‘Bookfuturism’, a moniker stolen from Tim Carmody, who in fact adapted the term from others before him in his micro-essay A Bookfuturist Manifesto, describes a world where publishers are neither dedicated to preserving a physical library of hardbacks and shelves to dust––however, nor are they conformed to a world where digital format takes sole precedence over the value and historical commodity, of which the printed word is (Carmody, 2010).
As a society, and furthermore industry trailing alongside both technological and structural developments in just about every format imaginable, there is always the question of how these changes will affect relationships––not only between publishers and booksellers, but publishers and authors, authors and readers, and as well, readers directly back to the publishers. As these relationships develop and grow, and ‘delivery costs become much smaller with network sales and electronic delivery, the changing economics will mean greater profits to publishers or electronic retailers, larger royalty shares to authors, and even reduced prices to consumers’ (Lynch, 2001).
Mintel (2014) reports that in the 12 months prior to April 2014, 29 per cent of women and 22 per cent of men had purchased an eBook. The study as well illustrates that only 12 per cent of all consumers (2000 internet users 16+) exclusively read digital, as opposed to 41 per cent who only read print (Mintel, 2014). Gradual as it may be, digital growth is apparent in the market, and both publishers and booksellers should take more initiative to monopolise on this fact and furthermore, work ahead of the curve ultimately bridging the gap between a past of analogue and a future of tech.
As workflow shifts to accommodate digital in a virtual marketplace, publishers are able to bypass the conventional supplementary costs of printing, shipping, distributing and storing stock by printing on demand. These savings equate to higher profit margins and more flexibility for publishers; however, bookfuturists maintain concern for the role of booksellers in the future of digital––with network-based booksellers as Amazon leading the market, bookshops are challenged with how to compete for the same consumer recognition and competitive pricing models (Carmody, 2010).
Industry workflows and economic structures, as they continue to grow and develop to adapt for digital formats, platforms and networks, present publishers with opportunities to directly interact with their readership: tracking interests, purchases, and market trends (Lynch, 2001). Likewise, digital creates a new outlet for publishers to grow revenue by digitising backlists and experimenting with digital-first.
The aim of merging these two cultures together is ultimately, to find the balance between print as a tangible, cultural commodity of the past––and print as it is redefined for changing consumer expectations and technological capabilities (Lynch, 2001). Digital is not a domain publishers should feel pressured to conform to, but instead a challenge to seamlessly combine, reshape and revive text for new platforms, whilst still maintaining the power and integrity of which the printed word carries.
WC: 476
As a society, and furthermore industry trailing alongside both technological and structural developments in just about every format imaginable, there is always the question of how these changes will affect relationships––not only between publishers and booksellers, but publishers and authors, authors and readers, and as well, readers directly back to the publishers. As these relationships develop and grow, and ‘delivery costs become much smaller with network sales and electronic delivery, the changing economics will mean greater profits to publishers or electronic retailers, larger royalty shares to authors, and even reduced prices to consumers’ (Lynch, 2001).
Mintel (2014) reports that in the 12 months prior to April 2014, 29 per cent of women and 22 per cent of men had purchased an eBook. The study as well illustrates that only 12 per cent of all consumers (2000 internet users 16+) exclusively read digital, as opposed to 41 per cent who only read print (Mintel, 2014). Gradual as it may be, digital growth is apparent in the market, and both publishers and booksellers should take more initiative to monopolise on this fact and furthermore, work ahead of the curve ultimately bridging the gap between a past of analogue and a future of tech.
As workflow shifts to accommodate digital in a virtual marketplace, publishers are able to bypass the conventional supplementary costs of printing, shipping, distributing and storing stock by printing on demand. These savings equate to higher profit margins and more flexibility for publishers; however, bookfuturists maintain concern for the role of booksellers in the future of digital––with network-based booksellers as Amazon leading the market, bookshops are challenged with how to compete for the same consumer recognition and competitive pricing models (Carmody, 2010).
Industry workflows and economic structures, as they continue to grow and develop to adapt for digital formats, platforms and networks, present publishers with opportunities to directly interact with their readership: tracking interests, purchases, and market trends (Lynch, 2001). Likewise, digital creates a new outlet for publishers to grow revenue by digitising backlists and experimenting with digital-first.
The aim of merging these two cultures together is ultimately, to find the balance between print as a tangible, cultural commodity of the past––and print as it is redefined for changing consumer expectations and technological capabilities (Lynch, 2001). Digital is not a domain publishers should feel pressured to conform to, but instead a challenge to seamlessly combine, reshape and revive text for new platforms, whilst still maintaining the power and integrity of which the printed word carries.
WC: 476
Bibliography
1. Carmody, T. (2010). A Bookfuturist Manifesto. [online] The Atlantic. Available at: http://www.theatlantic.com/technology/archive/2010/08/a-bookfuturist-manifesto/61231/ [Accessed 4 Oct. 2014].
2. Lynch, C. (2001). The battle to define the future of the book in the digital world. First Monday, [online] 6(6). Available at: http://firstmonday.org/ojs/index.php/fm/article/view/864/773 [Accessed 5 Oct. 2014].
3. Mintel, (2014). Books and e-books - UK - September 2014. Mintel.
1. Carmody, T. (2010). A Bookfuturist Manifesto. [online] The Atlantic. Available at: http://www.theatlantic.com/technology/archive/2010/08/a-bookfuturist-manifesto/61231/ [Accessed 4 Oct. 2014].
2. Lynch, C. (2001). The battle to define the future of the book in the digital world. First Monday, [online] 6(6). Available at: http://firstmonday.org/ojs/index.php/fm/article/view/864/773 [Accessed 5 Oct. 2014].
3. Mintel, (2014). Books and e-books - UK - September 2014. Mintel.