The Espresso Book Machine

There is an article in the September, 2017 issue of the IBPA Independent magazine, ‘Can the Espresso Book Machine Save the Indie Publisher?’  It is written by Peter Goodman, the publisher of Stone Bridge Press in Berkeley, California, and a member of the IBPA Independent Editorial Advisory Committee.

The article tells us that “the EBM is a self-contained, on-demand printing and binding machine that can produce a single perfect-bound book from a digital file in 5-8 minutes.  A product of On Demand Books in New York City, the EBM promises ‘Books Printed in Minutes at Point of Sale for immediate Pick-up and Delivery’.

“Currently there are about a hundred EBM’s installed in stores and libraries, mostly in the US and Canada, but in other countries, as well.  Through On Demand Books’ own servers and tie-ups with other publishers and with Google and Lightning Source, over 7 million titles are currently available in multiple languages for on-demand printing at these locations. ”

The article also mentions that the machine can be promoted to anyone who simply wants to get unpublished written material into a printed and bound format: family cookbooks, memoirs, school projects first novels, etc.

“An EBM prints books – perfectly bound only – one at a time on an integrated Xerox D95 toner-based printer.  Available formats range from 4.5″ x 5.0″ to 8.25″ x 10.75″ with page counts from 40 to 830 pages.   Covers are produced on heavier tabloid-size stock using four-colour digital printing.  As the book pages print, the cover is output and positioned below the book block.  The EBM then scrapes and applies glue to the spine of the block and presses the  block down onto the back surface of the cover.  The book is finished as soon as the block and its attached cover are turned and trimmed on the side and front edges.”

Espresso Book Machine

“Publishers contract with On Demand to make books available through the EBM network database.  The finances are straight forward: the EBM operator arranges with On Demand  for leasing and maintenance, and then pays a licensing fee for each book printed.  The publisher receives 25% of the price of the book to the customer; the publisher sets the price, as long as it exceeds a calculated amount to cover production costs, licensing and profit to the bookseller.”

Turning now to an article from Publishers Weekly, On Demand Books emphasize that the EBM is “not a POD ( print on demand) solution: it is a sales solution”

“Another reason that book machines have started to come into their own is that publishers are looking for ways to support bricks-and-mortar stores. Publishers cannot afford to lose retail distribution. So they also see this as a mechanism for the distribution model.  The desire to keep indies in business is translating to a new willingness to make content available. To date, most of the books that the machine can print have come from deep backlists.  Most frontlist titles are from smaller presses and open source publishers.

“A question put to attendees at Xerox’s first Thought Leadership Workshop about the EBM in Rochester, N.Y., last month indicates another possibility for the machine’s growing popularity: Amazon. “We need to compete with Amazon,” says Linda Gregory, who handles Web site and order fulfillment for Colgate Bookstore in Hamilton, N.Y.

“Statistics from On Demand are tantalizing: within the first three months of having a machine McNally Jackson Books in New York City has gone from zero to 1,000 books a month. At Harvard Book Store in Cambridge, Mass., which added a machine in October 2009, owner Jeffrey Mayersohn expects to surpass 2,000 books a month this summer. “Digitalization is the salvation of the neighborhood bookstore,” he declares. He regards Amazon’s infrastructure as “20th-century” and believes that the key competitive issue is inventory, not price. With the EMB, Mayersohn says, “The store becomes a well-curated showroom with books published to specification—and a manufacturing operation in the backroom.”

In doing some research for this post, I found that the price of an EBM is $185,000, but I feel sure that On Demand’s preference is to enter into lease and maintenance agreements.

Lessons from a 20-Year Career

In the IBPA Independent magazine, December 2017, there is an article by Ron W Mumford about the lessons he has learned on his 20-year path through the industry.  He certainly has a sense of humour and some good advice to offer, so I’ve quoted excerpts below.  Ron has written a non-fiction book, Finding Your Soulmate, God’s Way, a thriller, Gray Justice, and a fantasy trilogy: Wayne’s Angel, Betwixt, and Z-Gen.  As a businessman, before his started writing books,  he had taken a company public on NASDAQ, become a licensed financial consultant with two of the largest brokerage firms in the US.

Ron W Mumford

He says, ” During the 1990’s I wrote my first novel: 800 pages double spaced, 200,000 words.  I was so proud of myself.  The work was sure to win the Pulitzer Prize!  Sound familiar?  After my first edit by a professional editor, the work was cut in half with a notation from the editor, ‘Ron, you have written two books in one and you ramble.’

As regards the publishing industry, he says, “What a new and different industry full of well-wishers, scammers and instant-success gurus, all looking to take your money while promising the bestseller list and delivering nothing.  I queried literary agents for two years, finally found a couple, and, again, got nothing.  Finally I decided I would become a literary agent and go to New York and Hollywood to learn first hand how this crazy industry worked. I picked up several writer clients and headed to New York City with client manuscripts in hand.  All the Big Five publishing companies rolled out the red carpet to a new literary agent from Texas.  I spent half a day at Simon & Schuster and even met Stephen King’s editor.  I asked each editor, ‘What are yo looking for?’  They all replied, ‘Great writing.’  I asked, ‘Define ‘great writing.’  Again, each editor replied similarly, ‘We’ll know it when we see it’.

‘”What a cop out!  What they should have said in complete honesty was, ‘We are looking for well-known authors and celebrities with a huge following so we can sell hundreds of thousands of books.  Your chance of being published by us are about 100,000 to one.’

“My last stop in lower Manhattan was at Warner Books, where I was granted an appointment with a vice president/editor.  When I entered his office and gave him my card, he snapped, ‘What gives you the audacity to think you can be a literary agent?’  This guy did not know Texas audacity.  I took a deep breath, leaned on his desk and replied, ‘The same audacity that told me I could swim with the sharks on Wall Street.  Do you want to talk books or what?’  Needless to say, Warner and my literary agency didn’t do any business.”

Ron says that he sent out 100 client manuscripts a month to small and medium sized publishers and he managed to get 12 books published.  He mentions that he got one client a seven-book deal, and that the client later got a five-book deal with HarperCollins.  “After my money and my passion hit new levels of low, I passed her (the client) on to a great literary agency.  There are good lit agents out there.

“I sent emails to every IT/social media guru that I personally knew, asking them, ‘How do you mass market books?’  I got no replies.  I talked to one guy that guaranteed a best seller.   I asked him how he does his marketing and how much he charges.  Answer, ‘For 30 days, I send out tweets on Twitter, I charge $3000.’  I passed on that offer, even for a ‘guaranteed bestseller.”

Unfortunately, Ron does not offer any sure-fire solutions to the achievement of mass book marketing at an affordable price.


Publishing Industry Standard

Angela Bole, CEO of the Independent Book Publishing Association, has introduced an Industry Standard for a Professionally Published Book in the July issue of  IBPA Independent magazine.

Angela Bole

In the article, she says: “IBPA has been championing independent publishers, big and small, self and otherwise, since 1983.  That’s over 30 years of advocating for indie voices in the traditional publishing industry.  Over this time, we’ve seen a thing or two.

“Recent changes in the publishing industry have created enormous opportunities for self-published authors.  It’s now possible to produce a professional-quality book outside of the Big Five conglomerates.  Unfortunately, this opportunity has come at the cost of a deepening divide between how traditionally-published and self-published authors are treated.  Too often, IBPA has noticed a bias against self-published authors, independent publishers and hybrid presses when it comes to choosing titles or authors for review consideration, book award contests, association memberships, and inclusion of independent bookstore shelves.

“There is no reason for this bias.  While it is true that not all books are created equal, when they are, it’s important that the industry treats them as such.  That’s why the IBPA’s Advocacy Committee recently published an Industry Standard for a Professionally Published Book – a two-page document developed to support independent publishers and self-published authors, but also to urge an industry in flux to acknowledge that books ought to be judged on their substance ranter than their business model.  If used appropriately, the checklist gives both authors and book industry professionals an at-a-glance method by which to gauge the professional presentation of a book.  The goal is that the checklist becomes a future guide that reviewers, contests, membership associations and bookstores turn to when deciding which authors merit consideration.

“You can download the checklist at: .

“During BookExpo last June, I had the privilege of discussing the checklist with other industry organisations.  I met with the American Booksellers Association, the Authors Guild, Publishers Weekly, Foreword Reviews and many more.  I’m glad to say that the reception was warm.  Those industry professionals paying attention know they’re missing quality books be using gatekeeping tactics attached to business models; they just haven’t figured out how to consider books without opening the floodgate to unprofessionally produced content, as well.  They seemed to appreciate that the checklist is a needed first step toward figuring this all out.

“Today’s independent publishers and self-published authors represent a diverse array of voices and backgrounds, often speaking about specialised issues that are marginalised by larger presses, often because their books are being judged on the business model and not on what matters, which is the content of the books.  Just as publishers, self, or otherwise, are responsible for producing books that adhere to industry standards, the book industry as a whole is responsible for creating an environment that allows for equal evaluation of all published works.”


Is Amazon Helping Pirates ?

Angela Bole, chief executive officer, Independent Book Publisher’s Association, implies as much in the lead article of the June issue of the IBPA Independent magazine.  She takes issue with Amazon’s change in policy on its book buy box.

Amazon’s Buy Box

This is the method which Amazon has used in the past to say that the book in question is new and is supplied by the publisher.  Now, Amazon is offering a priority spot in the buy box the third party suppliers who offer the same book as new, but at a price significantly below the publisher’s list and Amazon’s Prime price.

For example, a hard cover version of The Bestseller Code has a publishers list of $25.99.  Amazon is offering it at $14.29 Prime.  There are eight third-party sellers offering the book at prices lower than Amazon’s.  The worry, of course, is that publishers and authors are not receiving their due compensation on these cheap books.

In the article, Ms Bole asks: “Where might these third-party sellers be getting the books that they sell that don’t result in any author compensation?  Any number of ways, including donated books, closeout sales, sidewalk sellers, remainder and overstock dealers, ‘hurts’ from distributor stock, promo copies and ARC’s” (advanced reader copies –  f0r reviewers).  An Amazon spokesperson wrote to Publishers Weekly to say that books obtained in one of the preceding ways wouldn’t qualify, because the books must be ‘new”.  Amazon defines ‘new’ as ‘brand-new, unused, unread copy in perfect condition.  The dust cover and original protective wrapping, if any, is intact’.

“The problem is that Amazon does nothing to enforce the ‘new’ policy.”  The third-party seller gets to declare that the book is ‘new’ by simply choosing the ‘new’ option. . . . .

“Karla Olson, director of Pantagonia Books, said, ‘We received a comment on one of our books that it was riddled with typos, and the captions were all the same for the second half of the book.  It took us a few reads to figure out that the customer had bought an ARC, from Amazon. . . .

“And Cynthia Frank, president at Cypress House pointed out another problem. ‘We’ve learned that some of the third-party sellers who have won our Buy Boxes are actually fly-by-night sellers who have only been in the business a few months.  Some likely don’t have even a single copy.  On various listservs and forums, including LinkedIn, I’ve read that some customers pay for a book, but it never arrives.  Amazon, because they take good care of their customers (as opposed to their vendors), ends up holding the bag and has to pay a refund.”

“According to Ian Lamont, founder at 130 Media, in a written statement, ‘Even before the policy change, there were several recent cases of counterfeit paperbacks being co-mingled with legitimate inventory at an Amazon warehouse (as reported by No Starch Press) and taking over the Buy Box (which happened to Author Dave Burgess).  Knock-offs taking over the Buy Box has been a massive issue for manufacturers for several years (as reported by Forbes).  And it’s clear that Amazon can’t control this new policy if they can’t solve the counterfeit problem.'”

Why would Amazon want to introduce a policy like this?  I don’t know, but I suspect that it is driven by Amazon’s commitment to offering goods at the lowest possible price.  What Amazon has apparently failed to consider is that the goods are different at the lowest price from the ‘same’ goods at the more reasonable price.  They have also failed to consider the interests of the people who try to earn a living from the goods Amazon sells.

If you would like to reach a wider audience with your comments, you may want to add a comment on the IPBA website:



The Bestseller Code

The Bestseller Code, by Jodie Archer and Matthew Jockers, St Martin’s Press, 2016, comes to some unexpected conclusions.  The book was reviewed by Sandra Elliot in the June issue of The Florida Writer.

“Through an analysis of recent best sellers, Authors Jodie Archer and Matthew Jockers claim to have identified the elements that move a novel to the top in sales.  They begin with an overview of what makes people read, including insights and quotes from Stephen King’s On Writing.  He says no one really knows what makes a story a hit, and advises would-be professionals to choose topics they know and blend in others like relationships, sex and work.  The Bestseller Code authors arouse reader interest by debunking King’s adages.  No sex in popular novels?  No, they say, and use their research findings to support their statements.

“. . . One of their first questions: themes that promote or limit a story’s commercial popularity.  Sex, drugs and rock and roll are among those tested and found wanting.  Few bestsellers are based on these themes.  What about Fifty Shades of Grey?  . . .  Not the sex, they say, but a living, breathing side of the narrative that readers feel it like the thrum of nightclub music.  The Da Vinci Code is the only other book to have such a powerful rhythm, they add.

“. . . (The book) identified John Grisham and Danielle Steel as authors who used themes of interest to many readers.  Grisham’s signature theme is ‘Lawyers and the Law’, Steel’s ‘Domestic Life’.

“Overall, bestselling authors allocate a third of their novels to one or two themes; less successful authors include more. . . . These findings are particularly relevant for debut writers who tend to write about too much.  An in-depth story is easier to follow than writing heavy with description and detail.  More women than men gain popularity with their debut novels.  Does a feminine writing style have payoff?  No, it’s not gender but an understanding of audience and language that pays, that, and the nurturing of skills through practice.

“Gender differences were noted.  Protagonists in recent female-oriented novels are internally complex and externally challenged, odd or different gals with power and motivation.  Characters in bestselling novels, male or female, are high-energy people who set out to achieve what they want to be.”

A three star review by EVS on says, in part: “I found myself simultaneously impressed with the depth of the research and disappointed with the triviality of the findings. Moreover, as much as the authors hope that their formula will open publishing industry to new writers overlooked otherwise, I have a feeling it will only serve to build more, higher walls, imprisoning writers in even tighter cells. Ironically, what would mediate the potential for abuse is making the formula available to the public in the form of a readily accessible test. It’s just the question of time until application of this or similar math becomes obligatory among agents and publishers. If the potential success or failure of an artist’s project is going to depend on a formula, the artist should have the right to face his accuser.”

I tend to share EVS concerns about agents and publishers using this, or a more ‘perfect’ algorithm in selecting works for publication and thereby building higher walls and imprisoning writers in even tighter cells.  But, I also guess that it will indeed be helpful in coaching overlooked authors to better hit the mark.  And I suspect that, in any case, there will always be a writer who finds a route to success that the algorithm overlooks.

In view of all this, I am motivated to get a copy of the book and report to you in more detail.

Backwards Books

Qualifying for an obscure facts about books award, is an article in The Daily Telegraph with the title ‘How Book Lovers Turned Things Around’ by Anita Singh.  Appearing on 19/4/17, it said:

“If you want to display books on shelves the traditional way, try turning your books back to front.  Placing books on shelves with the spines facing outwards is a relatively recent phenomenon, according to Mark Purcell, former libraries curator for the National Trust who now oversees the research collections at Cambridge University Library.

Mark Purcell

“‘Until fashions changed in the 18th century, book titles and authors were not printed on the spine but written in ink on the edge of pages.  The turnaround happened when the wealthy decided having titles embossed in gold leaf would add a certain cachet.  If you’d gone to almost any library in England, Wales or Scotland until 300 years ago the books were kept backwards,’ Purcell said at the Hay Festival.  ‘In those days the cultural supposition was that books had the title printed on the edges of the pages in ink.’

“The first known English book with a title gilded on the spine was printed in 1604, he said, and that was considered ‘cutting edge’.  Then followed, in the 17th and 18th centuries, what historians call ‘the great turnaround’, where the method of display was reversed.”

I suspect that a change in binding technology may also have been partially responsible for this change.  It may have simply been more difficult to print the author’s name and the title of the book on spine of the book.  But, judging by the picture above, it is easy to see why book owners preferred to display their possessions with the title and author’s name on the spine.


‘Banned’ books

There were two recent articles in The Daily Telegraph regarding the ‘banning’ of books by Holocaust deniers.  The first article, by Olivia Rudgard, reads:

“A Cambridge college has removed a David Irving book from display in its library after a visiting Jewish academic complained.  Churchill College, Cambridge, said the Irving’s biography of its namesake, Winston Churchill , would now be held in a ‘closed access’ area with borrowers only able to read it on request.

“Dr Irene Lancaster, formerly a teaching fellow in Jewish history at Manchester University, encountered the books written by the Holocaust denier on display.  She said: ‘They certainly weren’t hidden away – they were sticking out like reference books.’

“A spokesman for the university said: ‘Holding banned or challenged books in no way endorses the views or scholarship of the authors.  Rather, they are accessible to scholars to allow them the opportunity to challenge and refute their contents’.  The spokesman added that the library was used by college members and visiting academics and not the general public, and therefore the books had not been on ‘public display’.”

Wikipedia says this about Irving: “Sixteen years after an English court discredited his work and the judge called him ‘antisemitic and racist’, the historian David Irving claims he is inspiring a new generation of ‘Holocaust skeptics. On the eve of a major new Bafta-nominated film about the trial, Irving, who has dismissed what happened at Auschwitz concentration camp during the second world war as ‘Disneyland’, says that a whole new generation of young people have discovered his work via the internet and social media. . . . Irving v Penguin Books Ltd was one of the most infamous libel trials of the past 20 years. An American historian, Deborah Lipstadt, had accused him in her book, Denying the Holocaust, and Irving, then a somewhat respected if maverick historian, sued her and her publisher.”  (And lost.)

I had a look on Amazon where there are plenty of David Irving’s books.  His book, Churchill’s War, The Struggle for Power, has nine five-star reviews and one three-star review.  The 3-star review complains about non-delivery of half of the e-book.  The five-star reviews focus on the depth of research and the quality of historical writing.  Many of the reviews mention Irving’s reputation, but say that this work is not biased.

The second article, by Robert Mendick:

“Amazon has bowed to public pressure and quietly removed from sale dozens of anti-Semitic books that deny the Holocaust.  An outcry followed news it was profiting from titles such as The Myth of the Extermination of the Jews, by Carlo Mattogno, which was available as a download.  Dr Nicholas Terry at the University of Exeter, said Amazon had last week withdrawn form sale more than 30 books.  The expert on contemporary Holocaust denial added: ‘This is a major blow for Holocaust denying authors.  Amazon has been a major outlet for their sales’.  Despite the decision, Amazon still sells anti-Semitic literature through its website, and it is unclear what rules determine what material is acceptable and what is not.  The company refused to comment.”

I would make three points about all of this:

  1. Non governmental organisations should be free to exclude material which they consider objectionable.  The government should not have any such freedom.
  2. Amazon ought to be transparent about it’s policies, which should err in favour of exclusion of objectionable material.
  3. Any policy should be intelligent and selective, leaving ‘on the shelf’ quality, constructive books by objectionable authors.

National Book Foundation

There was an interview in Time magazine a couple of months ago with the first black female to be named executive director of the National Book Foundation.

By way of background, the National Book Foundation website says:

“The mission of the National Book Foundation and the National Book Awards is to celebrate the best of American literature, to expand its audience, and to enhance the cultural value of great writing in America.

“History: On March 16, 1950, publishers, editors, writers, and critics gathered at the Waldorf-Astoria Hotel in New York City to celebrate the first annual National Book Awards, an award given to writers by writers. The American Book Publisher’s Council, The Book Manufacturers’ Institute, and The American Booksellers’ Association jointly sponsored the Awards, bringing together the American literary community for the first time to honor the year’s best work in fiction, nonfiction, and poetry.

“In 1986, the publishing community established The National Book Foundation, a not-for-profit organization to oversee the Awards, diversify their base of philanthropic support and expand their mission. The Foundation board then hired Neil Baldwin—an author, and Manager of The Annual Fund at The New York Public Library—to become the Founding Executive Director of The National Book Foundation and help determine its agenda for the future. ”

Wikipedia says this about Lisa Lucas: “Lucas was born in New York City and grew up in New Jersey.  Lucas attended the University of Chicago, where she studied English.  Reporting on Lucas’s 2016 appointment to executive director of the National Book Foundation, NBC said: ‘With Lucas at the forefront of the National Book Foundation and Awards, the future of publishing looks very bright.’  The Los Angeles Times said Lucas ‘is clearly poised to bring the organization to a new level…ideally suited’ to promote the foundation. She is the third director in the history of the foundation, ‘one of America’s key literary institutions,’ and the first woman and the first African-American to lead the organization.”

Lisa Lucas

In the Time interview, Lucas was asked: “What’s going to be the role of American literature in the new political era?”

Lucas: “People keep saying we’re postfact, and I think that books are the special place where we can go to understand the world we live in.”

Time: “In 2014, 27% of Americans didn’t read a single book.  How can we change that?”

Lucas: “People who make and market books probably assume that 27% of people aren’t going to bother with our product.  That’s the place where you first start correcting.  Assume everyone reads.  Lately, people have been talking a lot about book deserts, places where there isn’t access – how do we encourage people to open bookstores in these communities?”

Time: “What book would you recommend to our President?”

Lucas: “We were so lucky to have such a wonderful reader in President Obama, who said that reading novels helped make him a better citizen.  I can only hope that President Trump is as interested in our stories, lives and literature.  I’d recommend some books that have recently been celebrated by the foundation: Claudia Rankine’s Citizen; John Lewis, Andrew Aydin and Nate Powell’s March; Arlie Russell Hochschild’s Strangers in Their Own Land; and Ibram X. Kendi’s Stamped from the Beginning.

The full interview is on page 48 of the January 30, 2017 issue.

Literary Agent, David Miller

I would like to meet a literary agent for a face-to face discussion.  I’ve never met one.  I’ve corresponded with dozens of literary agents, some of whom have even been kind enough to send me brief notes of refusal.  Therefore, when I saw the obituary of David Miller, literary agent, who died, aged 50, on December 30 last year, I had to read it.  What sort of person was he?  Would I have gotten on with him?  More importantly, would he have liked my books?

My pre-conceived notion of the ‘standard personality’ of a literary agent is: a slightly unattractive, introverted, intelligent, sensitive, artistic person with an emotional intelligence approaching zero.  I would expect him or her to look up from a cluttered desk, behind which the shades are drawn, peer at me over half-moon spectacles, and inquire, “Yes?”

Having read the obituary of David Miller that appeared in the Daily Telegraph two days ago, I have concluded that my ‘literary agent standard personality’ is – at least in David Miller’s case, pretty far off target.


David Miller

The obituary says: “The son of a chartered surveyor, David Miller was born in Edinburgh on February 6, 1966, and educated at King’s School Canterbury, and at Girton College, Cambridge, where he read theology.  After a short spell at a City recruitment consultancy, where he learned his formidable telephone-bashing skills, Miller joined the literary agency Rogers, Coleridge & White in 1990.  One of the many ways in which the agency bucked tradition was to hire a succession of presentable young men to take calls and occupy the front desk.  Miller, in his slender, younger days, equipped with a matinee-idol forelock and an expression that was somehow both sardonic and guileless, fitted the bill perfectly.

“He quickly became an agent, and set about  building a stable of authors.  His first client was the Booker-shortlisted novelist Nicola Barker.  She later described him as ‘too wayward and funny and complex either for fiction or for real life.  An absolute one-off.’  Some (of his clients) enjoyed considerable sales, notably Victoria Hislop, but Miller had the rare gift of seeming to care about money neither too much, nor too little.  And if this was something of an act – posthumous revelations about him having one phone for his ‘wonga’ clients and one for the rest would have pricked several authors’ amour propre – it was a useful and educational one.

“Business was generally conducted over lunch.  Miller would arrive all of a kerfuffle, like the White Rabbit.  His personal style had evolved into a rather Doctor Who-ish blend of elegance and scruff _ moleskin, swirling scarves, on occasion even a fedora hat – a certain clerical sleekness combined with a tangible air of mischief, he would . . . after a rapid gossip download, produce a book proposal or a chunk of manuscript, marked up with a proper fountain pen.  In the conviviality of what ensued, at the end of which authors would find themselves deposited on a pavement somewhere in west London, the late afternoon sunshine stinging their eyes, it was easy to overlook the rigour that Miller had brought  to the preceding couple of hours.

“Ferdinand Mount writes: ‘David Miller wasn’t just and agent, he was a personal battery charger.  Just to hear his thrilling stage whisper over the phone or to see him bounce round the corner in a huge jersey too heavy for the time of year with a bundle of manuscripts under his arm set you up for the day.  He always knew how to persuade you to write a book you hadn’t particularly thought of writing, or how  to rewrite it when it didn’t work, because he knew more about books than any publisher and himself wrote better than most of his clients.  . . .  He was fearless, unquenchable and the kindest man you could ever hope to meet.'”

I would say that David Miller was attractive, extroverted, intelligent, brash, artistic, with a sky-high emotional intelligence.  I would have loved to have lunch with him even if he turned down my book proposal!

Audio e-Books

There is an article in the December 2016 issue of the IBPA Independent magazine which caught my eye.  Entitled ‘Engaging Readers Through Sound’ it is written by Cameron Drew, who is Vice President of Publishing, Booktrack Ltd.  The article says that he is a veteran of the publishing industry with extensive experience in online retail and B2B commerce publishing.  Booktrack is based in Auckland, New Zealand.


Cameron Drew

I quote from the article:

“When we first began pioneering an immersive audio-enhanced experience at Booktrack, independent authors and publishers were among the first early adopters.  Independent publishers know what it’s like to navigate challenging environments, and they know how to stay focused on providing the best possible experience to readers.

“Booktrack is a reader-focused platform that allows users to dive deeper into the narrative worlds through the addition of a synchronized, movie style soundtrack.  As users read their favourite books on our platform, our technology tracks their reading speed ans enables ambient noise, sound effects and background music to play at precisely the right points in the text.

“It’s something new on an industry that loves tradition.  It’s prefect for publishers and authors who want to offer their readers something more than text but don’t want to take anything away form the beauty of the written word.  Because the soundtrack enhances a reader’s sense of place rather than taking them our of the narrative, Booktrack actually improves reader engagement and enjoyment of the text.  The Booktrack versions of titles aren’t meant to replace the paper-based versions, or even the straight e-pub versions.  The Booktrack experience is not for every reader; it reaches the readers who are ready for something outside the norm.

“The platform is also designed to be accessible to publishers and authors at all levels.  Self-published authors who want to try their hand at soundtracking their own work can use our creator tool for free to create a Booktrack version of their work.  Some authors have taken to using Booktrack as a promotion tool by embedding a Booktracked version of the first chapter of their work on their website.

“For our premium content from our publishing partners and top indie authors, our trained sound engineers create fully customised soundtracks.  Publishers and authors review the soundtrack at several points throughout the production process to ensure the soundscapes we create match the mood, tome and lot of the story.

“We currently have more than 200 premium titles for sale across all genres, half of which came from partnerships with top independent publishers including Sourcebooks, Skyhorse, Orca Books, Mighty Media, Light Messages, and Canelo.”

When I first read the article, I had the mistaken impression that Booktrack was repeating the written word – like an audio book.  Actually, what is added on the soundtrack is music or sound effects.  The soundtrack is ‘synchronised’ to the reader’s speed by the rate at which he or she is turning pages, and the soundtrack can be re-synchronised to the text by touching a word in the text.  The wearing of head phones may be an advantage for some readers in that ambient noise is excluded.  Use of the technology is free to authors, but I suspect that a finished book can be sold only through Booktrack to their 2.5 million ‘engaged readers’.  If an author wants to to have Booktrack add the soundtrack, they say they will do it at an average cost of $1000.  Reportedly, Booktrack has 20,000 tracks from which to choose.

A clever idea.  I have no idea how it works in practice, or how well it will sell.