Licensing Expo 08: What We Liked

Licensing Expo came to a close last week. Here are some things we liked:

  • This fall, the Jim Henson Company will air its new show, “Sid the Science Kid,” on PBS. The science show, which uses proprietary digital puppetry technology, is aimed at 3- to 6-year-olds, has a sketch comedy format, and covers topics like temperature, estimating, and measuring. In each episode, Sid asks a question like “Why do bananas go bad?” and he and his team set out to find the answer.
  • Peter Rabbit . . . Naturally Better: “Socially Responsible Licensing Inspired by THE Classic ‘Natural’ Brand.” As part of the initiative, Penguin Young Readers Group will release a new line of books, including a baby record book and board books, printed on recycled paper with vegetable-based inks. (Look also for organic Peter Rabbit toys and toiletries for babies.)
  • Scholastic‘s massive new Goosebumps initiative. We remember buying the original Goosebumps series from Scholastic’s “Book Orders” in the 1990s. Things are a little different in 2008: The new 12-book Goosebumps HorrorLand series, launched this spring, is accompanied by a show on the Cartoon Network, multi-platform video games, DVDs, Halloween costumes, and, of course, Web sites (www.scholastic.com/goosebumps and www.enterhorrorland.com) with over 1.5 million unique visitors a month
  • At Nickelodeon’s orange-carpeted booth, the SpongeBob SquarePants Hour of Happiness on Tuesday, featuring square cupcakes with bright SpongeBob yellow frosting. Sweet, showy, not a lot of substance–a bit like Licensing Expo itself, you might say.

Licensing Expo 08: The New Consumer

Licensing International Expo 2008 landed June 10 at the Javits Center just in time for the summer’s first heat wave. Outside, temperatures hit nearly a hundred degrees. Inside, brands like Clifford, Goosebumps, and SpongeBob SquarePants were hot hot hot.

In a cooling economy, though, how can retailers make sure consumers choose their brands? In his panel “The New Consumer, the New Retail, and Licensing in the New World,” Marshal Cohen, chief industry analyst of the NPD Group, offered some insight:

  • For the first time, five generations of a family—a 5-year-old, 25-year-old, 45-year-old, 65-year-old, and 85-year-old—may influence one another’s purchasing decisions. There’s lots of growth in the teen market, and parents and kids share choices in entertainment of all types (you’ll see lots of overlap between the top 10 list of CDs that adults buy from stores and the top 10 list of artists kids download from P2P networks).
  • The number one reason consumers buy a product is a recommendation from a friend or family member. Therefore, since friends and family members are such big influencers, retailers should find ways to market to them even if they are not the intended audience for a given product. “Find a second message for another audience,” Cohen says, citing anti-aging creams as an example: Young women “who say, ‘Mom, I love you, but I don’t want to look like you’” are a secondary, and strong, market for the products.
  • Sell a lifestyle, not just a product. Customization and personalization are key, since the consumer thinks the ability to customize is the norm—think Nike iD sneakers, engraved iPods, and build-your-own Sony VAIOs with customizable colors and textures. “It’s not big dollars, but it’s a big connection point,” says Cohen.

Finally, Cohen showed an image of JFK. “Ask not if you should license product,” he said, “but who you should license with. . . . A picture is worth a thousand words, but licensing is worth 10,000.”

California Love: Agents Don’t Need to Live in NYC. They’ve Got E-mail (and Great Weather)

Ah, the life of a California literary agent. Client meetings on the terrace overlooking the cliffs, the sound of aquamarine waves crashing on sparkling white sand as a lovely soundtrack to the discussion of character development. Later on, a quick spin in the cute red hybrid convertible over to a movie studio or five, promising manuscripts optioned, big sunglasses worn throughout. All in an afternoon’s work.

That’s just what it’s right, like? No? Well. We must have been watching too many old OC episodes. Better talk to some real California agents (and one from Seattle!).

“Fifteen years ago, people thought they had to go with a New York agency,” says Jillian Manus, President of Manus & Associates Literary Agency, which has offices in Palo Alto and Manhattan. “That’s not the case anymore, because the world is flat. We are all in the same field. We can all get information at the same time, and we all have access to everybody. Technology enables us to make deals and get in the game.”

“I tend to keep very long hours,” says Sharlene Martin, founder of the Encino, CA–based Martin Literary Management (now with offices in Chicago and New York, and soon, Seattle). “I start my day at seven, so that I’m on New York time in the morning, and I usually end my day at seven at night, to keep up with the West Coast, where a lot of my clients are, and where the film and television and entertainment people are. It makes for a long day, but the day goes by very fast when you love what you’re doing.”

Felicia Eth, who’s worked as an agent on both coasts, was at Writers House for nine years, and now owns the Palo Alto Felicia Eth Literary Representation, says the biggest difference between West and East is focus. “On the West Coast, my focus is very much on the writers,” she says. “On the East Coast, it’s very much on the publishing industry. Agents need both parts to be successful. But so much time in New York is built around lunch, drinks, parties. I miss those perks, but I’m able to put my time into getting together with writers, helping them revise materials, and spending a lot of time connecting with the world outside of publishing. After all, that’s who we’re selling to, so having a bit more of a genuine connection with what’s happening ‘out there’ is a good thing.”

“The philosophy I’ve had from day one is that my job is to play Lewis and Clark,” says Ted Weinstein, owner of Ted Weinstein Literary Management, which also has an office in New York. “New ideas rarely spring up in the center of a media culture [like New York]. Structured, hierarchical settings aren’t where new ideas grow and thrive. But to reach their full spread around the country, they eventually have to be validated in those places. My job is to scout and package new voices, new sensibilities, new perspectives, and bring those people to a larger audience, through the often New York–centric media outlets.”

Many agents agree that trends tend to start on the West Coast and make their way East. “I feel like I’ve had an edge here because I’ve been educated and immersed in it for a long time,” says Manus. “Because we are the West Coast, we are part of Silicon Valley. We are very much on top of multimedia and Internet marketing and sales. I find myself in meetings with publishers where I know as much as their IT people because here, I’m immersed in it every day.”

“The earlier, fuller familiarity with the Internet and new technologies has the potential to give West Coast agents a leg up in terms of spotting projects,” says Weinstein. “Those of us deeply immersed in the Internet are better at scouting. I discover a quarter of my client list over the Internet. Particularly, working in northern California, I find it an enormously fruitful stomping ground. It’s the best combination of the East Coast discipline and the West Coast open-mindedness and curiosity and experimentalism.”

“I sometimes joke that I’m a little bit like the present-day Hudson Bay Company,” says Elizabeth Wales, owner of the Seattle, WA Wales Literary Agency. “The way Seattle and San Francisco were during the Gold Rush, I’m here. There are certain talented people that I can be aware of earlier than New York, or maybe they come to me because I’m here. Of my last four books sold, three are related to where I am.” She sold Nancy Lord’s Early Warming: Alarms and Responses from the Climate-Changed North to Counterpoint and Bill Streever’s Cold: An Untold Story in a Warming World [ed’s note, 5/11/2009: now Cold: Adventures in the World’s Frozen Places] to Little, Brown; Lord and Streever are both Alaskan authors. “Those two clearly have to do with that we’re here and that we feel connected to Alaska,” says Wales. “And we just sold David Mas Masumoto’s Wisdom of the Last Farmer to Free Press. He queried me because some of his family originally came from Japan to this country through Seattle and he thought there might be a good intuitive connection. He sent me the arrival ticket from one of his grandparents. I thought that was wonderful; I took that as a sign.”

There’s no denying that for now, New York is still the heart of the publishing industry. But when West Coast agents fly cross-country, everybody is excited to see them. “It’s like spending time with your children,” says Manus. “It’s the quality of the time you spend, not the quantity. When we go to New York, our meetings are very substantial. They look forward to it.”

“When I travel, either with clients or to meet with editors, they understand that I’m not local, and they tend to make the time to see me,” says Martin. “I really think it can be an advantage, because I don’t ever have trouble getting in to see the people I need to see.”

“When I first got in the business on the agent side, in 2001, I didn’t have a lot of established contacts, so I had to cold-call editors,” says Weinstein. “One big editor in Midtown called and said, ‘Please, I want to meet you, because I have no idea what’s happening west of the Hudson River.’ But there were also people who would not take calls from anyone not in New York; one of them was a big dog in publishing. Well, he lost his job about a year ago. He just took a job with a smaller publisher and e-mailed me, saying, ‘We’ve never had a chance to meet. Are you going to BEA?’ I’m not going to remind him of all the times he blew me off. Anyone who still has that New York–centric bias is missing their own opportunities. I can’t worry about those people. I have my own books to worry about.”

Oh yeah, and those sparkling sand stereotypes? They’re not entirely untrue. “California has taught me that New Yorkers need to get out more, both literally and figuratively,” says Robert Shepard of the Robert E. Shepard Agency, located in Berkeley. “Yeah, there’s a lot of self-congratulatory marveling around here about the quality of the lettuce and the darkness of the coffee and the sheer, mind-blowing gorgeousness of Yosemite and the Golden Gate Bridge. All true, by the way. But sometimes I get into these conversations in Manhattan that are nothing but cheesy gossip about some editor moving from one imprint to another and I think, ‘Why are you wasting so much time talking about this unimportant nonsense? Get some fresh air! Read something other than the Times, for crying out loud! Or come visit—38 million Californians can’t be wrong!”

Déjà View? BookVideos.tv Relaunches

Hoping to shake up the world of online book marketing, today TurnHere unveils a new, expanded version of its BookVideos.tv site. And yet, while the promotional video platform has undergone many changes to presumably improve its functionality and overall consumer experience, only time will tell whether the bond forged between authors and readers through studio-quality shorts will actually result in higher book sales.

In the meantime, efforts have been made to maximize the site’s networking component. With a range of newly available social media tools, visitors will now be able to embed videos on their own blogs, email them to a friend, Digg them, or tag them in del.icious. Substantiating this “organic distribution,” TurnHere CEO Brad Inman says these features work particularly well with books because readers are such a passionate and verbal (duh!) bunch. And with book lover social sites such as goodreads and Library Thing (two of Bookvideos.tv distribution partners) ranking up to a hundred thousand registered users it’s a hard point to argue. Coupling these tactics with other strategic moves such as adding a Facebook page for the site’s fans and posting videos on TurnHere’s branded YouTube channel, the company has made a hard drive towards online ubiquity.

Making their goal that much easier, currently there’s only has a handful of contenders (ie Authorviews.com, bookwrap.com) vying to be readers’ one-stop shop for behind-the-book footage on the web. And with unique visitor numbers dwindling in the hundreds per month, according to compete.com, and only a few if any publisher partnerships (Authorviews has a deal with Gibbs Smith and a couple other small houses) it seems the time is right for TurnHere to make the most of a niche market. And with a line up of big wig partners, there’s a chance that they just may come out on top. While previously TurnHere partnered exclusively with Simon & Schuster, this time around the online video production company will showcase videos featuring authors from multiple publishers including Bantam Dell, Chronicle, Penguin Group (USA), Doubleday Broadway, Hachette Book Group, Loyola Press, Macmillan, Thomas Nelson and WW Norton.

Beyond Rachael Ray: Food Network Stars Aren’t the Only Way Publishers Can Cook Up Success

The debate’s still out on whether America’s officially in a recession, but with food prices rising faster today than they have any time in the past seventeen years, customers may be cutting back on restaurant meals and cooking at home instead. What cookbook will they pick up? Will they pick one up at all?

About 2,400 cookbooks were published in 2007, according to Simba, down from 3,123 in 2006 and 2,525 in 2005. The tightening market means a focus on books that are guaranteed to sell well. In December 2007, the Wall Street Journal quoted Michael Norris of Simba saying that publishing companies would rather bring out one book by a Food Network star than fifty by unknown authors. Furthermore, the massive number of recipes available free online makes it easy to avoid buying a book at all. Judith Dern, PR Manager at Allrecipes, reports that the number of cooks who get all their recipes from the Internet has grown by 1100% over the past five years. Allrecipes receives six million unique visitors per month and offers 52,000 recipes. Epicurious has three million unique visitors per month and offers 35,000 recipes culled from Gourmet and Bon Appétit magazines and 22,000 submitted by members. Both sites make it easy for visitors to search by ingredient, method, prep time, and dietary consideration. With that competition, how can a cookbook written by a non-celebrity, non- Food-Network-star chef succeed?

“There is no doubt that the cookbooks that sell the highest number of copies in general are by well-known, iconic figures who have major distribution on TV,” says Rux Martin, Executive Editor of Houghton Mifflin Harcourt. “The really big sales come from the authors whose name everyone knows. That said, many of the people whose books do best for me go against the general wisdom that you have to have a TV show.”

And since Gourmet editor Ruth Reichl is starting an Oprah-style Book of the Month cookbook club in June—and has chosen HMH’s Fish Without a Doubt, by Rick Moonen and Roy Finamore (previously an editor at Clarkson Potter) as her first pick—cookbooks are poised to gain momentum in coming months.

Here are some recommendations for success in cookbooks, even when Giada’s not on your list.

The recipes actually have to work.

If you want people to reach for your books over and over, the recipes have to be reliable every time. “We are a brand that people know and trust and rely upon,” says Jack Bishop, Executive Editor of Cook’s Illustrated. “Our process of going through as many iterations of testing as we need in order to get to the best recipe is a powerful selling proposition. It applies to all of our books.” Martin says the books that have done best for her “are incredibly useful books for the home cook with recipes that work and work and work. What these people have is solid reputations for great recipes. I choose very, very, very carefully.

“Nothing will kill a book faster,” says Lisa Ekus-Saffer, founder of The Lisa Ekus Group, a PR firm and literary agency for the culinary industry, “than recipes that don’t work.”

Have an online component.

“We’ve created about two hundred original videos within the past year,” says Bishop. “All of the recipes in Cook’s Illustrated are now taped, so you can go to the website after you read the issue and see how we make the dish. We also have technique videos that are enormously popular.” Most of Cook’s Illustrated’s websites offer some free content and require paid subscription for the rest. “We use our websites and weekly e-mail newsletters to promo new books and give sample content from them,” says Bishop. “We always feature some free content when a new book comes out. Hopefully, people like what they see and buy the book.”

Running Press has a separate site, Running Press Cooks!, especially for its cookbooks. The site includes author profiles, cookbook excerpts, and sample recipes; cookbooks are divided by topics like “Chocolate,” “Quick & Easy,” and “Regional” for simplified browsing. The site receives 4,000 visitors a day.

Reach out to your audience. That means authors, too!

In 2006, Richard Perry, President and Publisher of the Portland, Oregon–based Collectors Press [ed.’s note: As of 2009, Collectors Press’s website no longer exists and we are not sure what happened to the company] sorted through mounds of vintage cookbooks and old family recipes to come up with the content for The Good Home Cookbook: More than 1,000 Classic American Recipes. Collectors Press then sent press releases across the country asking for recipe testers and received more than 2,500 responses. “We created a successful network of recipe testers,” says Perry, “who also became buyers and a referral service.” Similarly, the “Friends of Cooks Illustrated” program allows readers to sign up to test recipes pre-publication.

“Authors these days have to be partners with their publishers to do their marketing and PR,” says Ekus-Saffer. “If they don’t, the books usually languish. Authors have to cross-network tremendously.” Particularly successful authors parlay their knowledge of food, their cooking experience, and their contacts into visibility for their books by appearing at culinary world events like the International Association of Culinary Professionals (IACP) Conference, teaching cooking classes, and doing demos.

“You want to make sure that as many people as possible get to know who your author is. Our authors go on extensive tours,” says Suzanne Rafer, Executive Editor and Director of Cookbook Publishing at Workman. “That’s where we put our money. We start as soon as possible.” Rafer cautions that “bookstore events are very tough if you don’t have a name. It’s embarrassing to sit in a bookstore with your chips and dip or whatever you’ve made, and a pile of books, and have nobody interested.” Instead, she suggests other types of food events: “For instance, restaurants and bookstores getting together and sponsoring a meal from the cookbook, with the author there to talk about the food” and the bookstore providing copies of the cookbook for signing. Authors can also teach guest classes at cooking schools around the country.

If it’s not four-color, the interior has to be bigger or better.

“We’re best known for [encyclopedic] tomes,” says Bishop, “and a scientific, technical approach to recipe development, and that style’s been very powerful for us. We’re trying new formats for different audiences, but we have sold hundreds of thousands of copies of The New Best Recipe, which doesn’t even have color inserts.”

“We came out with a book in 2006, Starting with Ingredients, that has 1,000 pages,” says Diana von Glahn, Editor at Running Press. “There’s no way we could have afforded to make that book four-color. It had to be two-color, and it had to be printed domestically because it had so many pages. It would always be nice to have four-color, but customers find the concept strong enough without it.”

Find a partner.

When they published the Great Big Butter Cookbook in 2007, Running Press teamed up with the Wisconsin Milk Marketing Board. “What we’re doing is pairing up with somebody who has their own marketing muscle,” says von Glahn.“We’re trying to create a book that will appeal to people. They’re trying to sell their product. It’s the best of both worlds.”

“Restaurant-driven books are definitely waning,” says Ekus- Saffer. An exception is if a restaurant has a massive number of visitors. Last year, she worked on Andrews McMeel’s Berghoff Family Cookbook; the family-owned Berghoff Restaurant in Chicago has 1,600 customers a day. “The restaurant was part of the publisher’s first printing,” says Ekus-Saffer. “They initially took in several thousand books. If you have venues that can sell a lot of books, you have a built-in buying audience.”

It’s the economy, stupid!

“We haven’t seen many budget-focused cookbooks in recent years,” says Carl Raymond, formerly Adult Publishing Director at DK and now a personal chef and culinary editorial consultant who will receive his diploma from the Institute of Culinary Education in June. “But now even people who never had to think about these things before have to find ways to cook meals less expensively.” Perry sees books on “how to utilize what you have on hand” as a growth area, as well as “books where gardening meets cooking—how to grow and how to cook your own food.”

Budgeting? Gardening? Can victory gardens be far behind? “I think we’re going to see cookbooks doing better,” says Martin. “Going out to dinner is going to become a greater luxury than buying a book.”

BlogAds: What's Good, What's Bad

On April 22, we went to the Publishers Advertising and Marketing Association (PAMA) April Luncheon, which featured Henry Copeland, founder and president of BlogAds. Copeland talked about how publishers can better advertise on blogs—how they can, as he put it, “thrive in the kingdom of blog.” Here’s what Copeland says “smart ads” have in common:

  • Multiple links. For book ads, even links to negative reviews interest people and and inspire thinking and conversation. “Sometimes the best friends you can have are dumb enemies,” says Copeland.
  • Cool images that attract the eyes and pique curiosity
  • Faux video
  • Hand-made feel
  • Puzzle or something else to invite a click and promote curiosity

Conversely, bad ads have:

  • No links
  • Dull, text-heavy images—that includes book covers!
  • A “designed” feel. “Overdesigned ads are less effective,” says Copeland. “Blog readers are skeptical. These are fish that have seen a lot of hooks.”
  • Nothing to promote a click—the ad’s the full story

If you’re looking to improve your own book ads, monitor your clickthru rate and be ready to change course fast if something’s not attracting enough clicks. And to see some examples of good and bad ads, click here.

A Whole New World? Try 50.

The land of make-believe is now charging admission. Okay, not exactly. But judging from what was discussed at this year’s Virtual Worlds conference, which took place April 3-4 at the Javits Center in New York, this isn’t too far off. Many would agree it was only a matter of time before someone thought to fuse kids’ imaginations with a tangible prefab online universe. And now that they have, it seems no one can stop.

Over the next two years kids’ worlds are expected to dominate growth in this booming space with over 50 virtual worlds set to launch. The keynotes from insiders at current virtual overlords Mattel, MTV, Whyville and Neopets reflected the collective anticipation at what’s to come. Expressing both excitement and caution, Jack Myers, President, Myers Publishing, LLC, made the point, “Virtual worlds are the media of the future, and we need to build with new models, platforms and metrics.”

Metrics continue to be a hot topic, as advertisers and marketers try to figure out how to both count up and capitalize on the millions of engaged eyeballs. At the moment, the easiest (and most widely used) audience metric is registered users, and as a general rule about 25% of registered users are frequent participants. Meyers added the caveat, however, that measuring users’ emotional connections, focusing on the quality of their engagement — not just size — and measuring “in world” perception are all still important factors. Size-wise Neopets, the oldest virtual world of the bunch, currently reigns supreme with 45 million registered users. Stardoll has 15.7 million registered users with 30-35k new users/day (44% in the US, 46% in the EU, and a growing Asian market). Barbie Girls (introduced only last year) has already jumped to 10 million registered users, quickly gaining on Club Penguin (purchased by Disney last year) with over 12 million registered users and 700,000 paid subscribers. And Webkinz, the Ganz owned property that has sold over 2.5 million plush dolls, has converted those sales into an audience of over 1 million highly active registered users.

Publishers are starting to take notice – both looking to partner with existing worlds, and create worlds of their own based on new and established properties. Now with a toe in this space via ’39 Clues’ and their recent online/offline Goosebumps re-launch, Scholastic, for one, had numerous staffers floating around. And, Wendy Louie, New Media Marketing Manager at Random House Children’s, sat on a panel about reaching teens in virtual hangouts. “I see publishing houses investing more of their marketing dollars into new innovative outlets and less so in traditional vehicles,” Louie said. “With companies’ interest in the eyeball and stickiness factor, I expect sites to really ramp up their content to stay ahead of the game.”

Some other key take-aways:
  • Nickelodeon’s online world Nicktropolis has 7 millions registered users, and 86% of Nick audiences say gaming is the key experience.
  • There are 350 million avatars worldwide
  • In South Korea, 90% of kids are in virtual worlds
  • There is a huge growth in branded virtual worlds creating a “curated experience” for users- vMTV (MTV’s network of virtual worlds including Virtual Hills, Virtual Laguna Beach, Virtual VMAs) has 1.25 M regular users, with 4,500 new users/daily, and 15,000 viewer clubs with as many as 2,000 members a piece
  • Kids are constantly jumping around and between virtual worlds – an incredible amount (up to 60%) of vMTV traffic is coming from Gaia, for example

*Image from KZero

The Sweet Sound of SXSWi

It’s been one week since SXSW Interactive came to a close, and there are still two types of publishing people in the world:

1) Those who are counting the days until they can return next year
2) Those who think SXSWi is some kind of contagious eye disease

For those of you still stuck in the latter half, we’ve put together a few links to bring you up to speed. (And for those few type ones out there, a mini refresher course.)

What you need to know:

  • SXSWi began in 1994 as part of a film and multimedia conference (it’s been it’s own interactive thing since 1999, and in 2006 they added Screen Burn – a subset focusing on the gaming industry)
  • The festival covers everything from web development to on and offline marketing to internet theory to business management to design to social media to…
  • If you use a feed reader, you can subscribe to receive podcasts of the panels as they are posted here: http://feeds.feedburner.com/SXSWpodcasts, or, if you don’t use a feed reader (another lecture, another time) check out the main site http://2008.sxsw.com/interactive/ for updates as they appear.
  • Save for a few SXSWi stalwarts in attendance (Will Schwalbe, ex-Hyperion and author of SEND, was back for the second year in a row, Little Brown’s New Media Marketing Manager, Scott diPerna clocked in his fourth year), the publishing community was notably absent
  • The only publisher with a booth at the trade show was McSweeney’s
  • B&N hosted the book signings at the SXSW bookstore

For more, check out the April issue of Publishing Trends on March 25th…
For PT’s coverage of SXSWi 2007, click here

Toy Fair 08: Inspiring Growth, Dangerous Book for Boys Spinoffs

On Tuesday, Publishing Trends visited Toy Fair 2008, held from February 17-28 at the Jacob K. Javits Convention Center in New York. Though Toy Fair reported a 30% increase in buyers since last year and three times as many reporters on opening day, we thought the halls seemed pretty empty.

Not surprisingly, most of the buzz centered around tech-y toys like Hasbro Playskool’s $300 Kota the Triceratops Dinosaur (“comes complete with leafy greens that the dinosaur will ‘munch’ when ‘fed'”) and Fisher-Price’s Kid Tough Digital Camera, or revamped versions of old faves, including Ty’s Beanie Babies 2.0 and Fisher-Price’s Elmo Live. But in the old-fashioned world of books, we noticed a few new things:

  • Dangerous Book for Boys-branded “Illusions,” “Card Tricks,” “Sleight of Hand,” and “Magic Kit” sets, packaged in retro metal tins, from University Games. (Sorry for the blurry picture–a University Games rep chased us away from the company’s booth when she saw our digital camera; the games aren’t being released until Christmas.)


  • Also from University Games: New additions to their line of Eric Carle games for 3- to 8-year olds.



  • Not for kids but prominently displayed at Playmore Inc.’s booth: The never-dying Chicken Soup for the Soul franchise (now including, um, pet food) expands with a new line of word search puzzle books. The books below are dummies, but the rep told us that the hidden words in the finished books will be based on the true stories in the books and “very inspirational.”


  • Finally, the obligatory shot of adult reps self-consciously riding children’s toy cars, at the PlasmaCar booth.

On Kindle: A Non-Publishing Perspective

Since its release last November, the Kindle has kicked up debates about everything from the future of reading to Jeff Bezos’ quest for world dominance.

More than anything, though, it seems that people just can’t get over how darned clunky-ugly-retro the thing was.

Core-77, a networking site frequented by industrial designers, responded to the Kindle design debate by opening up a one-hour design challenge/forum, asking readers to show the world their vision of the perfect Digital eBook.”

The results ranged from classic (aka Sony Reader-esque) to innovative (the winning ” eScroll“) to irreverent (Walkbook Sports). Designers focused on functionality and form, and explored the notion of what a digital book should do. Some features from proposed designs:

  • Tri-screen with touch screens – To turn the pages, users just simply touch the screen diagonally.

  • Users can select the book they want to read from the cover and highlight and take notes by using the stylus.

  • Pocket-sized or smaller so that it fits in the palm of your hand

  • Customization options that allow users to distinguish the book as their own.

  • One designer noted that a current problem with ebooks is not being able to write notes on them, his design included a pen that allows users to write notes on pull-out wipe-away “paper” which is then recognized by the ebook and saved as a note on the page.

  • Integrated speakers that allow users to hear books in audio

  • Book spine printout – printable sticker spines for the sleeve of the cover that can be stuck on your e-book shelf when you’ve finished reading.

  • Subscription based readers that automatically download monthly collections for a low annual fee (think the Oprah book club, or New York Times best seller list, or Phillip K. Dick award winners).

Check out all of the designs on the Core 77 forum: http://boards.core77.com/viewtopic.php?p=87713#87713