Immersive Narratives: Navigating the Transformative Landscape of Interactive E-Books

In the ever-evolving landscape of contemporary reading experiences, interactive e-books have emerged as a transformative force. By seamlessly incorporating multimedia elements into storytelling, these e-books represent a significant shift in the digital publishing sphere. The emergence of new media formats has led to increased demand for immersive storytelling beyond traditional text. This growing demand for interactive content is reshaping the digital literature landscape, prompting publishers to adapt and innovate. The infusion of multimedia not only enhances the visual appeal of narratives but also fundamentally changes the narrative structure, leaving an enduring impact on reader engagement. This exploration delves into key aspects of this dynamic literary landscape, covering the evolution of reading experiences, the diverse benefits of interactive e-books, the digital tools empowering creators, the impact on authors and publishers, and a glimpse into the future with advancements like virtual and augmented reality. Through this journey, we unveil the profound influence of multimedia integration on storytelling and the ever-evolving nature of reading experiences.

The Evolution of Reading Experiences

The landscape of reading experiences is currently undergoing a profound transformation, witnessing the decline of traditional print books in favor of the dynamic realm of digital interactive e-books. This shift represents a broader change in the interaction between readers and literature, driven by historical events and technological advancements. Pivotal moments in the history of publishing have marked the transition from print to digital formats.

The invention of the printing press, for example, revolutionized the accessibility of books, making literature more widely available. Fast forward to the digital age, and innovations like e-readers, tablets, and smartphones have opened entirely new avenues for interactive storytelling. This blend of historical context and technological progress has not only reshaped the medium through which stories are conveyed but has also led to a noticeable shift in reader expectations and preferences. Readers today, accustomed to the convenience and interactivity offered by digital platforms, seek a more engaging and participatory form of literary consumption.

Moreover, as interactive reading technologies continue to evolve, the evidence is in the growing attraction of readers to these platforms. The increasing popularity of interactive e-books, immersive storytelling apps, and augmented reality reading experiences indicates a demand for more dynamic and participatory engagement with literature. This trend highlights the interplay between history and technology, shaping interactive reading experiences.

Benefits of Interactive E-Books

Interactive e-books provide a wide range of advantages by catering to diverse learning styles and offering a versatile platform for visual, auditory, and kinesthetic learners. This adaptability positions them as valuable tools, addressing individual preferences and reader needs effectively. The integration of multimedia elements plays a crucial role in enhancing storytelling, elevating the reading experience to a multi-sensory journey. Through the seamless combination of visuals, audio, and interactive components, these e-books go beyond traditional narratives, captivating readers in a more immersive and engaging manner.

The cognitive benefits of interactive storytelling extend beyond mere entertainment, contributing to heightened reader engagement and comprehension. This dynamic approach triggers psychological processes that foster deeper cognitive involvement, making the reading experience not only enjoyable but also cognitively enriching.

In education, digital tools empower textbooks to leverage the potential of interactivity. Features such as quizzes, interactive diagrams, and multimedia content significantly enhance the learning experience, offering students dynamic and engaging educational materials. This intersection of technology and education highlights the potential of interactive e-books to revolutionize not only recreational reading but also the presentation and absorption of educational content. The seamless integration of interactive elements into educational materials reflects a shift towards a more engaging and effective learning environment, where technology plays a pivotal role in shaping the future of education.

Digital Tools for Crafting Interactive E-Books

Authors and publishers entering the realm of interactive e-book creation are equipped with a diverse array of digital tools, software, and platforms to bring their narratives to life. Notable options include Canva, known for its user-friendly interface and straightforward design capabilities; Scrivener, offering comprehensive tools for organizing and composing content; and Amazon’s Kindle Create, tailored for crafting e-books compatible with the Kindle platform. Kotobee Author stands out for its quiz features, while Pandasuite offers versatile solutions with options for both free and premium features.

The user-friendly nature of these software and applications is a pivotal aspect, enabling creators to seamlessly integrate multimedia elements into their e-books without a steep learning curve. This accessibility empowers authors and publishers, regardless of their technical expertise, to enhance their storytelling with visuals, audio, and interactive features, fostering a more engaging reading experience.

The Impact on Authors and Publishers

The advent of digital distribution and online platforms has ushered in a new era for authors and publishers, expanding the reach and accessibility of literary works. Digital formats have dismantled geographical barriers, enabling authors to connect with a global audience, reaching readers far beyond traditional distribution constraints. This democratization of access has not only broadened the exposure for established authors but has also provided a platform for emerging voices to be heard.

Authors today have evolved into multimedia storytellers, playing a pivotal role in shaping the landscape of content creation and marketing strategies. With interactive e-books, the traditional boundaries of storytelling have expanded, prompting authors to incorporate multimedia elements seamlessly into their narratives. This shift not only enhances the storytelling experience but also requires authors to engage with diverse media formats, influencing the way they craft and present their literary works.

The impact of interactive e-books extends beyond the creative process, sparking a wave of creativity, innovation, and new opportunities for author-reader interactions. Through features such as interactive discussions, feedback mechanisms, and collaborative elements, authors can actively engage with their readership. This dynamic exchange fosters a sense of community and collaboration, transforming the reading experience into a shared journey. As authors embrace the possibilities of interactive storytelling, they not only unlock new dimensions of creativity but also cultivate a more engaged and participatory relationship with their audience, shaping the future of literary expression.

The Future of Interactive E-Books

The future of interactive e-books is poised for groundbreaking advancements, with the integration of virtual reality (VR) and augmented reality (AR) technologies at the forefront of these transformative developments. These immersive technologies hold the potential to transport readers into dynamic, three-dimensional worlds, elevating the reading experience to unprecedented levels. VR can create fully immersive environments, while AR overlays digital elements onto the real world, offering a spectrum of possibilities for interactive storytelling.

Anticipated developments in sensory engagement further underscore the evolving nature of interactive e-books. Innovations such as haptic feedback, which involves the sense of touch, and interactive simulations are on the horizon, promising to redefine reader immersion. Haptic feedback can simulate the tactile experience, allowing readers to feel the textures and sensations described in the narrative, enhancing the overall sensory engagement. Interactive simulations, on the other hand, provide readers with hands-on experiences within the digital realm, fostering a deeper connection with the content.

As these advancements unfold, the future of interactive e-books appears to be a realm where readers not only consume stories but actively participate in them through multi-sensory experiences. The integration of VR, AR, haptic feedback, and interactive simulations is set to propel interactive e-books into uncharted territories, offering a glimpse into the limitless possibilities that lie ahead for the evolution of digital storytelling.

Conclusion

In conclusion, interactive e-books have revolutionized modern reading experiences, redefining storytelling through seamless multimedia integration. Beyond entertainment, this transformation holds the potential to reshape societal norms, influencing knowledge dissemination. The embrace of multimedia not only caters to evolving reader preferences but also enhances inclusivity, making literature and education more engaging. Continued investment in interactive e-book technologies is essential for literature’s future, offering innovative storytelling and learning experiences as technology advances. This ongoing development ensures literature adapts to the evolving needs of a digital world, marking a narrative evolution that unlocks new dimensions of knowledge, creativity, and engagement.

AI Writing, Self-Publishing, and the Culture of Instant Gratification

The digital age has ushered in a culture of instant gratification, where people expect to get what they want when they want it. This is especially true with the advent of AI writing and self-publication tools that make it easier than ever for anyone to become an author or content creator almost overnight. But while these new technologies have made creating and sharing content faster, there are some potential drawbacks as well.

The traditional process of publication is a lengthy one. The process from submission to publication can take an average of nine to eighteen months, or even upwards of two years. This time excludes the writing and editing process, which, depending on the book, can add months or years. In the age of instant everything, that is simply unacceptable.

Enter Self-Publication

Self-publication has gone through many evolutions in the digital age, with each iteration becoming more accessible to the public. Desktop Publishing, was introduced in the 1970’s with the adoption of word processing software. Though this form of self-publication was easily accessible by the masses, it was still costly. “Print on demand” revolutionized the self-publishing world. Publishers were no longer responsible for mass printing costs, inventory, and distribution, which further opened the world of self-publication to the public. The blog era allowed authors to reach the masses and publish their works via PDF, with even Stephen King joining in.

Amazon Kindle Direct Publishing was introduced in 2007 to “democratize” the publishing industry. Amazon made it easier than ever to self-publish a book and offered authors 70% of royalties and has since grown to offer more incentives and opportunities to authors. In 2011, authors who gave full digital rights to Kindle were offered KDP Select. KDP Select members exclusively received a higher percentage of royalties and promotional tools. Amazon expanded KDP again in 2016 to include print publishing and has added options for hardcover and lower-cost color printing in the following years. Amazon adapted to the bite-sized market and introduced Kindle Vella in 2021, allowing authors to publish “serial” style stories.

Self-publication and all of its advancements have reduced publishing time from a year and a half to fiv e minutes. It makes sense that the writing process is next on the proverbial chopping block.

Instant Gratification and Independent Authors

In the age of instant gratification, authors are racing against the clock to produce content before readers move on to another writer. Jennifer Lepp, a self-published “cozy paranormal mystery” writer, gets about four months to produce a new work. That deadline is doable, barring any creative setbacks. When those setbacks do happen, it could be catastrophic for reader engagement. Enter AI, specifically Sudowrite in Lepp’s case. Sudowrite is an AI writing tool specifically geared to creative writers. Before we ask if we should use AI, we should understand what it is.

AI Writing

AI has gained increasing notoriety in the past few years by tackling everything from editing and proof-reading to content creation in a few minutes. Most AI geared towards writing has been trained with GPT-3, a program specializing in text completion. This AI program can “understand and generate natural language.” Proofreading, editing, and even writing can be given to most AI software with relative ease. In fact, the introduction paragraph to this article was written by Jasper, an AI program commonly used for text generation. AI is incredibly useful in writing shorter bits of text and it saves writers a ton of time, which is necessary in today’s fast-paced world that demands new content at all times.

The ethical question of AI writing

Just because something is useful does not mean it should be used. The ethical dilemma of AI writing is one that has hounded its users since its inception. In an interview with The Verge, Jennifer Lepp expanded on the ethical dilemma of using AI tools that the writing community is facing. Questions concerning authenticity and intellectual ownership are at the forefront of these debates.

Many authors fear that their work will no longer be original if they allow an AI to write for them. The Author’s Guild argues that human art and literature is advanced by individual experiences, and that AI works will stagnate without human input. AI learns from other people’s work on the internet and compiles that knowledge to generate new work. It could be argued that the writing is plagiarized because it is informed by other author’s works without giving them credit; however, every piece of media informs and is informed by other pieces of media. True originality is not possible, especially in a society that is so digitally connected.

Another concern with AI writing is ownership of the piece. Should the AI program be listed as the author? According to US copywrite laws, no, and others agree. The Alliance of Independent Authors added a new clause to their code of standards regarding AI. The code calls for the author to edit the generated text and ensure that it is not “discriminatory, libellous, an infringement of copyright or otherwise illegal or illicit.” The responsibility of legal compliancy falls on the author, not the AI.

Some writers fear that the AI will take over their writing. In a Plagiarism Today article, Jonathan Bailey goes as far as to say that writers are completely powerless when using an AI. Jennifer Lepp certainly experienced this power imbalance in her writing. She would give Sudowrite an outline, press expand, and keep feeding the algorithm until it spat out a finished product. This process led to a disconnect between herself and the stories she was creating. Now, Lepp offloads certain details to the AI, like the description for a hospital lobby. With her current system, she is still seeing an uptick in productivity while still being much more connected to her work.

The integration of AI is unavoidable if self-published authors are going to keep up with the demand of readers steeped in a culture of instant gratification. Though there should be self-imposed limits to the use of AI, authors should not avoid using it entirely. It is the responsibility of the author to inject the humanity into the writing.

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.

Interactive E-Books: Where Did They Come From, and Where Are They Going

Interactive e-books are taking the digital world by storm. However, while recent developments in electronic texts are exciting, the revolutionizing of book interaction is not new. Publish Drive explains,

Even if we don’t count coloring books, pop-ups and all kinds of hands-on books for kids, traditional printed books that allow the readers to interact or change the story some way or another have been around for a while now.

Interactive e-books are mimicking innovations made in interactive print publishing while also creating new features unique to the digital medium.

The new features of e-books increase audience engagement by including media that the reader can play with. Publish Drive continues, “Interactive ebooks come in two major forms: apps and enhanced ebooks.” Essentially the e-books are made for browsing through an app on the web, on a mobile device, or on a desktop, and the app supports the media.

The other option involves creating an ePub file that internally supports all the different media. “Books made this way are called enhanced ebooks, and offer a significant level of customizability. This includes easy to enlarge pictures, embedded video and audio, and excellent accessibility.”

Features of Enhanced E-books

Authors have a vast array of features they can choose to utilize in their interactive e-books. Videos, animations, and voice-overs are popular inclusions. For visual aids, companies like Pearson use interactive diagrams with pop-up labels and definitions, changing infographics, responsive maps, calculators, and other activities that promote visual learning and engagement.

The most salient features though, include supported activities that can usually be found in print books as well. Features such as quizzes, word searches, comprehension activities, and checklists that e-books can generate and check. No more looking up the answers in a guide or waiting for class reviews; the books can do it all on their own.

Two main factors limit the types and volume of additional media that the author can put in their e-books: copyright restrictions and file size restrictions. If copyright prevents the inclusion of videos and other media, then try embedding them. If they block embedding, then link.

Amazon charges a “delivery fee” for some sales based on the size of the e-book, so authors working with them should be aware of that. As Kotobee says, “Otherwise, the main concern with a large file size is happy readers.” Audiences will tolerate large file, i.e. time consuming, downloads for important texts like academic textbooks much more than pleasure texts like novels.

Examples of Enhanced E-books

The interactive e-books on the market typically fall into three categories: academic texts, adult texts, and children’s books.

According to Iltifat Husain, MD, the most interactive textbook on the market is Ganong’s Review of Medical Physiology. The book features pop-up definitions, interactive label diagrams, surgery videos, and extensive annotation capabilities. Pearson’s Biology and Houghton Mifflin Harcourt’s Modern Chemistry also rank pretty high for number of downloads but lack elegance, says Alex Reinhart.

The adult-oriented interactive e-books fit several different genres; novels like The Magic of Reality by Richard Dawkins and Do or Die by Clark Kokich do well on the market. The most promising entertainment genre though appears to be cookbooks. For example, Look&Cook is an interactive cookbook that includes the usual step-by-step instructions along with voiceover instructions, built-in timers for recipe steps, video tutorials, and emailed shopping lists.

Children’s books typically feature animations and background music like the ones in Two Worlds, One Child’s Heart by Vered Kaminsky and Sparklify the Earth by Sandra Rose Gunn, which Publish Drive’s blog promotes.

Platforms for the Creation and Distribution of Interactive E-Books

Not all interactive e-books have to be coded by hand though. Kotobee offers a platform specifically geared to enhanced text creation through widgets. Flip PDF does the same thing and enables PDF-usable for the initial upload. Apple’s iBook Author, Aquafadas, PubCoder, Atavist, Calibre, and Sigil all offer the same capabilities. Most platforms that facilitate e-book creation will enable enhanced e-books. Platforms for distribution are a different story, though.

Two things determine access to interactive e-books: the device and the distributor. For example, Amazon supports enhanced texts, but their Kindles do not. Kobo tablets support enhanced texts, but leave their apps and other devices lacking. Google Play Books does not support interactive e-books, but Apple iBooks does. Consequently, authors and publishers bear the responsibility of knowing what platform the audience will use.

Success for Interactive Iterations of E-Books

Interactive texts continue to climb the ranks for B2B publishers, students, and casual readers. Map Systems India explains that for students an enhanced e-book “helps them to participate in the learning process, increasing their activities on the platform. For instance, you need not explain them the procedure of completing a task.”

Kitaboo published an article that details all the ways interactive texts surpass regular e-books such as being easier to update and revise. Furthermore, interactive texts provide: more accessibility to readers who may struggle to read a standard e-book; the ability to “link content to additional resources;” and, “Content creators/publishers/institutes/enterprises can set up an assessment for post learning evaluation and even need analysis.”

Kitaboo also claims,

Through the functionalities of interactive eBooks, creators can embed multimedia which makes the content contextually relevant and easier to relate with. Integrating technologies give students an opportunity to learn by viewing 3D models. This adds a layer of information over reality to enhance the learning experience.

Implications for the Industry

Enhanced e-books appear to be here to stay. Snap App says, “This sustained popularity means static ebooks are only going to become more saturated, and readers more numb to them.” Only recently have companies begun to understand how important their digital content is. Reinhart complained about the sloppiness of the e-books publishers are putting out when he stated:

It seems that textbook publishers are only willing to invest effort in multimedia, animations, and interactivity for big intro books—books which will sell tens of thousands of copies to bored students who will generally avoid reading them.

Consequently, good interactive e-books may be far and few between for now, but the ones coming in the future should be truly revolutionary.

Changing the World with Worldreader

Worldreader, the lovechild of Amazon and higher education, gained three million new users in 2018, bringing the total number of individuals the company has reached to 10 million according to Publishers Weekly’s Ed Nawotka.

Worldreader, a charitable organization that promotes literacy and learning through technology, was founded by David Risher, previously both a general manager at Microsoft and Amazon’s senior vice president for Retail and Marketing, and Colin McElwee, the first Director of Marketing at ESADE Business School in Barcelona. As an AllAfrica article on Worldreader explains, Risher and McElwee’s initiative “provides people in the developing world with free access to a library of digital books via e-readers and mobile phones.”

Worldreader intends to bridge the gap in education that permeates developing nations. According to CIO’s article “Worldreader Launches E-reading Program in Rabai,” “only one in nineteen African countries has anything close to adequate book provision in schools.” To change that, Worldreader gives away Kindles and Tablets, loaded with e-books, to disadvantaged peoples in Africa, Asia, and the Americas.

What Worldreader has to Offer

Worldreader re-evaluates its e-book catalog each year based on reading levels and gauged interest. The 35,000 works that it offers fit all different categories to engage readers fully – AllAfrica says the e-books are “texts for all ages; books that are supplementary reading for education; vocational books; books for low literacy adults; and basic books to get parents to tell stories to kids.”

Worldreader offers three different apps so that readers can access the e-books on mobile devices. The regular Worldreader app enables users to set and track reading goals through gamification and supports offline reading, which the frequently low-fi status of the villages necessitates. The unique language support feature contributes the most to Worldreader’s success: the app supports all modern written languages from Hindi to Arabic.

The organization also offers a “Worldreader Kids” app. Like the original app, it enables offline reading – however, the child-friendly app includes personalized avatars to entertain young ones while they read the illustrated children’s e-books.

The “Worldreader Student” app works on Android devices and supports reading level analysis as well as other insights to help the organization tailor the program for students.

Worldreader also offers a product it calls a BLUE Box, which the charity designed for schools and libraries. The BLUE Box costs $15,000 per package and consists of 5,000 e-books pre-loaded onto 50 Kindles (sometimes donated Android tablets) with full Worldreader operational support. The products Worldreader supports feed directly into its established programs.

Moreover, the charity boasts an incredible range of partners, donors, and patrons. Worldreader is partnered with publishers such as Pearson, Penguin Random House, and Rosetta Books, and supported by organizations like EBSCO, Google, LinkedIn, and the UN. Additionally, Amazon, Samsung, and Microsoft all make products for Worldreader at low cost.

Worldreader’s Reading Programs

Worldreader outlines four major reading programs: Pre-Reading, School Reading, Library Reading, and Lifelong Reading. The “Worldreader Kids” app feeds into the Pre-Reading program, which aims to get parents and teachers reading with young children to establish the importance of literacy young. Worldreader’s 2018 Annual Report says that learning to read at a young age dramatically increases a child’s earning potential which “increase(s) their chance of breaking the cycle of poverty and create(s) inner capacity to build healthier and more equitable societies.”

The School Reading program correlates with the student app and BLUE Box to provide material to both student and teacher. UNESCO states that “an astonishing 617 million children and adolescents worldwide are not reaching minimum proficiency levels in reading. A lack of books prevents literacy acquisition and learning, blocking students from reaching their full potential.” Worldreader challenges this problem by providing students access to online textbooks through their program.

Worldreader has several initiatives in both the Library Reading and Lifelong Reading programs: the Library Reading program has LOCAL (Local Content for African Libraries) and LEAP (Libraries, E-Reading, Activities, Partnerships) which engage the public in e-book consumption. The Lifelong Reading program has AvanzaLee, a Latin American initiative focused on Mexican e-books, and Anasoma, an initiative geared toward gender equality.

Why E-readers instead of Print Books

Donating e-readers makes more sense than providing print books in an environment where scarcity oppresses. As Linendoll from CNN explains,

Carrying heavy loads of books is not practical for Kenyan students who often have to walk miles to and from school. E-readers, however, are a different story. They’re lightweight and portable and give students access to entire libraries, including books from African publishers.

The e-readers also allow for more technological intervention – between being data-driven and fully supported remotely, e-readers encourage more engagement in continents like Africa by supporting African languages. The technological literacy the readers attain also promotes the use of e-readers.

The founders, Risher and McElwee, explain that the previous favor print books held counteracts the goal of the charity,

Donating paper books to a place like Africa is well-intentioned, but it’s actually ill-informed. You can’t actually get the right books to the people you want to get to, at the time they need it. It’s very expensive and highly inefficient.

The expense of sending print books would be astronomical – the cost of production and shipping alone would already eat through Worldreader’s funds, and e-readers contain more content in half the size for pennies on the dollar. The volume and versatility of e-readers make them the clear choice for an operation of this size.

Some might worry though about the danger of theft when using tools so valuable; as Linendoll expresses, “The students, after all, go home to a community filled with poverty.” However, less than a single percent of e-readers has disappeared, which indicates the absences can likely be attributed to other factors, such as moving. “Books and education are really the way out of this, and people take great care of books and education,” McElwee stated.

Worldreader has pushed literacy through e-books with great results on four continents. Though the charity currently boasts 10 million users, Nawotka’s article “Worldreader Added 3 Million Users” reports that, “The stated goal for the group is to ultimately reach one billion readers.” These results should come as great news for e-book authors as Worldreader has expanded the digital publishing universe by opening up audience demographics that were previously left untouched. All an author has to do is write something worth reading.

The Digital Rights Tragedy of Microsoft’s E-Book Market

Microsoft’s discontinuation of their e-bookstore means that consumers will no longer be able to access and view Microsoft’s e-books. Customers who purchased the right to view the e-books within the past two years from the company are now unable to read them.

Microsoft updated their Edge browser to support e-book consumption in March of 2017 and began to sell e-books through the Windows 10 Storeapp. Microsoft then ceased selling e-books in April of 2019, resulting in the revocation of each consumer’s purchased right to view the e-books.

Consequently, buyers have been robbed of the transaction experience: I give you money and you provide me with the product.

Microsoft has shattered the trust given by consumers in a supposedly fair transaction. The e-books are simply gone with the wind “because company executives have decided it’s no longer worth keeping the store running.”

Companies are setting a precedent of making their products obsolete. Dave Lee writes about how there is no concrete equivalent that mimics the loss of ownership that is possible because of Digital Rights Management; physical bookstores are unable to take a customer’s material, purchased books away from them.

Digital Rights Management and Microsoft

DRM (digital rights management) is a systematic attempt to prevent the piracy of e-books. Microsoft utilized DRM and then had the issue of revoking every consumer’s right to view Microsoft’s e-books. Cory Doctorow writes that “this puts the difference between DRM-locked media and unencumbered media into sharp contrast.” Doctorow still owns e-books and MP3’s from organizations that are long gone, but Microsoft is forced to reimburse consumers because the company’s e-books cannot be viewed outside of Microsoft Edge.

Similarly, Josh Axelrod and Lulu Garcia-Navarro write about how cars and various smart home appliances are under DRM-lock as well. The permanence of cars, much like Microsoft’s e-books, are no longer guaranteed. If Tesla were to go under, a smart car can lose everything that makes it a Tesla. People paid for the car but not the ownership of the software.

Microsoft’s Downfall

A major issue for Microsoft was the lack of users for their Edge browser. Ed Bott states that “in the first three months of 2018, Microsoft Edge accounted for a paltry 8 percent of the 1.2 billion visits to government websites from consumer and business PCs and Macs.”

The minimal impact of Edge users combined with a system that was not built for convenience was too much for Microsoft.

In contrast, Amazon’s Kindle exemplifies e-book convenience. Amazon provides an inexhaustible source of e-books along with a portable device for reading them, and a free Kindle app which may be used when not connected to the internet.

For the few people using Edge the medium was ill-fitted for e-book consumption. Edge requires that the consumers view the e-book through the browser rather than allowing users to download the book. Having to view the e-book through Edge limits many users to only being able to view the e-book on a PC. Further, this exclusivity did not allow for e-book compatibility with Apple devices.

While exclusive compatibility is not without precedent, Microsoft lacked the fan-base that allowed for the complete alienation of competitor’s operating systems.

Further, Microsoft Edge users must be connected to the internet to view the e-books. Connectivity issues, lack of compatibility, and the requirement that the e-book be viewed in-browser stifle the appeal of Microsoft’s e-books.

What Microsoft Has to Say

Microsoft has not given many statements about why they are ceasing the sale of e-books. The first mention came in June when they posted on their website about the closure of their e-book store and eventual refunds for customers.

The FAQ mentions giving an additional $25 credit to individuals who annotated in their e-book. Microsoft is essentially paying for the consumer’s intellectual property which will be lost along with the rights to view the e-books.

The consumer reimbursements and Edge’s lack of traffic imply that Microsoft did not have many e-book sales in the first place.

Microsoft also recently indicated that e-books are not their focus, but rather that their app store is their priority when Microsoft stated that the company is “streamlining [its] focus’ on the store.”

The Future for Microsoft in E-Books

Microsoft’s foray into e-book sales utilizing Edge was not their first attempt at entering the market and it will likely not be their last. Microsoft invested $300 million in Barnes and Noble to create a separate Nook Media company in 2011, but this venture was terminated in 2014.

David Grossman writes that “MS Reader tried to sell books for LCD screens” in 2011. However, this project fell through in the same year due to a lack of usage and routine updates.

Whether or not Microsoft has given up on e-books, the company’s blunder has made evident the possibility for massive loss of content for consumers when dealing with DRM-locked content. Consumer trust will be difficult for Microsoft to earn back if they decide to wrestle with e-book sales again.

Whatever the future holds, hopefully Microsoft has learned from their past mistakes to avoid any future losses of this caliber in the e-book game.

I, Robot Author

Earlier this year, science-centered publisher Springer Nature produced the online textbook Lithium-Ion Batteries: A Machine-Generated Summary of Current Research. This e-book has no earth-shattering findings on the batteries, but it made headlines all the same: “This is the first time AI has authored an entire research book, complete with a table of contents, introductions, and linked references.”

AI Now

The first fully AI-authored e-book is here. Similarly, an AI-authored travel novel was released this year, though only in print. In The Verge, James Vincent wrote, “For decades, machines have struggled with the subtleties of human language, and even the recent boom in deep learning powered by big data and improved processors has failed to crack this cognitive challenge,” but this no longer holds true. Now multiple businesses have released writing AI in the past year, all capable of producing intelligible sentences.

Google, Springer Nature, and OpenAI produce the most crucial writing AI. Google’s BERT works with NLG or natural language generation. BERT aims to replicate the way language organically flows.

BetaWriter outranks BERT, though, for writers. BetaWriter wrote the first published e-book from Springer Nature. The publishing industry has hailed the 250+ page textbook as a turning point in the advancement of AI writing.

OpenAI’s GPT-2 also holds serious status for authors. GPT-2 excels in language modeling. The program can create anything from a realistic news headline to an entire story length tale from one line of input.

Positive Aspects of Writing with AI

Writing with AI can certainly benefit authors. The bots excel at matching texts in their samples, which makes them ideal for both writing passages in foreign languages and adding multiple versions of an e-book. Macho from PublishDrive touches on this subject saying, “This innovation shows a more accessible future translation market by listening to or reading a book out loud and getting them translated realtime.”

While the AI bots may not be able to write precisely what the author imagines, they can compile large libraries easily. This research aspect helps authors streamline the writing process. As Kevin Waddel points out in this Axios article, the bots’ function ideally to “Dig researchers out from under information overload.” This function benefits both academic writers trying to compile educational or experimental data and the pleasure writer logging settings, mythical characters, and historical events.

Bots also function within an established framework, making them ideal for online authors. Not only can AI compile all the information necessary to make writing easy, but authors can use the formatting “technicality” to format their e-book files with little error or effort. The bots can do all the formatting that people can, so authors and publishers should take advantage of what the bots can reliably do to maximize the payoff.

Downsides to Writing with AI

Writing with AI can come with some real drawbacks, especially if humans don’t run interference. AI learns through what it reads by searching for patterns, but that’s it. Macho explains, “The key lies in EQ or EI – whatever you call it – using emotional intelligence to engage your audience.” AI can only copy writing moves people because people are where the emotional intelligence comes from.

AI also struggles to understand the more profound meaning and context that often fills writing. The more thorough parts of the pattern analysis, deep learning, can still only measure so much. The resulting text, though accurate, is filled with continuity errors and cold opens. These issues regularly leave the reader confused or lost, which deems AI an unreliable tool for writers.

Many experts consider the AI’s self-learning from input to be the most dangerous drawback for writers. CNN and The Verge both criticized the newly available, high-quality AI writers for their potentially dangerous results. Vincent’s article in The Verge says the following:

In the wrong hands, GPT-2 could be an automated trolling machine, spitting out endless bile and hatred.” OpenAI’s helpful research tool could be used to publish hateful propaganda with minimal effort. These downsides and ambiguities raise many questions.

Questions About Credit

Whenever new technology develops, it always takes time for rules and general knowledge to catch up. With AI itself being so new, authors or publishers intending to use it don’t have very much guidance on doing so ethically. Coldewey of TechCrunch raises several questions about crediting when writing with AI:

Who is the originator of machine-generated content? Can developers of the algorithms be seen as authors? Or is it the person who starts with the initial input (such as “Lithium-Ion Batteries” as a term) and tunes the various parameters? Is there a designated originator at all? Who decides what a machine is supposed to generate in the first place? Who is accountable for machine-generated content from an ethical point of view?

Springer Nature credited the program itself in the textbook they produced, but this does not factor in the rest of Coldewey’s questions. In fact, those questions can’t be answered until the industry knows more about the instrument. In the meantime, each user must rely on their instincts for best practices.

Best Practices for Writers and Publishers

Some experts in AI gave their advice to authors and publishers about the truly effective ways to incorporate AI into their trades. Macho wrote, “There are two big areas of publishing where AI can (and will) make an impact: content analysis, recommendation and creation; and audience analysis.”

The best ways to use AI without cutting out the human touch are by using the bots for everything but the writing. Publishers should use the bots for marketing: find out the types of people viewing the content, their preferences, and then use the bots to implement a targeted marketing plan.

Authors should use AI to prepare their library for writing. The bots can compile all kinds of data which allows the author to focus only on producing the text. The bots could even theoretically produce dialogue to help the author create realistic conversations that sound varied and natural, especially if dialogue challenges the author.

Publishers and authors can both use AI to make widespread changes, such as name or location changes. They can also use AI to reformat the text and files for publication or to determine the best place to insert features like images and other interactive aspects. With these options, authors and publishers should feel motivated to incorporate the bots more effectively.

While writing AI advances further and further in ability each day, the writing AI produces has a very narrow audience, as Springer Nature’s e-book shows. People simply have more skill and nuance. AI can be incorporated more into the writing and publishing world, but only at the writer and publisher’s discretion.

Choosing the Right Platforms for eBook Production

Writing an eBook can be hard, like writing any book. It takes time to develop the story and commit it to paper. But then it enters a whole new era of life at the design and revisionary stages. A big part of publishing an eBook, or even a print book, is the actual making of the eBook files. There are many different types of files, half as many publishing platforms, and a hundred more writing and converting platforms. If the book is being published traditionally, the publisher will likely take care of all the designing and formatting, but if it’s not, it’s up to the author. It can be daunting to navigate the world of coding software without any guidance. The first step is deciding which file type, or types, will be most effective. Then, based on the file type, a conversion platform can be chosen. If it’s early enough in the process, a writing software will have to be chosen, too. Each choice is important and should speak to the needs of the author and eBook.

File Formats

There are four main types of files that eBooks are trafficked in: ePub, Mobi, PDF, and iBooks. The best format depends on the audience and the material. ePub is the best option for many because it reaches the widest audience and is available on the most devices, even newer Kindles. ePub can display either fixed text- for eBooks with heavy image or video embedding- or reflowable text. ePub files are essentially a ‘website in a box’, as it contains all kinds of files inside that allow the reader to navigate the text, images, links, etc.

The Mobipocket eBook files, or MOBI files, started as a proprietary file and was then adopted for the Kindle. Its files technically have a smaller audience because not all devices support MOBI files, but Amazon is the biggest eBook distributor worldwide. To help safeguard against piracy, MOBI displays both reflowable and fixed, and it by default has DRM, or digital rights management.

Next, having the smallest audience is iBook. It is only compatible with Apple products, which is not a problem if that is your target audience. The main distinction of iBook is the difference in CSS extension. Also, iBook does not afford the same interaction as Mobi and ePub.

Then there is the PDF, or the portable document format, which is a proprietary file of Adobe. PDFs are a frequent medium in the business world because they are great for fixed text. The audience sees the page exactly as the author does. It affords some interaction with links and has great results with pictures. However, PDFs often create reader problems, such as the text being too small. They are good for newsletters or short, free website extras. But these files generally aren’t ideal for eBook stores. They are very user-friendly, however, and rarely require a conversion platform.

Writing Platforms

The desired file format will influence the writing platform. Many people use Microsoft Word or Google Docs. The benefits to these platforms are clear: most people are familiar with the interface, it can export directly to PDF, and they’re good for dictating. Unfortunately, these are the only benefits. Both platforms have formatting issues and will require a conversion platform that can do some major heavy lifting for organizing, formatting, and designing.

One of the most popular author platforms is Scrivener. Of the purchase-necessary platforms, Scrivener comes in the lowest at $40. It is one of the few platforms designed for long term writing, is easily navigable, supports files of any type, and focuses on organization. It can be intimidating but contains features like the Corkboard for storylining and research, the Outline for quick editing and writing, and the Progress Bar where goals and progress are set and tracked. Scrivener will show pages side by side from different places in the book for easy description, editing, or fact-checking. It also tags metadata automatically. While Scrivener is hailed the ultimate author platform, it only exports to PDF, and so requires conversion software. Lastly, it does not enable collaborative editing and has a sharp learning curve.

An online author platform, Reedsy claims a distraction-free writing environment with collaborative editing. It publishes to ePub, Mobi, and PDF which makes it a great conversion platform as well. It focuses on an available ‘professional market’ where authors can link with editors and beta-readers directly but doesn’t handle any code manipulation. Consequently, this wouldn’t be a good designing platform. But it is free, and comes with an instructional blog, so it is great for new writers or authors only looking to produce one work.

iBook Author is another option for writing, but it quickly gets complicated. There is an Apple Pages extension separate from just iBook Author. IBA only exports to iBook; AP only exports to ePub. The two are not interchangeable and cannot be switched between. Not to mention, neither offer any advanced content design options. They can function as writing platforms, although they are probably used more for conversion.

Converting Platforms

Then there are the conversion platforms. These platforms convert documents from PDFs- or Docs or Word- and turn them into publishable files in ePub, Mobi, or iBook formats.

Reedsy has a separate conversion site that is somewhat popular. It supports heavy image editing, document styling, and additional document add-ins and exports to PDF, Mobi, and ePub. Like the writing platform, it is fully online and supports reflowable text and fixed text.

InDesign is a proprietary editor belonging to Adobe. It is great for working between Adobe programs like Photoshop or Illustrator. It is not cheap but comes in the Adobe license package. It is very in-depth and allows for great modification but can also lead to great confusion. InDesign handles images well and works in XHTML and CSS already formatted for ePub. It is great for the pros but has some drawbacks. Specifically, if images aren’t properly anchored, they can be pushed to the back of the eBook, it wasn’t designed for long term writing, and it is difficult to navigate. Lastly, InDesign only exports to ePub.

Another software conversion platform is Pressbooks. It is fairly cost-effective for authors on a budget and exports both ePub and Mobi. It has great brand support and was specifically designed for eBook-stores with print on demand options. The downsides of this platform are that it barely supports images, the templates are better suited for fiction writers only, and the design options are severely limited. Still, if the eBook is an image-free, fiction novel then Pressbooks will do nicely.

Similar to Pressbooks, Vellum comes with a larger price tag. It was designed for eBooks and only runs on Macs. Vellum is an efficient and simple platform. This platform is perfect for an eBook that is already complete and in need of conversion on a Mac.

Sigil is a software conversion platform that lets the author, or designer, deal directly with coding in the interface. It runs on all processing systems and only publishes to ePub. It offers full text translations and an easily navigable outline, as well as metadata editing. All in all, Sigil is a fully supported, but strictly conversion software.

Finally, Calibre is a free platform that converts nearly any input file into almost any output file. It exports to ePub, Mobi, Docx, and even TXT. Because of the lack of actual design or editing interface, Calibre is a more effective tool for readers building an online library, and not necessarily for an author publishing an eBook.

There are even more platforms available for writing, editing, and converting. While these platforms fit almost every author’s preference, no one should stop looking for their ideal one. Most of these platforms offer student and academic discounts, and frequently have sales and free trials. Some are better for pros, looking to publish frequently and with little effort. Some are better for the busy writer on the go, who wants to craft their eBook by themselves. Writing, designing, and coding eBooks can seem intimidating, but with all the platforms available, publishing online has never been easier.

Edited to remove repeated paragraph