We probably do not need to spell out why we are disappointed by this but, just for the record, we have two major problems:
News about publishers and publishing
The chief executive of publisher Faber & Faber has challenged the book publishing industry to respond to the rapid increase in smartphone use, particularly by young readers.
“Perhaps in the 21st century the zero-law of publishing will be understand mobile. Because without expert understanding of it, we may not be able to create the new audiences,” said Stephen Page, speaking at the FutureBook publishing industry conference in London.
Pictured above is our top pick of those whose works will, on 1st January 2016, be entering the public domain in many countries around the world. Of the eleven featured, five will be entering the public domain in countries with a ‘life plus 70 years’ copyright term (e.g. most European Union members, Brazil, Israel, Nigeria, Russia, Turkey, etc.) and six in countries with a ‘life plus 50 years’ copyright term (e.g. Canada, New Zealand, and many countries in Asia and Africa) — those that died in the year 1945 and 1965 respectively.
It’s increasingly a winner-take-all economy, publishing executives say.
As a result, publishers are competing for debut literary talent with the same kind of frenzied auction bidding once reserved for promising debut thrillers or romance novels. “If they feel they have the next Norman Mailer on their hands, they’re going have to pay for that shot,” literary agent Luke Janklow said. “It’s usually the result of a little bit of crowd hysteria in the submission.”
“Elsevier is not a stodgy, stuck-in-the-mud publisher,” she says. “ They are out there experimenting because they have the resources to do that.”
In the 20 years since Forbes predicted Elsevier’s downfall, the publisher’s revenues and profits have quadrupled. Academics might not like it, but the 135-year old publisher shows no signs of going away.
I started my quest to write an article about creating the best digital reading experience by seeking out designers at publishing-tech companies and getting their thoughts on the subject. One of the first designers I spoke to was Zane Riley, one of the first product designers at Brit + co.
The problem with their legacy universe is that you just can’t *control* digital things the way you can paper things, and that’s the real reason the traditional publishing industry is cutting off its nose to spite its face when it comes to ebooks. It’s precisely what DRM represents: an absurd and pathetic attempt to recreate in the digital realm a command-and-control system that profits off the characteristics of *paper.*
“I feel like exposing this scam might even hurt my own sales,” he said.
Experts are more optimistic: Jane Friedman, a professor of digital publishing at the University of Virginia, describes catfish as an ongoing but “not that significant” threat. (“It increases the noise for everyone, sure,” she wrote by e-mail, “but for any author building a long-term career, it’s not hard to distinguish yourself from low-quality opportunists.”) Amazon, meanwhile, promises that it is weeding out deceptive accounts and their products.
"Basically you tweet out a link to the paper that you need, with the hashtag and then your email address," she told BBC Trending radio. "And someone will respond to your email and send it to you." Who might that "someone" be? Kuszewski says scientists who have access to journals, through subscriptions or the institutions they work at, look out for the tag so they can help out colleagues in need.