTunes to the SD card in my new phone. It worked perfectly because the music file formats are universal and there was no DRM involved.

Imagine trying to do that with your ebook collection. Try dragging your Kindle ebooks onto your new NOOK, for example. Incompatible file formats and DRM prevent that from happening ... today. At some point in the not-too-distant future, though, I'm optimistic the book publishing industry will get to the same stage as the music industry and offer a universal, DRM-free format for all ebooks. Then customers will be free to use whatever e-reader they prefer without fear of lock-in and incompatibilities.


The music industry made the transition, why can't we?

Related:

On pirates and piracy
Book piracy: Less DRM, more data
Putting Ebook Piracy into Perspective
The Analog Hole: Another Argument Against DRM

Educators so far seem excited about the potential promise of a learning "revolution" enabled by Apple's new iBooks Author app. However, not everyone is feeling that same level of enthusiasm: e-book publishing experts have concerns about the formatting that iBooks Author can output, which isn't fully ePub 2 or ePub 3 compliant. Furthermore, Apple has added a clause to iBooks Author's end user license agreement that prohibits selling e-books created with iBooks Author anywhere but the iBookstore.

iBooks created by iBooks Author use ePub 2 along with certain HTML5 and JavaScript-based extensions that Apple uses to enable multimedia and interactive features. Those interactive features will only work with Apple's iBooks app, not with other e-reader software or hardware, because only Apple supports those extensions.

Still, there shouldn't be any technical limitation to exporting a strictly ePub 2-compliant ePub document if none of the interactive features are used. Unfortunately, iBooks Author only exports PDFs and text.






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Apple may be poised to announce changes coming to iBooks, and perhaps eBook publishing, sometime this month. In particular, we believe the announcement may have important reverberations for textbook publishers and buyers.

According to a report by All Things Digital published Monday, the company is planning a media event in New York to make a "media-related," not hardware-related announcement. Further, sources for TechCrunch claimed the announcement will focus on "improvements to the iBooks platform," and the event will supposedly be more geared towards the publishing industry (not necessarily consumers).

Apple has recently highlighted the ability of its iBooks platform to include sound, video, and other features by offering a free eBook of The Yellow Submarine. And based on information from our own sources, we believe the announcement could likely involve support for the EPUB 3 standard, which enables a wider variety of multimedia and interaction features. Amazon recently announced its own similarly improved eBook standard using HTML5 and CSS3.

Several authors have also told Ars that they long for tools to help transform book text into standards-compliant eBooks. The opportunity certainly seems ripe for Apple to offer such a tool. If Apple created software that could generate standards-compliant EPUB files, it could be a boon to both the publishing industry and independent authors alike.

Incidentally, one source who has worked with Apple to integrate technology in education recently suggested that Apple may have important changes coming to its iBooks platform directed specifically toward the academic set. Digital textbooks represent another nascent market that Apple could potentially upend as it did with music and mobile apps.




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Stephen Colbert opened his October 25th, 2011, show with his normal exuberance. He bragged about his special early access to the iPhone, the iPad, and the iV (a product that feeds the Internet directly into your veins; he assured us a short wait of six months before its release). The release of Walter Isaacson's "Steve Jobs" would be no different, as Colbert pulled the 600-page biography from behind his desk. But Colbert immediately became perplexed.

The single finger touchscreen swipe on the cover didn't turn pages. When you turned the book upside down, the picture didn't reorient. Colbert complained there was no place to plug in his headphones so he could listen to it. And then he tried to activate the voice recognition by touching the bottom of the cover, "Tell me about Steve Jobs. Where is the nearest church or camera store?" He ended the segment saying that the device would soon be released with "a revolutionary softcover." The jokes played well to the geekish sensibilities of the studio audience, but I am not sure even the show's writers knew how well the sketch described the confused state of book publishing.


"Steve Jobs" will serve as a prominent road marker on the path from atoms to bits. The decision for Simon & Schuster to hold the digital release of the biography for two weeks to match the physical release even after the death of Jobs is worthy of a Harvard Business School case. And at the same time, even as computers now interface with us in almost every aspect of our lives and Jobs' critical role in that proliferation, the majority of people will read his life story on paper.


Colbert poking fun at the Jobs biography repeats, again, a meme that we in the publishing industry should be gravely concerned about — our customers don't know what a book is anymore.


The consequences of book updates

In July 2011, I launched an experimental project with O'Reilly called "Every Book Is a Startup." The project is meant to poke at the boundaries of traditional publishing. The book was created around the idea that new material will be released over time, culminating in a finished work early in 2012. Readers are encouraged to constantly give feedback about the material. The pricing is dynamic, increasing slowly to match the amount of material released, but once purchased, a customer receives all future updates for free.

We are only using one distribution point at the start of the project, oreilly.com, because the distribution system for electronic books is not designed to allow an ebook to be updated and released again. You might remember one of the side effects of Amazon's 2009 recall of "1984" was that after the book was restored, customers found their bookmarks and notes had disappeared.

We, unfortunately, found the same problem with our release strategy. Wonderful publishing startups like Readmill and SocialBook have created the possibility for readers using EPUB files to highlight important passages and share those with others back through the web, but when a reader of "Every Book Is A Startup" loads a new edition, their digital artifacts suffer the same fate as the readers of "1984" — the loss of their old thoughts as I present them with my new ones.

I have been hesitant to call "Every Book Is A Startup" a book because of the expectations people hold for a book: a finished work, written from a position of singular authority, available in some way in a physical form. What I never expected was how strongly the qualities of a book would be brought forward from the physical to the digital. Digital books have been designed to carry forward the same atomic quality of immutability of physical books. As I reached out to my colleagues working in the world of ebooks, the consensus was that no one had considered a reality where an author, given the ability to distribute directly and virtually cost free, would consider updating their work and the consequences that might have.


Bits and atoms don't behave the same way, but we have built the next step forward in publishing as though they do.

Possibilities arise from a new name

The trouble to this point is that a book is a book. Stacey Madden used precisely those words to title an essay in the inaugural issue of "Toronto Review of Books" that describes this predicament. "I do not mean to argue the advantages of paperbound books over their electronic counterparts," wrote Madden. "The contents of both are, for the most part, the same, and the differences lie mainly in medium. I am simply pointing out a semantic fact. E-books are not 'books' but digitized compositions." She firmly believes the book's 550-year-old meaning that connects both form and format should be maintained. "Before a collection of human thoughts is transformed into what we call a 'book,' it is merely a story, a manuscript, a document, or a text." Madden points to the need for more of us to see the difference between a book and its electronic counterparts.

Now, Madden writes further about the poetic qualities of the book and declares the superiority of the bound volume for its weight, smell, and ability to act as apartment furnishing. This judgment undermines the broader point and shows from another perspective the real trouble we are in.

The people who love books for what they are and what they have been are grabbing for their hardcovers and their paperbacks and saying "This word belongs to us." The digerati paving the way with wireless tablets and social networking recommendation services are trying to say, "You don't understand, we have books and we have made them way better." This is messy and leads to confusion.

We are living through a time in book publishing where words fail us, a situation that we should all find some irony in given the products we sell. We need some new language that describes what happens and, more importantly, what is possible when the words are separated from the paper. Those two things need to be separated so we can build systems and infrastructures that support the new capabilities of the technology.

For several decades, what we know today as a "car" was referred to as a "horseless carriage." It was easier to describe this new invention as what it was not, rather than what it was.

Maybe there are books and there are paperless books. I know it is a little awkward, and you want to ask yourself, "What does that mean?" — but when you remove the paper from a book, it becomes so much easier to see the possibilities.

TOC NY 2012 — O'Reilly's TOC Conference, being held Feb. 13-15, 2012, in New York City, is where the publishing and tech industries converge. Practitioners and executives from both camps will share what they've learned and join together to navigate publishing's ongoing transformation.

Register to attend TOC 2012

Photo credit for associated book picture used on home and category pages: Old book (1882) by VanDammeMaarten.be, on Flickr

Related:

Every Book is a Startup (book/project)
Every Book is a Startup (webcast)
What publishing can learn from tech startups
Ebooks and Print Books are Not Mutually Exclusive

Amazon has finally announced its long-anticipated Kindle lending library, allowing Kindle and Kindle app users to borrow Amazon's e-books from thousands of libraries across the US. Users will be able to find the Kindle books on their participating public library's website and check them out through Amazon, which will send the book directly to users' devices over Whispersync.

"Libraries are a critical part of our communities and we're excited to be making Kindle books available at more than 11,000 local libraries around the country," Amazon's Kindle director Jay Marine said in a statement. "We're even doing a little extra here—normally, making margin notes in library books is a big no-no. But we're fixing this by extending our Whispersync technology to library books, so your notes, highlights and bookmarks are always backed up and available the next time you check out the book or if you decide to buy the book."

The ability to make notes and highlights—and subsequently sync them back to the system for review later—is certainly a major plus. The downside, of course, is that the e-books have to be "returned" after a certain period of time, just like any other library book. Amazon doesn't specify on its site how long the books are borrow-able for, but when asked, Amazon spokesperson Kinley Campbell said that the expiration time varies by library and by the book.

"Generally [it will be] 7-14 days," Campbell told Ars. "We recommend checking with local libraries on questions related to availability and specific books."

Seven to 14 days isn't a lot of time to read an entire book for some people, but it's hard to argue with free, borrowed books. Our only complaint with this announcement is that there seems to be no comprehensive list of the 11,000 participating libraries—even Amazon's FAQ page about public library books remains vague on this question. The requirement is that the library offers e-books via third party service OverDrive, though, so it's safe to assume that most major libraries will be participating to some degree or another. (You Chicagoans out there get to be lazy, as I've already confirmed that Kindle books can be found via the CPL website).

Edit: Removed links to Amazon due to technical (CMS) problems on our end. See comments for proper links for now.




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If you're camping, sailing, or otherwise distanced from medical attention, it's good to know what to do when somebody gets hurt or sick. A UK government guide, written for ships at sea, provides a great overview of first aid, injury treatment, and many other kinds of make-do medicine. More »

Just like the iTunes app store, the iBooks app on the iPad spotlights the Top Paid (and Top Free) books within each category. Here are some charts that compare the average price (by rank)1 across the major categories. The average price of the Top 50 titles across the major categories range from $7-$15. Cookbooks, History, Biographies are slightly higher priced, while Classics, Romance, Sci-Fi, and Children/Teens have lower average prices.

[Click HERE to enlarge.]

[The equivalent graph for MEDIAN prices can be found HERE.]

(1) Data for this post is from 4/15 through 4/20/2010. Average price is based on titles that appeared among the Top Paid apps for a given category during that period.

iPhone/iPad: The native PDF reader on portable Apple devices isn't quite a genius app, especially with larger files. To read huge PDFs, Office docs, and other documents, and grab them over Wi-Fi, Dropbox, or other web services, try GoodReader. More »

The iPad isn't a big iPod touch—an iPod touch is a miniature iPad that restricts the full multitouch experience in exchange for offering greater portability. With the iPad, in contrast, you get multitouch the way it was meant to be done.

That's one of our many take-aways after having submerged ourselves in iPad land since launch. The larger screen doesn't just offer more space to work with—it opens up a different and more immersive user experience. Because of this different experience, though, the closed nature of the platform can get under some users' skin in ways the iPhone and iPod touch do not.

Still, the iPad is likely to just be a starting point for Apple and for multitouch computing in general. There are obvious downsides to the device—we'll tell you what those are—but it's clear that it does sit in its own category that floats somewhere between a smartphone and a laptop, and it serves different purposes than either its smaller or bigger siblings. But we're getting ahead of ourselves.

A large chunk of the Ars staff contributed to this review, either in the form of writing full sections or by offering feedback and insights based on their own experiences. Because the 3G + WiFi version is not yet on the market, we all tested a WiFi-only iPad. We think it's worth noting up front that the WiFi-only version is probably best if you only plan to use it at home or at Starbucks—you'll definitely miss not having an Internet connection while out and about, and the (non-contract) 3G data plans are not bad at all, so long as you can stomach the extra $130 you'll have to fork over for the privilege.

It's also the case that there are some parts of the iPad "experience" that we didn't get to cover here, but we think the next several pages will convey more about what using the iPad is like than you ever thought you wanted to know. So let's get on with it!





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Apple initially named five of the top six major publishers as launch partners for its iBookstore for the iPad. More recently, we heard that two independent publishers had signed deals to provide e-books and that Apple plans to offer free public domain titles from Project Gutenberg. Now, self-published authors will also get a crack at the iBookstore via deals Apple has struck with e-book publishing services Smashwords and Lulu.

Smashwords and Lulu are for e-books what TuneCore is for music. TuneCore will take your CD (or indie film) and upload it to the iTunes Store for a flat fee, eliminating the need to jump through all the hoops necessary to set up an account directly with Apple. All the royalties earned on sales of the album and individual tracks are then forwarded to the artist.





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