Publishing is Dead. Books are Dead. But it doesn't matter because no one is reading anyway., Page 3

  Awareness

  Marketing has clearly evolved in recent years; more so than can be listed here. What is important is that individuals now have the ability to reach millions or even billions of people, for free! Facebook alone has more than 350 million users and 2.5 billion pictures, with the average user having more than 130 direct friends. (Facebook, 2009) Social Media is the number 1 online activity, YouTube is the 2nd largest search engine and 78% of consumers trust peer recommendations. (Qualman, 2009) This clearly provides a range of opportunities to both the self-publishing author and independent publisher. Social networking and other tools have broken down yet more barriers between the source and the user. Clearly there is still a challenge of getting through the huge amounts of information but what gets through this is word of mouth. Digitally, users of sites and readers of blogs sift through information and then pass on the pieces they love to those around them  both in the physical world and online. These people are sometimes referred to as Sneezers

  Sneezers are the key spreading agents of an idea&These (people) are the experts who tell all their colleagues or friends or admirers about a new product or service on perceived authority (Godin, 2002, p31)

  Development of the Form

  Within the current format and structure of a book there are a number of options. Hardback books can be bound in linen or any other number of materials. Thicker papers can be used and then treated to produce a range of different finished. Font, layout and graphics can all be modified and changed to suit the context. However, there are more unique options available outside of this sphere.

  There is a huge amount of flexibility in the book format. Of then the books that have been used in less conventional format are called Art Book, Artists Books or use what is referred to as Sculptural Binding. These books then take on a form that sometimes dont even resemble books as we know them. They can use any variety of material and bindings. They can be in boxes, on wheels, part of an instillations Some are simply very well illustrated, have hand woven cover designs, may be created entirely out of one sheet of paper, but ultimately they are all books: Written or printed work consisting of pages glued or sewn together along one side and bound in covers (New Oxford American Dictionary, 2009) more or less. Some amazing examples of this art form can be found in The Penland Book of Handmade Books by Lark Books, and Book+Art published by North Light Books.

  Our instructors have approached the book as a cabinet of wonders, as an alter, as a religious quarry and as a portable studio. Jean W McLaughin, Director, Pentald School of Crafts

  It is impossible to capture all of the possibilities the book offers but this quote really explains meaning behind the opportunities of this canvas.

  It involves sequencing, craftsmanship, finesse, but most of all it reflects content and context. No book should just be beautiful. It should say something. It should mean something. Judith A. Hofberg (Krause, 2009)

  If the publishing world aimed to revitalize its products, by fine tuning them for more detailed segments. It may achieve more success. Publishers could look to kids books, as a solution for reducing margins. It is a market that is rich, vibrant and extremely varied, with everything from beautiful art, to ever more detailed pop ups (technically referred to as Moveable Books) and an expanding range of papers, inks and finishes.

  Dont try to make a product for everybody, because that is a product for nobody.  (Godin, 2002, p31)

  Almost since the codex first came to prominence in the 4th century CE artists, philosophers, scientists, and book designers have tried to challenge the book's bibliographic boundaries. They have added flaps, revolving parts, and other movable pieces to enhance the text&

  The advent of movable books designed especially to entertain children would take even this type of paper engineering to a whole new level. (Private Library, 2009)

  If authors, creators and publishers could work together to expand and explore this area further, it could create a lot of interest and market growth.

  Examples of successful books that have merged several of these factors are those published by Gloria Publishing and Taschen. New York; the Definitive Testament by Gloria is a 700 page, silk bound, 50cm tall, 16kg... With special editions that retail for up to ?7600. (WeHeart, 2008) Another example is GOAT a signed tribute to Muhammad Ali, which retails for ?2500, even on Amazon.

  What is the use of a book, without pictures or conversations? Voice of Alice (Carroll, p1, 1865)

  Pulling two long distant partners back together once more is an interesting opportunity for the literary world. Illustrated novels and Graphic novels are already doing this, but they are still very much in a niche.

  Graphic Novels often rely on a team of creators, so a published novel can have more even more than; a Creator, Illustrator, Writer, Inker and Letterer. This combination of creative inputs and thought can lead to a very highly polished end product that is truly unique. It is much harder for a series of books to go stale with this model. The benefits of teamwork have been often cited for creativity, and its a model that appears to be working for Graphic Novels.

  According to Crawford Coutts pulling together literary talent and illustrative capabilities could broaden the audiences of both mediums

  Graphic novels are technically a different medium to books, rather than a genre within fiction. However they use the same publishing methods and have are considered by many to be equal in terms of literature to many books. In 1992 Maus won a Pultizer Special prize and graphic novels have continued to win book awards since. (Random House, N.D.) Graphic novels are a printed medium that is both surviving and responding better to the changing publishing market. Year on year this segment has seen growth in output, revenue and profit. The collectable market is still growing, as is original artwork and limited editions. As the market for new Graphic Novels grows, so does its whole eco-system. It is am emerging market.

  Although, long hampered by a stigma of comics and geeks the graphic novel industry has seen strong growth, not just in revenue but the breadth of its audience. In particular movie adaptations have widened the appeal of the medium. Winning awards set for traditional novels and a broader age range per title has also aided social acceptance.

  Perhaps one of the reasons they continue to grow, as a format, is that they are better aligned to the modern readers tastes and needs. A visually rich medium, that is fast to read, easily collectable, with new genres being added all the time as well as a strong online presence. Graphic Novels are also a better fit for many electronic reading platforms, because they are visual and can make the most of out of the technologies offered e.g.: iPhone.

  Fight fire with fire

  One significant competitive disadvantage of books against eBooks is that they are not independently searchable, updateable or able to be reproduced or linked in a digital context. This can be resolved however.

  . RFiDs  whilst books themselves are not searchable, their digital information can be uploaded to the Internet, and that data can be linked back to the book with RFiD tags. Radio Frequency Identification tags have a particular code to them and are attached/inserted in to objects. When a reader scans them; the reader connects to the server that holds all of the objects information. That information, or a selection is then relayed back to the reader, and all digital information can then be accessed. This would allow consumers to swipe a book (perhaps in a store or a library) and have accompanying music streamed to their Internet device, or automatically subscribed to associate magazines, have the digital copy emailed to them and many other possibilities. This technology can remove many of the boundaries between print and the digital world.

  The publishers have found themselves in a position that will require significant investment and restructuring in order to survive. This is where the book encounters problems. The firms that handle the bulk of publications have been developing products for the mass market, and as such quality has suffered.

  However the new systems
that are available to publishers could potentially allow them to maintain their share value whilst diversifying their product lines and making more products that are tailored to smaller market.

  These systems and publication routes can now be used by individuals as well as companies. Never before has self publishing been so easy and affordable. Whilst sales are never guaranteed, independent authors and creators can use thousands of tools online, for free to garner publicity.

  If one combines the systems now available to a new range of authors and publishers, with the unique capacity the book has for change and development, the scope for pushing the medium forward is considerable. There are significant challenges from more contemporary media, but the foundations are in place, to build a new printed, literary world on.

  Culture VS Investment

  Digital content is still in a continual state of flux, with new formats rising as falling. Facebook was the trend of 2008, Twitter was the trend of 2009 and the devices we use are adapting to meet these changing needs. So what the products, services and avenues will be is impossible to project at this point. What is clear is that things are changing, and it is likely that the rate of change is likely to accelerate (Brown, D.J. Boulderstone, R. p10, 2008) Where there is changem there is opportunity.

  eBooks are being pushed by investment, so it traditional publishing. By industry pressures and industry opportunities. With eBooks only representing 1.5% of the industry after more than 10 years, it would indicate that it is investment from various stakeholders in different industries driving this change forward. Even considering the growth of digital text from online sources such as websites, blogs, twitter etc these people using and creating these forces do not seem to be pushing towards the development of dedicated eBook Readers or a push for more formal digital literature.

  For Culture

  However in this time of change an opportunity is opening for publishing to become much more directly, culturally driven. There is now the opportunity for both in printed and digital content to be created without the previous barriers of the publishing houses. The market is now opening up for self-publishing, independent publishing, an author can promote their book for free, print with almost no risk (through print on demand) and distribution per order.

  The primary functions of a publisher are threefold: Curatorial, Editorial and Sales. However if social media can act as an aggregate and sieve for what people really want, it should easily fill two of the three roles of the publisher  Editorial and Sales. In effect authors, who wish to publish their works will find their success and acceptance based on their own efforts and merits. If they can use those around them on or offline to refine their work, then not only will they have a captive audience interested and willing to promote the book, they will have it edited and refined from many points of view. Hopefully this will lead to books (digital or print) that are extremely refined and have an audience waiting for them. If embraced, it could also broaden book culture enormously.

  For Publishers

  What then for commercial publishing? Companies need to be able to attract the best talent if they are to survive. If publishers can build a brand out of their name, for publishing excellently produced and edited pieces, that sit within a perfectly curated group of works, and then sell that effectively, then they should be a very strong position. There will always be value in the full time professional, fro some one who can dedicate time, experience and resources to a project to and push it forward to success.

  Equally importantly digital content should be viewed as an opportunity, not threat. It could be an access to market growth in a mature market if publishers and booksellers embrace it.

  This changing landscape of publishing has meant that readers, creators and publishers can look at literature in a new way, and have been increasingly doing so. Its looking at Story telling in a much richer form and going back to the routes of this, and how people can use different mediums to enjoy these stories.

  That is what literacy is about, and this had been forgotten  it had become a predominantly capitalist venture. Cheap Vampire trends, Dan brown, JK Rowling, James Patterson, Tom Clancey flood the market but they just keep on shifting. (Coutts, 2009) Even those titles that Steven Fry refers to as Complete loose-stool-water. Arse-Gravy of the worse kind (N.D.) The book industry as a whole is worth $48bn dollars annually, in North America alone.

  Conclusion

  Text has become so ubiquitous that it is a victim of its own success. The reducing number of hours spent reading is probably in no small part due to the fact that we are sick and tired of printed text at work, on street signs, on billboards, on phones, on MP3 player, on TV in cars and in every product in the house. Text is omnipotent in our world it would seem but people are reading!

  To say that the expansion of eBooks is reducing the value and thus price of books could be wrong. There is no indication in the market so far that digital content is driving down the price of the printed book. One could argue that this is because there is no margin left in the industry to attempt to compete on price, however it is also an indication that customers still see the value in the printed text.

  However, Books  close your eyes, fetishists  are only one form of story telling. (Krozser, 2008) What is happening is a race for dominance in the book selling market. And its not just between books and eBooks, they are up against music, phones, games, TV, Internet and movies. All of which are competing for the same effect on the brain and response on the wallet. The value of books will start to change though, the applications of literature will be split across the two mediums and each will find its own uses and users.

  We need to get over the book. And then we can reinvent it& The knowledge that is there is, of course, invaluable. That is why we need to find new ways to gather and share and improve and preserve it. (Jarvis, 2006, Web)

  The novel has taken its name from newness. And publishing is more than just Novels. So it is inherent in its earliest nature that it should be constantly evolving.

  novel 1 |?n?vYl|

  ORIGIN mid 16th cent.: from Italian novella (storia) new (story), feminine of novello new, from Latin novellus, from novus new.

  Figure 2: (2009) Visual Thesaurus: Novel, Created From Visual Thesaurus

  Literature can evolve in this new combined world of digital and legacy media. Arguably, not since the Gutenberg press has there been such a dramatic change in publication. There are so many options and possibilities and with fewer restrictions on spreading literature than ever before in human history.

  The potential of eBooks does not lie in their portability. Printed books are infinitely more portable and durable. EBooks have huge practical advantages for work and education. As for entertainment, Electronic literature is still evolving, blogs, tweets, forums, tools. The platforms are still developing, evolving and being exploited in new ways = Creative opportunities

  Equally, the strength of books does not lie in their current market dominance. eBooks are more adaptable and suitable for the modern reader. Even with structural changes in printing and distribution books will still be slower, more costly and less flexible. There is however a myriad of opportunities, as discussed, and these can be built upon the emotional foundations that we have for printed books.

  eBooks and printed books will have both to continue to develop and refine their format in order to move forward in this changing environment. It will probably transpire that some books are for print, and some for digital.

  It not just the format thats changing, what Publishing means could change fundamentally. As these two formats develop and technology advances  the boundaries of what is offline and what is online will blur. Publishers will have to continue to develop both New Media Models and New media models in this emerging environment. With fewer pressures the content and platforms can be creator and consumer led rather than by risky investment strategy thus pushing boundaries and creating new experiences.

  In the end its about story telling
, a custom which has been at the heart of mankind for tens of thousands of years. These developing formats hold the possibility to do more than simple communication. They are for reaching people, expression, encouraging, exciting, enticing, moving and sharing a whole range of emotions and messages. Digital content isnt the end of books; its another platform for them. Printed or electronic, they both exist to tell stories, share information and ideas. Both will have to change to co-exist but each mediums strengths and weaknesses make them very separate and with totally different things to offer.

  Is publishing dead, yes or no? Is publishing commercially driven or culturally? Will eBooks transform our reading experience, yes or no? Are books going to die or survive? Is publishing dead

  Ultimately, the answer to all these questions is both. What has been will change. Fueled by powerful economic changes, socio-cultural transformations and evolution of both print and digital literature; Books are on the edge of a paradigm shift into a digital world, and it will be a revolution.