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We’re all the authors here.  And I think that one of the first things that we can do is if we understand the power of self-amplifying feedback loops, the way our spaces influence our thinking and our thinking in turn influences our spaces, is that we could then control what happens to us by exercising creative control over the circumstances that we throw ourselves into.

And there’s always going to be the wild card.  There’s always going to be the circumstances you can’t plan for.  There’s always the unexpected relevance and the serendipity.  But just like that book The Power of Pulltalks about, we can funnel the serendipity or we can channel the serendipity funnel.  We can help engender and engineer serendipity by the choices that we make every moment, right?

So by cultivating rich social networks, by cultivating weak ties, not just closed ties but the weak ties, by becoming connectors and by connecting others so that they connect us, we create a world in which these self-amplifying feedback loops feed on top of each other.  So good circumstances lead to other good circumstances which lead to other good circumstances and each one of them encourages us to then live more openly and participate in that sort of creative flow space.  You can go on and on.

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online bookstoresBowker study says bookstore chains held less than 20 percent share in 2012 while online bookstores continued to do well.

In the year following the exit of Borders from the book retail scene, online bookstores — led by Amazon — earned 44 percent of Americans’ book dollars, up from 39 percent in 2011. The insights into where book buyers are spending come from the 2013 U.S. Book Consumer Demographics and Buying Behaviors Annual Review, the publishing industry’s only complete consumer-based report integrating channel, motivation and category analysis of U.S. book buyers. The Review, an information staple published this month by Bowker® Market Research and industry trade magazine Publishers Weekly, notes that while book retailer Barnes & Noble (including BN.com) remained the second largest bookselling outlet, it depended more on sales of print books in 2012 than it did in 2011, with consumer ebook spending there declining from six percent in 2011 to four percent.

“The Review reveals the larger industry impact of the growth of ebooks,” said Jo Henry, director of Bowker Market Research, a service of ProQuest affiliate Bowker. “This is more than simply a format change. Ebooks are driving powerful behavioral changes among book buyers. The Review captures those trends, providing greater ability to predict and prepare in a very dynamic landscape.”

The Annual Review explores who is buying books, what they’re buying, along with where and why they’re buying them and the industry changes those demographics and behaviors are driving. Information is culled from the Bowker Market Research consumer panel of almost 70,000 Americans who bought books of any format and from any source in 2012 and reveals another pivotal year in the evolution of the book industry.

Among the Review’s highlights:

· Women increased their lead over men in book buying, accounting for 58 percent of overall book spending in 2012, up from 55 percent in 2011. However, men are bigger hardcover buyers – the only area where their buying outpaces women’s.

· The slowly improving economy has improved the climate for purchasing books. By the close of 2012, 53 percent of consumers said the economy was having no effect on their book buying habits, up from 51 percent at the end of 2011.

· Ebooks continue their steady upward trend, with an 11 percent share of spending in 2012, compared to seven percent in 2011.

· The growth of ebooks varies widely among the different publishing categories with their deepest penetration focused in fiction, particularly in the mystery/detective, romance, and science fiction categories, where ebooks accounted for more than 20 percent of 2012 spending.

Despite the growth of ebooks, traditional print book output grew three percent in 2012, from 292,037 titles in 2011 to 301,642 in 2012. The Review contains Bowker’s popular breakdown of print production by genre and for “Unclassified” works comprising mostly reprints and Print-on-Demand, public domain works marketed almost exclusively on the web. This category bounced back with 11 percent growth after a steep 65 percent decline between 2010 (3.8 million titles) and 2011 (1.3 million titles). In 2012, the Reprint/POD sector accounted for the largest ISBN output – more than 1.4 million titles — and as a result, drove an overall increase in print book output of ten percent.

“The book industry continued to change in some unexpected ways in 2012,” said Jim Milliot, Publishers Weekly Editorial Director and editor of the Annual Review. “The information in the annual review is just what is needed to help all industry members adjust to the new publishing reality.”

The 2013 U.S. Book Consumer Demographics and Buying Behaviors Annual Review is available now by visiting www.bookconsumer.com. Through August, the report can be purchased for $799 for a single-use PDF or print copy. After August the price rises to $999. Members of the news media can purchase at a 30 percent discount by contacting [email protected] Print copies are being manufactured on demand by Ingram Content Group’s Lightning Source, the global leader in print on demand book manufacturing and distribution.

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nook deadBarnes & Noble will no longer produce new tablet devices as it transitions to a “partnership model” on color tablets, the company announced today in its fourth-quarter and full-year earnings report. The company also announced greater than expected losses for the quarter of $122 million or $2.11 per share on $1.3 billion in revenue.

Investors expected sales to fall to $1.33 billion and a loss of $0.99 cents per share for the quarter. For the full year, the company’s results weren’t much better, following a disastrous holiday quarter in which it became apparent that Nook tablet sales were struggling. Revenues decreased 4.1% to $6.8 billion versus 2012. The company’s earnings before interest, taxes, depreciation, and amortization (EBITDA) was $10.3 million versus $176.7 million a year ago. Overall, the company’s net losses were $154.8 million, or $2.97 per share, as compared to $65.6 million, or $1.35 per share in 2012.

Barnes & Noble shares are down about 15% in early trading.

“Going forward, the company intends to continue to design e-reading devices and reading platforms, while creating a partnership model for manufacturing in the competitive color tablet market,” the company wrote in today’s earnings release. “Thus, the widely popular lines of Simple Touch™ and Glowlight™ products will continue to be developed in house, and the company’s tablet line will be co-branded with yet to be announced third party manufacturers of consumer electronics products.”

Full Story on Digital Book World site

Photo by Jeremy Greenfield

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changing-schools

Tablet shipments to K-12 schools grew 103% in the last year. Here are 5 ways tablets are changing schools: Personalized learning, creative interactivity, online learning, formative assessments, and tablets will introduce even even more change.

ablet shipments to schools grew 103% in the last year according to research from International Data Corporation (IDC). The report states  ”that momentum will continue as the 2013 back-to-school season approaches.” This growth in tablets will affect learning and classroom management—but how? Here are five ways tablets will begin to change K-12 education.

Change 1: Personalized learning

Tablets allow a class of 30 students to work on 30 different specific skills at the same time. The educational model in which a teacher stands in front of neat rows of students works when subjects are being introduced, but not so much when skills are being practiced. In the future, teachers will spend more time guiding and coaching students as they work on individual activities on their tablets.

Personalized learning is efficient learning. Interactive question-and-answer quizzes on individual tablets will lighten the teacher’s load of grading and assessing—freeing them up to use their time to work face-to-face with the kids who need their attention.

Change 2: Creative interactivity

Some types of learning are ideal for lecture-and-test models—an overview of a history lesson, for example. Many others, however, are best suited for exploration and creativity. Students need a balance of both. Tables can help teachers introduce more creative, exploratory learning into their classrooms.

Applications on tablets can include drawing boards and writing notebooks that allow children to interact creatively with what they’re learning. Tablets with cameras open up new possibilities for science projects. For example students can record and comment on the growth of a flower or the development of mold over time. Interactive Q&A forms and quizzes in tablets can enhance traditional textbook content. Tablets allow students to self-monitor their learning and interact with narratives.

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AMC

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I’m posting the Blog Traffic Infographic for authors because EVERY author needs to  have a blog today.

Not blogging, is like shouting in a phone without hearing the conversation. A sure sign that you don’t care about your readers.

Blog Traffic Infographic

  • 30 Ways to Promote your Blog Posts
  • Blog Success Tips
  • Social Media Musts
  • Bookmarking Sites
  • and more.

I'm posting the Blog Traffic Infographic for authors because EVERY author needs to  have a blog today. Not blogging, is like shouting in a phone without hearing the conversation. A sure sign that you don't care about your readers.

Blog Traffic Infographic

Wondering what to do after you write a blog post?

30 ways to promote your blog posts and to drive more traffic to your blog

Source: Launchgrowjoy

Berrie Pelser, Ber|Art Visual Design:

Ber|Art Visual Design V.O.F. delivers high-end secure (PCI-Compliant) WordPress, Typo3 and Magento Linux Cloud VPS Hosting with professional Search Engine Optimization (SEO) plus Social Media (Social Network) integration, anding and strategy.

7 juni 2013 op 12:50

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publishers disadvantages

“I would not recommend authors go to traditional publisher for ebooks” says Sylvia Day

Sylvia Day was interviewed by Digital Book World about authors opportunities and publishers disadvantages

When it came to getting a book published and distributed to a wide audience, it used to be that publishing houses with editorial, production, marketing and distribution operations were in the driver’s seat. All but a select few authors could dictate where the relationship went, how fast and under what terms.

With the emergence of self-publishing as a viable option for wide distribution of books, things have changed. The number of authors who can plan their own route has increased and many authors who may have been at the mercy of agents and publishers had they been working decades ago are now selling hundreds of thousands of books on their own and making headlines with unprecedented publishing deals.

Publishers Disadvantages

“I don’t think publishers have any advantage whatsoever for ebooks. They’re at a huge disadvantage. They overcharge. They have complicated distribution agreements which limit them for offering ebooks in sertain areas. We have issues with ebooks being available to libraries. I honestly cannot say that it would be a wise decision for an author to sell a digital edition to a publisher unless they have some different terms in the contract to limit the disadvantages.”

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google books

From io9 on the Future of Reading due to Google Books

If you care about the future of books, you need to understand the Google Book Settlement. It’s a complicated legal document, but we’ve talked to some of its architects, detractors, and defenders – and break it all down for you.

The Google Book Settlement could easily be the twenty-first century’s most important shift in how we deal with copyright in the world of publishing. To understand it, you need a little back story on the previous giant shift in copyright law, which happened about twelve years ago.

Mickey Mouse Protection Act

In 1998, copyright was turned on its head by a piece of legislation often called the “Mickey Mouse Protection Act.” Known to policy-makers as the Copyright Extension Act, it was the result of intensive lobbying by the entertainment industry, led in part by Disney, to extend the copyright on any work created after 1923. Many of Disney’s classic pieces of content, like Mickey Mouse cartoons, were about to pass into the public domain. So the company was naturally interested in keeping control of the Mouse as long as it could.

The Copyright Term Extension Act was good for authors’ estates, and for corporations. Under the new rules, copyright would become life of the author plus 70 years – and for works of corporate authorship, 120 years after creation. (Previously, copyright had been life of the author plus 50 years, with 75 years for corporate works.)

The Act also gave birth to a loosely-organized but powerful movement of copyright reformists. Led by activists, scientists, artists, and tech nerds, this movement has stretched from university campuses to the Supreme Court of the United States, where law professor Lawrence Lessig argued that the Copyright Extension Act was unconstitutional because it violated the First Amendment (SCOTUS didn’t buy it). Over the past decade, many of these reformists migrated to jobs in Silicon Valley, where easily-copied digital media are constantly forcing the question of what copyright really means in the information age.

One might say that the Google Book Settlement (GBS) is the result of this migration. One of the basic injunctions of copyright reform is “share your culture,” and the seeds of the GBS come from an admirable Google project aimed at sharing the knowledge from research liaries with the world.

Many years ago the search company began digitizing the books from several university liaries, pulling every single book from the shelves and making a digital copy. The idea was to make hard-to-access texts available to anyone, not just people lucky enough to live near a major research school. Via Google Book Search, people would be able to search for keywords in the full text of any book, then read one or two-sentence “snippet” excerpts from it. The Mickey Mouse Protection Act may have stalled the growth of the public domain, but the company’s Google Book Search project would oaden it.

The Settlement

The Google Book Search project was conceived as an online liary, its texts fully searchable, and open to all. Unfortunately, when you digitize everything in a liary, a lot of books are swept up in the frenzy. Among the rare and out-of-print works Google digitized were millions of copyrighted works. When publishers and authors of those works got wind of Google’s project, some of them sued for infringement. They didn’t want any parts of their books available online for free – they wanted people to pay for them.

Image courtesy of io9.com

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Amazon Fan Fiction

SAN FRANCISCO (Reuters) – Amazon is once again shaking up traditional publishing models. This time, it’s giving fans a chance to add their own personal touches to their favorite fiction – and get paid in the process.

Things will kick off with Amazon licensing three teen TV series – “Gossip Girl”, “Pretty Little Liars” and “The Vampire Diaries” – from Warner Bros Television Group’s Alloy Entertainment, Amazon said on its website. More content deals will be announced in coming weeks.

Amazon has in the past decade emerged as the most disruptive force in publishing. It popularized digital books with its Kindle store and e-reader, contributing to the demise of traditional bookstores such as Borders.

In its effort to legitimize fan fiction, the company is establishing a model under which it acts as publisher and pays fan-writers between 20 and 35 percent of sales, depending on length.

“There’s probably not an author/fangirl alive who hasn’t fantasized about being able to write about her favorite show,” budding novelist Trish Milburn enthused on Amazon’s website. “The fact that you can earn royalties doing so makes it even better.”

(Reporting by Edwin Chan; Editing by Phil Berlowitz)

Photo Credit: Reuters/Leonhard Foeger

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Our friend Dan Janal shared this transcript about author protection.

You can learn from reading this.

Dan Janal on Author Protection from Lies and Scams

Can you tell us a little bit about yourself and what you do?

I’ve written a book called “Internet Marketing Confidential” to help authors, speakers and coaches avoid the rip offs online. I’ve been in PR for 30 years and was a daily newspaper editor before that. I handled a lot of high-tech companies. I was on the PR team that launched AOL and was a sysop on CompuServe’s PR and Marketing forum before. So I’m dating myself! I wrote one of the first books about marketing on the Internet back in 1993! So I’ve been online a looong time!

Who can utilize and benefit from Internet marketing?

Really, every small business, as well as speakers, authors, coaches and consultants. We’ve all seen major success stories — look at the success of “Fifty Shades of Grey.” That would never have happened without online marketing and social media.

Why do you think having an Internet marketing strategy is important for authors?

Authors can reach new readers, develop a community with readers who love them, and build ands for characters and companies.

What are your recommendations for authors who don’t know how to start planning their Internet marketing strategy?

That’s a great question. There are lots of possible answers: 1) Authors should determine who their readers are. Then authors need to find out where they hang out — Facebook, blogs, Google+, etc. 2) Authors need to find out what their audiences read: newspapers, blogs, etc. 3) Authors also need to follow reporters who cover their topic by reading their blogs and comments on blogs. 4) Get known. Build relationships. 5) Authors can write press releases and get the word out to reporters as well as readers and people searching on Google. Press releases from authors can rank high on Google. I’ve had great success with PR Newswire. That’s not a plug. It’s fact. 6) Authors should fill out their profile on Amazon. 7) They can also have websites that offer free sample chapters.

How do readers find out what social media accounts their readers are using?

Authors can find groups of readers by going to Google and typing “chick lit blog” or “sci-fi blog” or “business ethics.” Authors can also find readers by searching LinkedIn and Google+. It really is easy to find readers today because so many of them join groups on social media and websites. Some authors have set up fan pages for their books and characters, especially for teen lit. It’s fun to see that! Readers discuss plots and characters — and defend authors against nonfans. It’s great to see!

What advice do you have for authors looking for an Internet marketing expert?

Authors should look for a person who has direct experience with their niche, e.g., travel, kids, or parenting books. Every niche has its own experts, buzzwords and ways of doing things. You want to find someone who has been there, done that. Authors shouldn’t have to pay to teach someone to learn your business. I guess authors could ask for references, but who is going to give a bad reference? Authors can ask their friends for referrals. Who’s done a good job for them? Meet with the person who is going to work with you. The person who sold you might not be the one who does the work. That happens a lot at PR firms. You might get an intern or young staffer. You want to meet that person and make sure she loves your book. And has contacts! You want to make sure her messages will get answered. Personal contacts are golden and well worth the price.

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