Because we have one of the most well-developed, highest circulating shared digital collections in the country and we have a lot to discuss!
Because the demand for digital continues to increase at an exponential rate.
Can anyone guess what this # represents?# of checkouts from 5/1/12 to 5/1/13
Is the % of increase in checkouts between last year and this year. Jan 2012-April 2012= 346,887Jan 2013-April 2013= 653,280
We are also here to become better informed about the publishing and distribution industries. The more we understand, the more relationships we develop with people in the industry, the better we can advocate for ourselves and our libraries
In addition to listening, we need to ask questions. Forefront in my mind is the question of access. Hachette announced Wednesday they will be allowing libraries to purchase their entire ebook catalog. Unfortunately, they are excluding consortia. How do we most effectively advocate to publishers on our behalf? Another question relates to accessibility for visually impaired patrons with regards to ereaders. Random House: all audio, all eBooks Penguin: no new eBooks or audio after February 2012 HarperCollins: all audio, all eBooks with 26 circ limit Hachette: all audio, entire eBook catalog will be available May 1 (no consortium sales) Simon and Schuster: very limited audio selection, 12 eBooks available with 26 circ limit Macmillan: all audio, limited selection of eBooks from one imprint with 52 checkouts or two year circ limit (no consortium sales)This brings up new questions…how do we advocate for ourselves and other
And we need to make sure we are asking the right questions. Instead of asking “Why don’t you offer unlimited users on your titles”, consider asking “ Have you considered offering a multi-user model on mid and backlist titles”.
Remember that effective dialogue is a give and take process. We have data, lots of really good data about what we buy, how much we spend and what is most read. This data is valuable information for publishers and if shared in concert with other consortia, it could quite possibly be a tipping point.
I have said this so many times but I believe it to be true. Publishing and Distribution of e-econtent is NOT easy work. If it was, every major platform would integrate seamlessly with Kindles. The people joining me today have learned through relationship building, endless negotiations, trial and error plus a lot of hard work to successfully bring us econtent. Please help me welcome Brian Risse of Gale Cengage Publishing.
Wapl 2013 digital round table
Sara Gold, WiLSRobert Haddock, Random HouseMarla Levine, OverDriveBrian Risse, Gale Cengage Learning
“If this were an easyjob, more peoplewould be doing itwell …”~Sara
The book in all formats has sold over 70million copies worldwide. Last year Fifty Shades sold more copies thanThe Bible. At the height of it’s popularity last year, onebook was sold every 4 seconds worldwide. If you were to stack all of the copies end toend it would stretch around the world 20times.
World’s largest trade publisher with anestimated US market share of 10.9% Founded in 1927, Random House now hasover 5,700 employees. Headquartered in New York, NewYork, Random House has branches inCanada, Australia, NewZealand, India, Central and South America
North Atlantic Books& Frog, Ltd.North Atlantic Books& Frog, Ltd.
Author writes a formal manuscript complete with proposal letter andsubmits to their agent. Agent sends manuscript to one or more editors at various houses. Once approved, editor will give agent an offer. Offer usually includes advance, royalties, and other terms. Offer canbe for one book, or sometimes more than one book. If more than one editor is interested there may be an auction todetermine best offer. When deal points have been determined, publisher will send acontract which agent can negotiate. Once contract is signed, editor will usually send a editorial lettersuggesting content changes. Changes can be negotiated. When changes have been made and manuscript is deemed editoriallyacceptable it moves to copy editing where typos and errors arecorrected.
Publisher then works on design of book, including cover art, papertype, etc… Editor coordinates with their marketing and sales teams to writecopy for publisher’s seasonal catalog. Sales team coordinates with bookstore buyers to place their orderswhich determines how many copies of the book the publisher prints. Publication proceeds from finished manuscript to a book store book.Book sells millions of copies and everyone is happy. Complete publication process usually takes a year or more.
Q: Are rights to digital works versus print done at the sametime or negotiated separately? A: It depends. Some publishers negotiate for all rights. Otherswill just acquire print, or just digital depending on theirfeelings of how well the book will sell in the retail market.Authors can also have a say. For example Stephen King’s newbook Joyland is only available in print. Q: Who sets the price of books…authors, agent, or publisher? A: The publisher actually sets the price for the marketplace.But the size of the book, the terms the author negotiates, andthe market itself determines the final price of the book.
Q: Why aren’t all the books in a series available through onepublisher? A: Most books are acquired two to three at a time, some justonce. Once the deal is finished, authors are free to re-negotiate and sell their series to another publisher. Q: Are we moving towards a market where print books will nolonger be available? A: Obviously, no one can predict the future. But as of rightnow physical editions of books and audiobooks outsell thedigital editions two to one. Random House is firmlycommitted to the print editions of our books and willcontinue to do so for the foreseeable future.
Continue to sell e-books to libraries. Make titles available day and date. Circulation model of one book, one user. Library maintains ownership of all titles intheir collection.
Random House believes that libraries are hereto stay. Libraries are a brick and mortar space thathelp build communities of readers, which arevery important to us. We continue to reach out via libraryrepresentatives and marketing support to dowhatever we can to help and support librariesand get as many people to come to thelibrary as we possibly can.
Thank You for all that you do to help build acommunity of readers. If you have any othersquestions or comments please feel free tocontact me: Robert Haddock Random House/Books on Tape (940) 594-2329 firstname.lastname@example.org
Contact us for more information◦ Web: www.overdrive.com◦ Email: email@example.com◦ Phone: 216-573-6886 x4◦ Connect with us!◦ Here at PLA: Get a personaldemo and attend moresessions!its time topick thewinner!http://overdriveblogs.com/libraryLibrary eBooksDigital Content RoundtableMay 2013Wisconsin Library Association
• 1986: Steve Potash’s technology company, Turbo Law, releases Practice MasterSoftware• 1988: The company forms a licensing deal with West Publishing, the company’sfirst publishing partner, and 300 books are put onto floppy disks.• 1995: OverDrive’s first established eBook platform, BookWorks, whichdistributes digital reading content over the Internet, is launched.• 1999: OverDrive is a founding member of Open eBook Forum (now theInternational Digital Publishing Forum-IDPF).• 2000: OverDrive launches Content Reserve, a digital warehouse that contains109 publishers and 1151 titles, to serve retail partners.• 2003: OverDrive launches its first digital eBook service for libraries—ClevelandPublic Library in Ohio. The ‘Virtual Branch’ website opens with 636 titles fromHarperCollins, McGrawHill, Zondervan, and John Wiley and Sons.
• 1998: The first portable eReaders were introduced and included The Rocketbookfrom NuvoMedia that sold for $500!• Downfalls of Early eReaders• Would only read certain file formats• Short battery life• Many people read eBooks on their computer or PDA• Henk Slettenhaar, a professor in communication technologiesat Webster University in Geneva, Switzerland. He wrote inAugust 2000:"I have a hard time believing people wouldwant to read from a screen. I much prefermyself to read and touch a real book."
EPUB- The New Standard• 2007: EPUB (electronic publication) became the industry standard for eBooks.• Developed by the International Digital Publishing Forum (IDPF).• Features:• Reflowable text (word-wrap)• Resizable text• Embedded metadata• Embedded file support (e.g. flash videos, URLs)• DRM Support• eReader support• Mobile app support
We are a trusted partner for big a littlepublishers.We offer them:• DRM protect• Fair business terms (non exclusives)• Largest library and school distributionchannel• High level analytical reportsProvide retail eBookdistribution services for:• Waterstones (UK)• Books-a-million (US)• Easons (IE) We work to created good businessmodels for both publishers and libraries
• Engage in initial conversations with new prospects• Similar to as we connect with our library partners we seek out new publisherpartners (tradeshows, webinars, cold calls)• Book Expo America• London Book Fair• Frankfurt Book Fair• Beijing Book Fair• Publisher delivers content to OverDrive• Content undergoes quality testing and then is made live to libraries
Self published authorsOverDrive works with eBook aggregators to provide self-publishedtitles to libraries• Smashwords• AuthorSolutions• ePub Direct• Perseus Book GroupWe work with self-published authors that have at least 10 titles• Barbara Freethy• Joe Konrath• Sylvia Day
• The library should be the first stop ona readers journey to discover newcontent.• eBooks everywhere (refrigerator, WiiU, cars, living rooms, etc.)• Streaming video• eMagazines• eBooks in schools
Collection Size: #13Checkouts: #2 (2012-present) 3,105,479 total checkouts (as of 5/2)Holds: #1
Contact me for more information• Web: www.overdrive.com• Email:firstname.lastname@example.org• Phone: 216-573-6886 x253• Connect with us!http://overdriveblogs.com/library
MarketK-12PublicAcademicTradeInternationalMediumPrintReferenceeBooksDatabaseArchiveMobileChannelLibraryHigher EdWholesalerDisciplineHistoryEnglish/LitHealthBusinessCareersDeliveryeBooksDatabasesPrintDigitalArchivesFilm.Yes, film.
We seek a balance between creating the most valuable referencecontent across the disciplines, and bringing high-value,recognized brands to library patrons each and every day.
What we can do with our content depends largelyon who owns it Gale editorially-created content◦ Depends on contracts with providers/authors – onlinerights didn’t emerge as a necessity until the mid-90’s.◦ If full rights are acquired, the content can stand alone or beintegrated into any number of print or online resources Partner/licensed content◦ The same issues face our partners: who owns the rights?◦ As with Gale content, we work with our partners to ensurecopyright is honored
Pricing is not dramatically affected depending on whoowns it Pricing models differ if the content is from Gale vs. a partnerprovider.◦ Gale owns its proprietary content and prices reflect ourownership of it.◦ Partner publishers will earn revenue on the sale of theircontent through our platforms and services. Pricing models are based on basic rubrics like:◦ What is the cost to create the content?◦ What is the cost to license content?◦ Can the profit margin sustain further publishing efforts?
The process for digitizing print materials is well known to Gale Gale heavily invests in digitization programs around theworld, and has a reputation for excellence. New partners seek Gale out in an effort to extend the life andvalue of their deep collections or even their modern daymagazine runs Our own publishing programs include a digital equivalent toprint volumes or a database version of the same Gale offices in Meriden, CT manage digitization efforts withfacilities around the world or on site at places like the Library ofCongress, Oxford University, and more. Our own publishing processes create e-book content from thetypeset image files used to create the very print they are derivedfrom.
How much do author rights play into the price of a digitalresource? At any given time, there are 4,000 - 5,000authors, editors, contributors, scholars, etc. creating contentor metadata for use in Gale products In most cases, contributing authors to Gale reference titlesare actively writing FOR Gale; the rights to this content areGale’s as the content is commissioned and created for Gale. Periodical content is licensed from the publisher, for a fee. Critical essays in a product like Literature Criticism Online arereprinted with permission from the author or publisher, againfor a fee.
Gale has met the digital revolution head on. In fact, many of ourpublications acted like databases before we had databases! Gale has actively published since 1954, but some of our imprintsare over 100 years old! In the mid-90’s, Gale developed industry-leading databases thatcombined digitized print reference, periodical, and primarysource materials: the Resource Center was born In the late 90’s – early 2000’s, Gale’s Virtual Reference Librarybegan driving the vast majority of our publishing program, andour customers desire to serve a broadening range of accessneeds. Our decades-old directory and author biography/criticism serieshave easily morphed in to database models due to Gale’scontinuous attention to deep metadata and indexing properties.
…but Gale’s digital branches grow even larger! A deeper focus on digitizing and evolving our large serialscollections is gaining steam. Decades of content enhancedby decades of technology! We are in the middle of creating the world’s largestHumanities Gateway that will combine award-winning Galeand partner reference content along with our deep primarysource and historical collections. Our eBook partner program continues to grow, bringing thebest of reference from publishers around the world. Value-added services like Demographics Now, CareerTransitions, Ed2Go and Gateways continue to serve patronsthrough a combination of content and features that focus onOUTCOMES vs. simple access.
We continue to support the library market through anumber of well-known initiatives, including:◦ Library Journal/GaleLibrary of the Year Award◦ TEAMS Awards (K-12)◦ Provides bus service to ALA meeting for over 25 years◦ Supporting state and local library associations throughsponsorships
So what’s coming down the pike from Gale? Gale is growing its publishing program to include newfrontlist titles each year across a range of subjects, readinglevels, and areas of use. Our partner publisher program is growing, too, including newproducts from The Smithsonian in 2014. Our Literature Program is getting a completeoverhaul, including cross searching LCO and LRC, as well ascompletely new search experiences for your favoritedatabases! Mobile optimization for several of our userinterfaces, broadening to other platforms in 2015.
Change, change, ambiguity, and more change. For the library markets, we expect to see a continued move toservicing patrons more completely, and not just deliveringcontent to them. Libraries are beginning to show a deeper level of interest inprimary source documents, and in an ownership model for thecontent they provide As content owners become more savvy about theircontent, they will begin to explore options for broader accessthrough their own models or through partners Open Access is not going away. Publishers’ need to run abusiness vs. providing base value to all patrons – paying or not– is not going away either.
Our new product development andcontinued digitization of long standingprint serials is driven primarily by feedbackfrom customer and student/patron users. What can we build for you?
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