Cela fera dix ans en septembre 2022 que l’aventure Kindle a commencé pour moi à la suggestion d’Ivan Ève, mon assistant du temps de la Sorbonne qui est entré dans mon travail de recherche en 2010. J’ai essayé avec un texte poétique dédié à Ivan justement et puis j’ai avancé à petits grands pas, puis à grands pas, et enfin a très grands pas. J’ai ouvert la catalogue à d’autres auteurs qui sont pour la plupart passés… Je vous présente ici tout ce que j’ai publié en virtuel depuis 2012.
It will be ten years in September 2022 that the Kindle adventure began for me at the suggestion of Ivan Ève, my assistant from the Sorbonne who entered my research field in 2010. I tried it with a poetic text dedicated to Ivan and then I advanced with small big-steps, then with big steps, and finally with very big steps. I opened the catalog to other authors who have mostly passed through… I present here everything I have published virtually since 2012.
BIENTÔT DIX ANS D’ÉDITION – TEN PUBLISHING YEARS OR SO
1.
2. Cela fera dix ans en septembre 2022 que l’aventure Kindle a commencé pour moi à la suggestion d’Ivan Ève, mon assistant du temps de la Sorbonne qui
est entré dans mon travail de recherche en 2010. J’ai essayé avec un texte poétique dédié à Ivan justement et puis j’ai avancé à petits grands pas, puis à grands
pas, et enfin a très grands pas. J’ai ouvert la catalogue à d’autres auteurs (non mentionnés ici) qui sont pour la plupart passés mais ne sont pas restés aussi
longtemps qu’ils l’auraient pu. Il y a chez les auteurs, y compris les jeunes un double mythe sur l’édition. D’abord ils croient que le papier est plus important que
les autres supports. Cela est particulièrement vrai en France où l’édition virtuelle a du mal à décoller, malgré le COVID-19 qui a cependant aidé. Le deuxième
mythe est que l’éditeur doit tout faire, ce qui ne correspond plus du tout à la réalité du monde de l’édition. Les éditeurs le leur rendent bien en leur versant la même
marge de droits d’auteurs (disons environ 10%, contre 70% chez Amazon) pour l’édition virtuelle que pour l’édition papier, et les auteurs n’ont obtenu – en France
– que la compensation que le contrat de l’édition virtuelle devait être séparé du contrat d’édition général. Une victoire en peau de chagrin absolument illusoire.
Au 21ème
siècle l’édition sera de plus en plus de l’autoédition. Cela implique que l’auteur fabrique la maquette de son œuvre. Cela implique qu’il télécharge
aux normes du format de la plateforme qu’il utilise pour s’autoéditer, Kindle par exemple. Cela implique que la plateforme, Amazon par exemple, assure la mise
en ligne, la présence sur leur catalogue, sur leur moteur de recherche, et donne la possibilité de diverses opérations de valorisation et publicité, etc. Mais cela
implique aussi que l’auteur va devoir effectuer un travail important d’auto-valorisation, d’auto-distribution, d’autodiffusion. Et cela trop d’auteurs, y compris jeunes,
ne le comprenne pas. Ils ignorent ce que les auteurs de BD eux savent : c’est le rayonnement et la présence dans les salons, sur les points de vente, dans les
librairies pour des ventes signatures, des ventes lectures, des présentations lectures, etc. qui assurent à l’œuvre une diffusion régulière. Les auteurs ne prennent
pas l’initiative eux-mêmes de contacter les bibliothèques publiques ou privées, celles des comités d’entreprise, et bien d’autres, y compris dans les écoles, les
collèges et les lycées. Ceux qui vivent dans les provinces, un peu plus loin des villes savent que les « Fêtes du Livre » sont un média très important de diffusion.
Nous sommes encore loin du port et la mer est agitée, et nous ne sommes pas partis cinq cents, et nous sommes donc loin des trois mille quand nous
arriverons au port. Et tout autour de nos villages de montagne, les volcans bruissent d’un renfort de subduction de laves et un jour ou l’autre ils pèteront tout seuls,
sans la moindre aide des hommes. Mais l’édition n’est pas un volcan. Elle ne réussit que dans la mesure où les auteurs prennent leur bâton de pèlerin et se
promènent dans les ruelles étroites de nos villes à la recherche de leurs publics, et ils en ont plein la musette et tous de genres différents.
Je vous présente ici tout ce que j’ai publié en virtuel depuis 2012. Profitez-en pour aller chez Amazon et passer quelques commandes pour Noël ou quelque
anniversaire. Je vous en serai reconnaissant pour la vie entière. Et bonnes fêtes, même si encore partiellement confinées.
Jacques COULARDEAU
Olliergues le 11 décembre 2021.
It will be ten years in September 2022 that the Kindle adventure began for me at the suggestion of Ivan Ève, my assistant from the Sorbonne who entered
my research field in 2010. I tried it with a poetic text dedicated to Ivan and then I advanced with small big-steps, then with big steps, and finally with very big steps.
3. I opened the catalog to other authors (not mentioned here) who have mostly passed but have not stayed as long as they could have. There is a double myth about
publishing among authors, including young ones. First, they believe that paper is more important than other media. This is particularly true in France, where virtual
publishing has had trouble taking off, despite COVID-19, which has helped. The second myth is that the publisher has to do everything, which no longer corresponds
at all to the reality of the publishing world. The publishers pay them with more crumbs than bread, not to mention brioche, i.e., the same margin of royalties (let's
say about 10%, against 70% at Amazon) for the virtual edition as for the paper edition, and the authors have only obtained - in France - the compensation that the
virtual edition contract had to be separated from the general edition contract. An absolutely illusory victory.
In the 21st century, publishing will be more and more self-publishing. This implies that the author makes the full layout of his work. This implies that he
uploads it in the format suggested by the platform he uses to self-publish, Kindle for example. This implies that the platform, Amazon, for example, ensures the
online distribution, the presence on their catalog, on their search engine, and gives the possibility of various operations of valorization and advertising, etc. But this
also implies that the author will have to do a lot of work in terms of self-valorization, self-distribution, self-publication. And that too many authors, including young
ones, do not understand. They ignore what comic-book authors know: it is the influence and the presence in fairs, on selling spots, in bookstores for signing sales,
reading sales, presentations, and readings, etc. that ensure the work a regular distribution. Authors in France do not take the initiative themselves to contact public
or private libraries, those of elected union representatives and councils in companies, and many others, including in primary, middle, and high schools. Those who
live in the provinces, a little further away from the cities, know that the "Book Festivals" are a very important medium of diffusion and distribution, particularly in
more rural areas.
We are still far from the harbor and the sea is agitated, and we did not leave five hundred, so we are far from the three thousand we should be when we
reach the harbor. And all around our mountain villages, the volcanoes are rustling with subducted lava and one day or another they will blow up all by themselves,
without any help from men. But publishing is not a volcano. It succeeds only to the extent that authors take their pilgrim's staff and walk through the narrow streets
of our cities in search of their readers, and they have plenty of them in their rucksack and all of them of many different types.
I present here everything I have published virtually since 2012. Take this opportunity to go to Amazon and place a few orders for Christmas or some birthday.
I'll be grateful for a lifetime of it. And happy holidays, even if still partially confined.
Jacques COULARDEAU
Olliergues December 11, 2021.
Ni Ange, Ni Diable :
Narquoiseries
Grivoises du
Livradois
By Jacques
COULARDEAU
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4. BLACK THEATER
MATTERS: Géniale
Anna Deavere Smith
By Jacques COULARDEAU
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Time is Ticking Backward:
Le temps nous est compté
By Jacques
COULARDEAU
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Rêver en Hiver: Dans la
Montagne
By Jacques COULARDEAU
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5. AI Unavoidable &
Unforgivable Tool:...
By Jacques COULARDEAU
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Shakespearian
Addiction
By Jacques
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PALEOLITHIC WOMEN,
FOR GENDERED LIN...
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6. STEPHEN KING, THE
MAVERICK
RAPSCALL...
By Jacques Coulardeau
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Cro-Magnon's Language:
Emergence of...
By Dr. Jacques
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Freedom of Expression
and Copyright...
By Jacques
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7. THE INDIAN OCEAN
FROM ADMIRAL
ZHENG...
By Jacques
COULARDEAU
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An Untellable Story, A
Dramatic Con...
By James CRITTLE
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LOONY-LU & LULU: THE
BELOVED SACRIFICE...
By Jacques
COULARDEAU
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8. SHADOW IN THE NIGHT
SIGIRIYA’S SHIN...
By Jacques
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QU’AS-TU FAIT,
HARRY ? : Tragédie
Mo...
By José VALVERDE
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LA CHAISE DIEU, 3015:
Les aventures...
By Jacques
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9. ILYA & VANYA: Love
Drama, Full and ...
By Jacques
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Sigiri Graffiti
By Jacques
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THE U.S. SUPREME
COURT A UNIVERSAL...
By Jacques
COULARDEAU
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10. L'Apocalypse selon Saint
Jean
By Jacques Coulardeau
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HANDEL’S AGRIPPINA
MODERN INTERPRET...
By Jacques
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"Supernatural" Car
Chase or Joy Rid...
By Jacques Coulardeau
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11. THE INDIAN OCEAN
THE MARE NOSTRUM
O...
By Jacques
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Tripping endlessly all
along the do...
By Jacques
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Right at the Bottom of the
Urn
By Jacques
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