Digital Preservation: Safeguarding the Future of Literature in the Digital Age

“The two most powerful warriors are patience and time.” – Leo Tolstoy

If we are all at war with time, digitally published literary works are on the same battlefield. In the constantly developing sphere of digital literature, the need for effective preservation tactics has become paramount. While the transition to digital forms have revolutionized the ways in which we access and read literary works it does not come without some distressing challenges.

File Format Migration: Navigating the Challenges

One of the chief challenges met by e-book publishing platforms is the risk of outdated file formats becoming obsolete over time. As technology advances (time and time again), file formats evolve, potentially rendering older formats incompatible with modern devices and software. One real-world example of this occurring is the transition from the physical media, floppy disks, to CDs and DVDs. Content that may be stored on older media also becomes inaccessible as new devices phase out support for those older media’s formats. Likewise, e-books transitioned from “.lit” which was introduced to the Digital Publishing Sphere by Microsoft Reader to more widely adopted formats like “.epub” and “.mobi”.

Solution:

To address this challenge, forward-thinking e-book platforms adopt a proactive file format migration strategy. A classic approach involves sporadically updating the digital library to align with the most recent updates and standards. This ongoing effort not only ensures the accessibility of literary works across various platforms but also prevents the loss of content due to format obsolescence.

There have been several platforms to embrace this approach. It would be in the best interest of any e-book author to acknowledge the importance of staying ahead of the curve in the fast-paced digital landscape. A reasonable plan would include assessing digital library’s file formats, identifying files at risk of obsolescence, and implementing conversions to current standards when necessary.

Libraries and Institutions: Guardians of Digital Literary Heritage

Libraries like Library of Congress and Internet Archive alongside an organization called Digital Preservation Coalition (DPC) are among those platforms that part in the essential role of preserving digital literature.

The Library of Congress actively contributes to digital preservation initiatives by including archiving websites, electronic journals, and e-books. The Internet Archive is a non-profit digital library that aims to provide “Universal Access to All Knowledge.” It has been archiving the web, digital books, and other digital content for decades, making it a valuable resource for preserving digital literature.

DPC is an international organization that brings together various institutions and agencies with a shared interest in preserving digital content. It provides resources, guidance, and collaborative opportunities for digital preservation efforts.

Harvard Library’s Format Migration Initiative:

Harvard Library who boasts a 20-year history of preservation stands as a prominent case of an institution dynamically betrothed in confronting the challenges of file format migration. Their Format Migration Initiative aims to ensure the long-term accessibility of digital content within their collections. By proactively and effectively managing format transitions, Harvard Library enhances the sustainability of their digital assets which in turn benefits not only the researchers who take time to collect the data for reports etc., but also the scholars and the wider public.

Putting it All Together:

By understanding and addressing challenges such as file format migration, the digital publishing community, libraries, and institutions can collectively contribute to safeguarding our literary heritage for future generations. Adopting proactive strategies ensures that the timeless words of authors past and present continue to resound in the digital realm for years to come. The lack of standardized preservation practices for digital archiving poses challenges. Without a proactive approach, the risk of information loss increases.

Digital Publishing: Making Your Work More You

Digital publishing contains a broad field of topics, platforms, and, most of all, people. With the internet being more accessible than ever, the density of creators and writers makes it difficult for aspiring authors to be recognizable. Names, titles, and paragraphs tend to blur together which makes the path to a successful digital publishing career challenging.

It won’t be your name that needs to stand out or a fancy title but the writing itself. It needs to be clean, grasping, and sprinkled with hints of your personality. The only way to make people recognize you or prefer you over the millions of other writers is to get a firm grasp of how you can make what you write a part of who you are.

Trying to get a digital publisher and reader’s attention isn’t impossible. Here are some pointers, tricks, and tips on how to better your odds of publication and success.

Your name doesn’t matter.

This sounds harsh, but most readers won’t read your name until they are finished with the article. The same practice goes for hiring paid writers on digital forums. Typically during the hiring process, the hiring manager will black out names and go strictly off of what is written. With this in mind, you need to write everything digitally as if the reader will never know your name.

When writing, think about what will make you stand out. These things can range from humor to writing mechanics, or general personal style. Do you write more professionally or more to entertain? These are questions you need to consider before turning in a resume with a work attached. Since this is digital, these hiring agents will likely not see you in person until they offer an interview. So what can you do with your writing alone, with no name or face, that will make a publisher want to publish your works or a consumer enjoy you over others?

The opportunities to stand out are endless with your digital content. Try starting an article with a story or hook. It also never hurts to research the digital company and see the topics they are speaking about as of late. You could even write an article written in their format.

Try these practices the next time you apply or publish online. Your name is important but, without a face, it doesn’t hold weight in a digital space.

What do you like to write about?

A great way to build a following and be recognizable is to figure out what you are passionate about in writing. Do you want to publish digital books, write articles on history or art, or create and add to science journals? This is not to say you can’t love and write about many different interests, but rather find a category you feel you can add the most information and insight to.

Your name might not be the first thing they look at but after a few articles with your name on the same general subject, it will begin to stick. You will begin to be recognizable based on a personalized subject you enjoy. Take something you love and make it into the art you write. Embodying your individuality is what publishers are looking for. The trendiest things might get the most initial clicks, but if your personality isn’t in it, you’ll just be another article and writer of a million others.

Don’t just write about anything and everything others are focusing on. If you do find the topic interesting, find your own spin or idea that others haven’t thought of. Be original with your ideas and what you find interesting. A good rule of thumb: If you don’t like it, likely they won’t either.

Practice does really make perfect.

Being knowledgeable and skilled will make you stand out more than anything stated above. Grammar, style, and a flowing structure are detrimental in personalizing your work, and to perfect this, practice is needed.

Publishers likely receive hundreds of applications and fifty percent of what is sent is likely lacking in these departments. Be the star that shines through. It doesn’t just make you insanely more credible on the subject you are discussing, but it also shows professionalism and respect. Showing so much attention to these finer details shows the digital publisher you care about what you are writing. It shows you take this field of work seriously at a time when it is still growing its legs.

Digital publishers want people would care. Be the person who personalized their work in the most respectful way possible: with dignity.

You’ve Got This!

Breaking through in digital publishing isn’t an easy task. It takes a lot of time, effort, and heart to really personalize and stand out. The best thing to remember is to write what you love, sprinkle in bits of personality, and respect it enough to be credible. Through these principles, no one will be able to read it without thinking of you. Best of luck!

How Much Do You Pay for Textbooks?

The Education Data Initiative—an organization of researchers dedicated to collecting data and statistics about the US education system—stated that the typical college student spends an average of $105.37 per textbook. The undergraduates spend up to $600 per year on class materials. If you’re a postsecondary student, you could expect to spend twice that amount. The Education Data Initiative also has some other eye-opening statistics on the cost of student’s textbooks:

Between 1977 and 2015, the cost of textbooks increased 1,041%
Textbook prices are rising roughly 3 times the rate of inflation
25% of students reported they worked extra hours to pay for their books and materials
66% of college students skipped buying or renting course materials because they were too expensive
11% skipped meals in order to afford books and course materials
90% of professors say textbooks and course materials cost their students too much

Student spending on textbooks and course materials has declined as much as 48% over the last ten years. While some students may take advantage of scholarships or other financial aid programs to help cover the cost of books, others turn to digital publishing, such as eBooks or open-source websites, to help mitigate the expense. Inside Higher Education performed a survey of 2,400 undergraduate students in April of 2023. This research organization provides sources of data, analyses, and information on higher education in the United States. Of those surveyed, 59% claimed to use free sources. Open-source libraries like Open Library and Project Gutenberg offer students free access to millions of digital book titles, including textbooks. However, around 11% of the students surveyed admitted to using digitally pirated sources.

The current global market for digital publishing of textbooks represents $15.74 billion in revenue for 2023 and the market is expected to increase by 17% to $29.56 billion by 2027. With such a large profit margin, publishers could face a hefty loss in revenue if more students turn to pirating their titles.

In response to the risk of more students turning to piracy, four of the top ten major textbook publishers have taken legal action. Pearson, McGraw Hill, Cenage, and MacMillan Learning are joining together to bring a lawsuit against one of the most prolific publishers of pirated titles—Library Genesis—for copywrite infringement. The lawsuit claims that over 20,000 titles have been illegally uploaded by the “shadow library.” LibGen is one of the most popular sources for college students to find free versions of textbooks, journals, and articles with over six million titles in their index. The representative for the publishers in the lawsuit, Matt Oppenheim stated, “LibGen’s massive infringement completely undermines the incentive for creation and the rights of authors, who earn no royalties for the millions of books LibGen illegally distributes,” and called the LibGen website a “thieves’ den of stolen books.”

While the official lawsuit, Cenage Learning Inc v Library Genesis, makes a solid case against LibGen, the suit also acknowledges that shutting down the site will present with some tough challenges. Pirate sites are notorious for reappearing after a legal battle has shut them down. They purchase new domains and use proxies and mirrors to curtail legal tracking. The creators go through extensive efforts to hide their identities and IP addresses to avoid detection, making legal action evasive. Other pirate host sites have been successfully sued in the past, and LibGen has also faced previous legal troubles. Sued by publisher Elsevier in 2017, a judge ruled in favor of the publishing company, awarding a $15 million payout and demanding that LibGen turn over their domain. However, representatives from the pirate site never appeared in court, and LibGen opened a new domain and is still operational.

The cost of higher education is continuing to rise, and students are in growing need to cut costs where they can. Illegal sources for book titles are not condoned, and students have other means available to help ease the cost of textbooks. Scholarship programs, financial aid, and grants are some of the resources students can use for help. However, as long as the need exists, pirate sites will continue to pop up and fill the gap between students and publisher prices.

Exploring the World of On-Demand StoryCraft

The emergence of on-demand freelance platforms has brought about a significant upheaval in the storytelling industry. These platforms are becoming more than just intermediaries; they are becoming potent tools that democratize access to narrative services on a global scale. Using meticulous planning and a relentless pursuit of excellence, authors and clients collaborate to create stories that are dynamic examples of group creation. The future of storytelling is emerging as a dynamic and inclusive experience, paving the way for a revolution in narrative construction as varied perspectives come together on these platforms.

On-Demand Storytelling Platforms

The rise of platforms like Fiverr marks a significant shift in how stories are created and consumed. These platforms, acting as dynamic marketplaces for writers, surpass their role as mere facilitators of creative exchanges; they emerge as powerful instruments propelling the democratization of access to storytelling services. This democratization, enhanced by the global connectivity facilitated by platforms like Fiverr, Upwork, PeoplePerHour, and Truelancer, has fundamentally transformed the conception and realization of narratives.

The accessibility offered by these platforms goes beyond traditional limitations, facilitating connections and collaborations between writers and clients from diverse backgrounds worldwide. Whether hailing from Mexico, Denmark, Estonia, or any corner of the globe, both sellers and buyers can engage, breaking down geographical constraints and fostering an exchange of cultural perspectives. This global interconnectivity transforms storytelling into a collaborative endeavor where diverse voices converge, giving rise to narratives inspired by a mosaic of cultures, languages, and lived experiences.

The democratic nature of these platforms goes beyond geographical inclusivity to address accessibility on multiple fronts. By providing a level playing field for writers of varying expertise and backgrounds, these platforms empower storytellers who might not have had traditional avenues to showcase their skills. This democratization of opportunities ensures that a spectrum of voices contributes to the evolving narrative landscape.

The creative process revolves around writer-client interactions in the complex dance of on-demand narrative. Examining these connections’ dynamics is more than just working together; it’s a complex conversation in which knowing the expectations and preferences of the customer is crucial. See “How to Make Money on Fiverr, According to 5 Freelance Writers” for helpful advice on navigating the freelancing world and optimizing profits on sites such as Fiverr. These firsthand accounts illuminate effective tactics and serve as a priceless tool for writers seeking to establish rapport, satisfy clients, and improve their expertise in the field of on-demand storytelling.

The Collaborative Nature of On-Demand Storytelling

In on-demand storytelling, clients and writers engage in a thorough process of collective brainstorming. This involves a deep exploration of every aspect of the narrative, from character characteristics to the backgrounds of fictional worlds. Clients provide detailed outlines that encapsulate the essence of their envisioned story, covering details like the color of characters’ hair to the story of how they lost their parents.

This collaborative venture goes beyond traditional storytelling dynamics. Clients present intricate outlines resembling blueprints, serving as a roadmap for the narrative journey. The process involves a dynamic exchange of questions and clarifications to articulate the vision precisely. Clients, as the architects of their stories, strive for perfection, ensuring every aspect aligns with their intended narrative.

What sets this collaborative narrative creation apart is the unprecedented involvement of clients in shaping their envisioned story. They have the freedom to introduce changes, add details, and influence the narrative direction based on evolving preferences. This level of client engagement marks a departure from traditional storytelling, creating a symbiotic dance where the client’s vision comes to life with meticulous care.

On-demand storytelling platforms have ushered in a new era where collaboration is elevated. The intricate dance between clients and writers, fueled by detailed outlines and a commitment to perfection, results in narratives that are living manifestations of collaborative creativity. This paradigm shift acknowledges the significance of the client’s narrative vision, making each storytelling venture a truly bespoke and engaging experience.

Adding to the significance of this collaborative approach, a noteworthy 76% of consumers affirm their inclination towards personalized brands, as revealed by McKinsey. This profound impact of tailored storytelling extends far beyond mere purchasing decisions, seeping into realms of recommendations and fostering enduring relationships for repeat business. This shift underscores the compelling need for narratives that resonate intimately with the audience, making on-demand platforms pivotal in shaping the future of storytelling.

Diversity in Client Requests

The kaleidoscope of storylines that emerges from the tapestry of client requests on these dynamic platforms reflects the vast diversity of the worldwide community they represent. These platforms provide writers with a wide range of storytelling requirements covering the whole gamut of human experience. The world of on-demand storytelling is vast and eclectic, ranging from moving narratives of actual events that clients themselves have gone through to creative endeavors where clients imagine themselves being seamlessly integrated into their favorite TV shows, unleashing their own sense of havoc in their favorite fictional worlds.

Beyond the confines of the traditional narrative, this variety presents both opportunities and problems. Writers could be asked to create tales that dive into well-known characters from different universes, with clients requesting stories that take these characters in novel and surprising directions. Fanfiction’s terrain continues to grow, incorporating crossovers between characters from different fictional universes, such as the colorful Anime worlds of One Piece and Dragon Ball Z, to the melodrama world of The Vampire Diaries, or the thrilling adventures of Kim Possible. The fact that clients aren’t restricted to pre-existing universes speaks volumes about the limitless inventiveness spurred by their brilliant imaginations. They also commission the development of whole new worlds, which are painstakingly planned out with their own magic systems and subtleties.

Within this broad and varied field, on-demand narrative serves as a medium for the realization of hopes and ambitions, with writers deftly navigating the complexities of their clients’ goals. The art of the storyteller becomes a flexible collection of tools that adjusts to the needs of customers who want stories that go beyond the typical and explore worlds that are limited to their imaginations.

Overcoming Challenges

On-demand storytelling is a collaborative and diversified field that offers a unique set of complex issues in the digital marketplace between customers and suppliers, despite its tremendous rewards. Language boundaries present a significant challenge for writers operating in this complicated environment, possibly impeding the smooth translation of cultural quirks and customer expectations.

As writers attempt to properly connect their creative vision with the details given by customers, misinterpreting their demands becomes a fine line to tread. Another issue is estimating the word count and the amount of time needed to finish the story; this requires finding a careful balance between fulfilling the client’s deadlines and producing a thorough narrative.

Adding to this multifaceted landscape is the nuanced nature of communication. An interesting phenomenon comes to light where women often feel compelled to include exclamation points in their messages to avoid appearing rude, a concern less prevalent for men who can provide concise responses without similar apprehension. This highlights the subtleties woven into the fabric of digital interactions, where gendered expectations impact communication styles in the on-demand storytelling arena.

There’s also the possibility of disgruntled customers requesting cancellations heightens the dynamics of buyer-seller relationships. There’s then a delicate dance to play, with writers having to choose between politely accepting cancellations or negotiating and trying to find a solution. Potential fallout includes the potential for unfavorable evaluations, which would complicate the digital partnership even more and highlight how important it is to live up to customer expectations.

The Future

The popularity of on-demand storytelling services portends a revolution in the craft of narrative writing. These platforms are developing into centers for cutting-edge narrative strategies as they move beyond conventional markets. Fueled by a variety of customer requests, writers are likely to try out novel frameworks and immersive experiences. These platforms are setting the standard for collaboration in the entertainment industry. Filmmaking, gaming, and other industries may follow suit, changing the way viewers engage with media.

The wide range of requests from clients serves as a spark for more inclusive stories, which affects storytelling in television, movies, and books. A new wave of voices may emerge as a result of the democratization of narrative skills, changing the composition of the storytelling community and bringing new viewpoints to creative ecosystems. The teamwork method increases audience participation and may serve as an example for future storytelling that emphasizes group experiences.

Digital Magazines For Kids

Educating a child can be a difficult task in this new era of technology. Generation Alpha is noted to have created kids that are “iPad Natives” and keeping their attention off of anything else can be challenging at best. Digital magazines aimed toward child entertainment and education are an interactive meeting point between technology, learning, and digital publication. Despite this, many find the excessive use of “screentime” unhealthy for their developing brains. With all of this taken into consideration, what do digital magazines directed toward kids have to offer, and what is the impact?

To answer this question, one needs to understand what these magazines do and create for the consumer.

Similar to its paper counterpart, this digital media discusses topics specific to an edition and includes related articles and images. However, digital magazines add all the benefits of the internet. EasyTechJunkie explained that these online magazines “add animations and links within the magazine to make it more informative or aesthetically better.” Magazines being online add several avenues of information that cannot be ignored. If a reader wants more extensive information, the reader can click reference links or watch attached videos. Everything cited and additional information is provided with a touch of a button.

This digital media has a lot to offer, but how does this relate to kids?

Over the last few years with COVID-19 and lockdown, parents began searching for different learning opportunities for their children; in that, they found digital magazines. With platforms like KidsWorldFun, parents are exposed to several options of topics to choose from. They range from educational subjects like science and math to other general fun topics like stories and social happenings. Children can also access adult-marketed magazines in a kid-friendly format on subjects they can digest. This includes magazines like Times, National Geographic, and Sports Illustrated.

This creates the value of entertainment and engagement for a kid while also teaching them about subjects that are important. A science digital magazine could have a game where children have to take care of a plant to show photosynthesis or a literature magazine that has the kids change the story with verbs and nouns. Kids could also learn about varied interests like art and music.

Within these kid-marketed magazines, children have access to fun videos, animations, games, and animated scavenger hunts. This digital media allows for an interactive learning experience that scratches a child’s need for entertainment and technology in this new era. The National Center for Education Statistics explains that 97% of all kids between the ages of three and eighteen have home internet available to them. This being noted, these magazines would not normally be difficult to download for a parent. Their child would have a fun and informative tool to use and play with. It being digital just makes it more available when a parent or child wants it.

It is fun and easy to access, but what about the known benefits?

Rocking Rockets has an entire article dedicated to the benefits found in classrooms when digital magazines are being utilized. Teachers notice their children’s excitement but also see a difference in their literacy development. The students are given access to these magazines that teach poetry, nonfiction, and additional crafts and experiments. Teachers have seen a growth in their students’ willingness and excitement to learn. This digital media creates a fun atmosphere to absorb new information that feeds off this “iPad Native” generation instead of fighting against it.

Aside from Rocking Rockets, Exact Editions claims that “Technology continues to evolve at a rapid rate and education must evolve with it by developing new learning strategies and embracing new resources.” Essentially, digital magazines serve to improve child education and development by moving with the world and the inventions and innovations of the internet. Children benefit from this media because it is colorful, expressive, and interesting. The possibilities are endless when it comes to topics and learning material. Children benefit from reading and magazines are a step in the right direction.

Is screen time the enemy?

There have been many studies based on children and the amount of screen time that is acceptable. The findings range from positive and negative. Generally, children who are exposed to screens during the crucial developmental years are found to struggle with sleep, obesity, and language delays. At times these kids miss the building of social skills. Emotional cues and facial expressions are most commonly missed in this period when screen time isn’t regulated or left unchecked.

Along with the negatives, there still remain a few positives. It allows for better reinforcement of a lesson through videos, and it also gives home-schooled children more material to use and build off of. Other studies have shown an increase in creativity and healthy habits when exposed to the right material. Many believe, including SafeSearchKids, that it is less about how much they watch and more about the content they are consuming. Clear boundaries and monitoring can help detour several of the negative impacts.

How much does it cost?

Digital magazines are accessible and particularly low in cost. Medium claims that on average a consumer would spend $10 to $20 a month. There are several streaming services that cost more than it would be to provide a child with a digital, interactive, and educational magazine. Many try one or two before dedicating to a single magazine for their kids. Several digital magazines offer free trials to assist in helping a child or parent make a dedicated decision.

A parent can find this media on websites and apps like KidsWorldFun, Highlights Every Day, National Geographic Kids, Times for Kids, and so many more.

What do digital magazines directed toward kids have to offer, and what is the impact?

Through the resources cited and provided, many will be divided on the answer to this question. It is best to make decisions regarding your child based on your parenting style and your kid’s general interests. Digital media, whether it be magazines for kids, articles, or videos, chosen with care and research can never be a wrong answer.

Kids will continue to learn, grow, and flourish through the growing digital presence. Digital magazines for kids are only the beginning of possibilities to come through online media.

Navigating the Storm: Digital Piracy and the Publishing Industry

In an era dominated by technology, the publishing industry has undergone a significant transformation with the advent of digital content. However, this transition has not been without its challenges, chief among them being the proliferating issue of digital piracy. From e-book sharing platforms to unauthorized downloads, the publishing industry faces a myriad of threats that jeopardize its economic sustainability and the livelihoods of authors. The multifaceted landscape of digital piracy requires an examination of its various forms and the impact it has on the publishing industry. Moreover, the exploration of the strategies employed by publishers and authors to combat piracy and safeguard their digital content.

Types of Digital Piracy

Interpol defines digital piracy as, “the illegal copying or distribution of copyrighted material via the Internet.” This action harmfully disturbs the creative productions, to include film, television, publishing, music, and some gaming. Explicitly, digital piracy within the publishing industry manifests in different forms, each posing unique challenges to content creators and distributors. One prevalent form is e-book sharing, where users upload and share digital copies of books on various online platforms. These platforms, often disguised as legitimate book-sharing communities, enable users to access copyrighted material without the legal and proper authorizations. Another form of piracy is the unauthorized distribution of digital copies through illegal download websites, where users can obtain books without compensating the authors or publishers. These illegal download sites often operate in the shadows of the internet, making it challenging for authorities to track and shut them down.

Impact on Digital Publishing

The impact of digital piracy on the publishing industry is widespread, affecting both reputable publishing houses and emerging authors. One of the primary consequences is the loss of revenue. As pirated copies circulate freely on the internet, potential buyers opt for the free versions, leading to a decline in legitimate sales. This loss of revenue not only affects the publishers but also has a direct impact on the livelihoods of authors who rely on book sales for their income. Additionally, digital piracy undermines the incentive for authors to produce high-quality content, as the lack of financial reward and stolen recognition diminishes the motivation to invest time and effort into producing compelling works.

Strategies to Combat Digital Piracy

Publishers and authors have recognized the urgent need to address digital piracy and have implemented various strategies to protect their intellectual property. One of the most common approaches is the use of digital rights management (DRM) technologies. The concept of DRM has historical roots in efforts to protect software, but its application expanded as digital media, such as music, movies, and e-books, became prevalent. In the context of digital media, the development of DRM systems gained momentum in the late 1990s and early 2000s. DRM involves embedding encryption into digital files, preventing unauthorized access and distribution. While DRM has been effective in some cases, it is not foolproof, and determined pirates often find ways to circumvent these protections. Moreover, DRM has faced criticism for potentially limiting the rights of legitimate users, as it can restrict their ability to share or transfer digital content across devices.

Another strategy is the enforcement of legal actions against piracy offenders. Publishers and authors have been increasingly proactive in pursuing legal recourse against those who engage in unauthorized distribution of their digital content. For instance, major publishing houses such as Penguin Random House, HarperCollins, and others have, at times, joined forces to file lawsuits against websites or individuals distributing copyrighted eBooks without permission. These legal actions typically aim to shut down the infringing websites and seek damages for the unauthorized distribution of copyrighted material. High-profile cases have resulted in the shutdown of major piracy websites, sending a strong message about the consequences of engaging in such activities. However, legal action comes with its challenges, including jurisdictional issues and the anonymity afforded by the vastness of the internet.

Collaboration and education are also integral components of the fight against digital piracy. Publishers and authors are actively engaging with technology companies, internet service providers, and law enforcement agencies to establish collaborative efforts to curb piracy. One notable example of collaboration and education initiatives aimed at preventing piracy is the Alliance for Creativity and Entertainment (ACE). ACE is a global coalition of leading content creators and distributors that includes major film studios, television networks, and streaming services. The primary goal of ACE is to combat online piracy and protect the rights of its members’ intellectual property. Additionally, educating the public about the impact of piracy on the publishing industry and the livelihoods of authors can contribute to changing consumer behavior. Initiatives such as anti-piracy campaigns and public awareness programs aim to foster a sense of responsibility among users and encourage them to choose legal alternatives.

The Sum Total

Digital piracy poses a formidable challenge to the publishing industry, threatening the economic sustainability of publishers and the livelihoods of authors. The various forms of piracy, from e-book sharing to illegal downloads, require a multi-faceted approach to combat this pervasive issue. Publishers and authors are employing strategies such as DRM technologies, legal action, collaboration, and education to protect their digital content and mitigate the impact of piracy. As the publishing industry continues to evolve in the digital age, finding effective and ethical solutions to address digital piracy remains imperative for the continued growth and innovation of the industry. Through a combination of technological advancements, legal measures, and public awareness, the publishing industry can navigate the storm of digital piracy and secure a sustainable future for content creators and distributors alike.

Digital “Ownership”

According to a study conducted by Virtua, 77% of Americans would prefer to own digital items rather than stream them. Between video streaming services, news publication subscriptions, audiobook subscriptions, and eBook subscriptions, Americans are exhausted by recurring fees without retention of a digital item. With the purchase of a physical book, consumers maintain the book until it is damaged or lost. Ownership of the physical book copy belongs to the purchaser of the book. This is not the case for the purchase of digital media.

Individual Readers

This issue of ownership is further exacerbated by the possibility of eBooks disappearing from a person’s device if a company wishes. In 2009, Amazon infamously remotely removed copies of George Orwell’s 1984 from purchasers’ devices. This quiet remote removal perfectly exemplifies this issue of ownership. While the issue was remedied and the books returned, the possibility of remotely removing digital media still exists, meaning that purchasers may lose access to a book they paid for.

If a platform is discontinued or a business goes under, the eBooks supported by the platform will become inaccessible. Unlike a physical book, access to an eBook is dependent on the platform that supports it. Currently, no procedures are in place to preserve the ability to access the book. If the platform disappears, so do the eBooks supported by that platform. In 2019, Microsoft shut down its eBook store, causing all eBooks purchased through its platform to be inaccessible. The retention of an eBook is contingent on the platform remaining intact.

The possibility of removal or disappearance of a purchased eBook reveals that the purchaser does not truly own a copy of the book. The purchase of an eBook is a license to read it, not true ownership. Additionally, purchasers are unable to allow others to borrow their eBook or to resell it as they could with a physical book copy.

“Digital retailers insist that ownership depends on the terms of an end user license agreement (‘EULA’)—that incomprehensible slew of legalese you reflexively click ‘I agree’ to dismiss. Those terms—negotiated by lawyers working for retailers and publishers—determine your rights, not the default entitlements of personal property. And buried within those thousands of words that we all ignore is one consistent message: you don’t own the books you bought; you merely license them. That is to say, you have permission to read them. Until one day, you don’t.”
The End of Ownership

Libraries

Libraries experience problems with digital ownership as well. Libraries cannot retain unlimited access to disperse digital media because it would be financially harmful to the publisher. From the library’s perspective, Libraries must repurchase eBooks after a certain amount of borrows. Libraries are bound to expensive subscriptions to eBooks that must be renewed. Therefore, libraries do not truly own the material they are purchasing.

Over the past few months, lawsuits in several states pertaining to libraries’ purchase and retention of eBooks have arisen. Multiple states are attempting to create legislation requiring publishers to sell eBooks to libraries at a “reasonable” price. Maryland passed legislation requiring this but was overruled in higher court due to copyright issues and constitutional boundaries. To quote the Opinion of the court, “Striking the balance between the critical functions of libraries and the importance of preserving the exclusive rights of copyright holders… is squarely in the province of Congress and not this Court or a state legislature.”

Legislation passed by states on this issue has proven unsuccessful thus far. This allows publishers to ensure that digital books are only borrowed or accessible through subscription, not owned. Libraries are left with soaring eBook subscription prices that must be paid over and over again, instilling fear that they may be unable to access the desired media due to cost.

Subscription Model

While many areas of digital media are shifting towards the subscription model, eBooks may be shifting away from it. Recurring fees and the possibility of losing a purchased digital book are concerning to consumers. Individual readers and libraries alike are concerned about the lack of ownership. If you must repurchase your book, do you really own it?

As a publisher, digital ownership must be approached from both a financial and ethical perspective. In a world moving steadily more digital, the thought of not truly owning any purchased digital material is concerning. Americans’ attitudes about digital media are changing, and publishers should adapt their methods to align with consumers. Publishers should consider how to best accommodate the needs and wants of consumers in a way that preserves financial growth.

From Fanfiction to Film: How Wattpad is Ushering in A New Age of Writing

Wattpad is an online community of authors and readers that hosts stories from typically unpublished authors. The site is unique in combining social media and a reading platform, which allows readers to interact with the books and the author. Wattpad was founded in 2006 by Allen Lau and Ivan Yuen as an e-reading platform where “readers could download an app to read and chat about fiction shared by professional and aspiring writers from around the world.” According to Lau, being mobile was the top priority. This mobility allowed for interaction on the site to skyrocket. Wattpad appeals to up-and-coming writers who wanted to distribute their work without going through a publishing process.

Writers typically release the book a chapter at a time and readers can make in-line comments on stories, allowing the writer to adjust the book to the reader’s preferences. Wattpad readers are primarily young people who were drawn to the appeal of free books written by their peers instead of older, more established authors. Many of these young authors became success stories through the constructive criticism and praise they received from their fans.

Anna Todd and Happily Ever After

Wattpad has been a powerhouse for undiscovered authors in the past few years. Anna Todd’s After began as a Harry Styles fanfiction in 2013. Written under the name @imaginator1D, After became an almost overnight success, with the fanbase reaching the hundreds of thousands. Todd wrote the majority of After on her phone, with no outlining or proofreading before she uploaded the chapter to Wattpad. While some may dislike the lack of outline, Todd and her fans equally enjoyed the “social writing” model. Todd would listen to her fans’ feedback and adjust the story to their preferences in real time. Not only did Todd’s fanbase grow, but the relationship between the fan and the author grew as well. Readers felt like they had a say in the story, which increased their loyalty to the author, as well as their willingness to offer financial support.

With the help of Wattpad, Anna Todd received a book deal with Simon and Schuster in 2014, just one year after she published her first chapter on Wattpad. After was also granted a movie in 2019, with three sequels to follow. Todd’s story is a testament to the power that her fans and Wattpad hold. The first movie currently holds an 18% on Rotten Tomatoes, though fans give it a significantly better rating of 66%.

Wattpad to Movie Pipeline

Though Todd’s story is one of the most notable, it is far from the only success story that has come from Wattpad. At seventeen, Beth Reekles became the youngest Wattpad writer to score a book deal for her story, The Kissing Booth. Reekle later went on to earn a movie deal with Netflix, though that movie also did poorly on Rotten Tomatoes. Despite the abysmal critic reviews, The Kissing Booth garnered immense fan support. According to Sara Perez, this disconnect is due to the “built in audience” of Wattpad users.

Readers don’t just read and watch these stories, they create them. Wattpad utilizes the fan base when adapting stories for film. In an article for Quartz, Adam Epstein discusses Wattpad’s story-to-film process. The fans are integral to the adaptation process, with some “superfans” gaining access to the script to provide feedback before the film hits the box office. This process seems to work well. Epstein writes,

Most books come with a built-in audience, but this one comes with a built-in audience that’s also invested in the development process itself. It not only makes them more inclined to watch the show when it comes out, but leads them to become evangelists for the project on social media, which helps build buzz.
Adam Epstein, Quartz

Wattpad is unique in that its user base not only reads and shapes the stories on its platform, but also the way the stories transition off the platform.

Story DNA

According to Aron Levitz, the fans’ engagement is part of the “microtrend,” which allows Wattpad to know what will sell based on the size of the fanbase and reader engagement. Macrotrends are made possible by Story DNA. Story DNA is Wattpad’s deep-learning AI technology, which, according to Ashleigh Gardener, “deconstructs stories into their elemental features, such as sentence structure, word use, and grammar,” This gives Wattpad further insight into what makes a story popular outside of comments, likes, and shares. As a result, up-and-coming stories are given a greater chance at being discovered and transitioning off of Wattpad. The development of this technology is leading to a future of reading that is not just consumed by the reader but also formed by them.

Wattpad is unique in the fact that it is constantly reinventing itself to the benefit of its writers and readers. Wattpad has adapted from merely presenting stories to publishing them and promoting them outside of the digital platform. Wattpad not only publishes for fans but with the fans. The future of reading is driven by the reader, not the author or publisher.

What Publishers Can Do to Increase Learning in Digital Textbooks

Focus, comprehension, and critical thinking are shallower when one is reading on a digital device rather than on paper. An Insider article with Patricia Alexander and Lauren Singer showed that reading is faster on a device than on paper. Most people tend to skim through the text in order to find the “answer” rather than closely reading the text.

Despite the overwhelming evidence in favor of print books, we live in a digital age. Many students use free, or even illegal sites to get their textbooks because of the rising costs of education. While e-textbooks are significantly cheaper, that price cut simply cannot compare to a free resource when the student is getting the same experience. Digital textbooks must go beyond simply offering the text and give students an immersive and intuitive approach to learning that has adapted to the digital world.

Limit amount of text on a page

One of the biggest obstacles to close reading in a digital format is text overload, especially when it is formatted as a big block of text. Something that gives digital textbooks an edge over sites like Project Gutenberg is the ability to break up text. Project Gutenberg is popular among students for its free and legal access to many required readings; however, the site is clunky and the HTML format means that the student is forced to read through a wall of text.

Scrolling

Scrolling is one of the worst things a student can do when trying to read online. Even if the student has put away their phone, scrolling through their required reading is one of the biggest distractions for a student. In a study done by Pablo Delgado, Cristina Vargas, Rakefet Ackerman, and Ladislao Salmeron, “scrolling may add a cognitive load to the reading task by making spatial orientation to the text more difficult for readers than learning from printed text.” The mind diverts attention that could be used for comprehension to tracking the text as the reader scrolls, telling the finger to scroll, and when to stop scrolling.

Length

If scrolling is bad, how do publishers fit all the information on the page? Well, they don’t. The best way to help a reader digest information is to limit the amount of information on the page. According to Laura Singer, any more than 500 words on a digital “page” will overload the reader and impact comprehension. You eliminate text overload by fitting a section to a page. This also carries the added benefit of geospatial recognition that is similar to print books.

Headings

The physicality of print books is something that has been increasingly hard to replicate on the digital scale. The geographical place of text within a codex is a key point in how students remember details and it is extremely difficult to digitally replicate. This is where headings come in. Headings and subheadings help to position the reader in the text and break up the text into easier-to-digest sections.

Remove Distractions

The biggest edge that print books have over digital books is their lack of distractions. Many digital textbooks must be accessed online, which requires the student to navigate to a search engine, type in the name of the publisher, log in, and access the textbook. Not only does this limit study time to times where the student has access to the internet, but there are so many opportunities for students to get distracted. It would be easier for students to access their text through an app that allows offline access.

The use of flashy colors and animations can succeed at grabbing a student’s focus, but they can also steal attention away from the material. This is the same concept as scrolling. When the brain has to take in any kind of movement and read a text, comprehension is going to be compromised.

Offer Customizations

The largest benefit over both print books and free websites is customization. The ability to customize the textual space goes beyond aesthetics. Accessibility is easiest in the digital format, where one can quickly change between fonts, colors, and text size. A student with dyslexia can change to a font that better supports reading. A visually challenged student, or a student that learns better through auditory input, can use a text-to-speech feature.

The ability to take notes in the margins is an important part of gaining a deeper understanding of the text; however digital textbooks are unable to provide comparable in-text note taking features. The options are so abysmal that the UNC Learning Center suggests creating a word document for each individual chapter, or writing notes out on a separate sheet of paper. These options take away valuable time and focus from comprehending the text. Furthermore, these options will quickly become bloated and confusing. Publishers must develop an in-text note taking and annotation system in order to have an edge over print books and free resources.

There are benefits and drawbacks to every type of textbook, but the purpose behind every one of them is the same: To help students learn. Education is rapidly moving towards a digital model and students demand textbooks that can keep up.

The MetaJacket

As digital publishing platforms become more expansive in formatting, availability, and range, digital book covers have reemerged in importance. Originally, book covers were ornate designs made for the rich, then a protective measure for books, before finally becoming chest pieces in book marketing. Designs not only had to be somewhat reflective of the book but also needed the ability to draw potential readers. Author and columnist Tim Kreider even states that there are two main “principles of design—in books:”

1. Your product must be bold and eye-catching and conspicuously different from everyone else’s, but
2. Not too much!
https://www.newyorker.com/books/page-turner/the-decline-and-fall-of-the-book-cover

The same principles hold in digital publishing now, as many websites now mimic the appearance of front-facing books in physical books shop: Kindle, Play Books, Libby (OverDrive), ComiXology, Radish. Previously, platforms like Tapas and Webtoon predominantly displayed thumbnails where the covers were constrained to a one-by-one square designed to take a small portion of the screen. Much like Audible displays their audiobooks and how Radish formats their serialized stories now. Nevertheless, in recent years both websites have changed to include a larger thumbnail that mimics the design of a physical book. The change can most likely be attributed as a testament to the quality of the art and story to lure more readers, similar to how traditional publishing markets a book.

Moreover, the cover of an e-book can deter readers from even purchasing a book, and according to Giles Clark and Angus Phillips in Inside Book Publishing, “books without covers on Amazon do not sell well.” It reinforces the idea that digital book covers have become a vital form of metadata that, as Sophie Darling quotes, “acts as a ‘visual portal.” Metadata, in simple terms, is “any data that describes your book.” This, in turn, with the fact that book covers now take up more space in digital publishing platforms, makes book cover designs more crucial to the success of the book in the digital market. Especially since more traditionally published books with proper funding are becoming more easily accessible in these markets. For example, Marissa Meyer’s The Lunar Chronicles and her Renegades series are slowly becoming available on Kindle Unlimited. Meyer’s book covers have also taken on a more stylized, illustrative, and dynamic design to appeal to a slightly more modern readership after ten years.

Meyer’s original covers for her Lunar Chronicle series.

The new covers for The Lunar Chronicles series. These are the current covers displayed within the Kindle store.

This is a rising trend in print books and among self-published authors in the digital bookscape. Rendering Kreider’s initial belief that “the illustrated book cover, like painted movie posters or newspaper comics, is pretty much dead” as grossly inaccurate. That, along with the idea that book covers were a concept that would phase out. Furthermore, massive digital book platforms like Kindle and Google Play Books display the cover of a book for approximately a few seconds before opening the body of the text. Thus, reinforcing the idea the book cover is essentially promoting valuable ideas concerning the work. As Nielsen, a book retail sales analysis group, states:

“Given the indications that we have for online sales, there is a strong suggestion that supplying complete and enhanced metadata will be even more vital for e-books, where the bibliographic data is the consumer’s only source of information. The implication is that as the book industry takes its next step into the digital age, metadata will not only remain an essential part of the industry but become increasingly important.”
(Breedt and Walter)

However, as important as these book covers are, many self-published authors starting out cannot afford to commission an artist to create any type of cover. These authors often create book covers themselves using free stock images or with their own artistic talents like Kimberly Lemming. To better market their books to make up for their poor metadata book jackets, authors utilize many social media marketing trends like those on TikTok that draw the focus towards the body of work rather than the less than impressive e-book cover. They present presumably the best excerpts from their novels as well as themes they consider impressive or exciting to garner interest.

Nevertheless, a book cover still is, as Bill McCoy says, “an introduction to the experience you’re going to have in consuming this [its] content.” Moreover, as platforms continue to push book covers forward, they are becoming a form of metadata worth investing in. A prime example would be Ruby Dixion’s special edition covers for her Ice Planet Barbarians series. She recently invested in a new cover for a print version of her book, as she finally had the funds to do so. However, as this author grows, she seems to be slowly replacing all of her book covers for this series and updating the metadata in Google. This is an indication that these new stylized, illustrative covers are seemingly testing better with her growing readership and bringing her more readers than her previous book covers.

Bibliography

Breedt, Andre, and David Walter. 2012. “White Paper: The Link between Metadata and Sales.” Nielson BookData UK., January.

Clark, Giles N, and Angus Phillips. 2019. Inside Book Publishing. London ; New York: Routledge.

Darling, Sophie. 2019. “How Are Book Covers and Their Components Represented in the Digital Market?” Interscript Journal, no. 2 (June): 20–35. https://doi.org/10.14324/111.444.2398-4732.004.