OverDrive has just announced that as of May 8th, the entire digital catalog of Hachette titles will be available for public libraries to buy. The model will be one ”copy”/one user with no special restrictions. That means there will be no metering or expiration to access. Thanks to Jim for forwarding the official news release from OverDrive.
According to Publisher’s Weekly, 3M will also have access to the catalog, but they have not yet confirmed this with us.
Hachette is the parent publisher of Little, Brown and Company and Grand Central Publishing, so this is thrilling news indeed.
A follow-up to an earlier post: the founder of the Frommer’s brand has bought it back from Google so publication will resume.
August 13, 2012
Here we go again. Publisher Thomas Nelson, owned now by HarperCollins, has recalled all copies of The Jefferson Lies : Exposing the Myths You’ve Always Believed about Thomas Jefferson by David Barton, for inaccuracies and “misinterpretations.” Here is the story from PW.
All copies have been made unholdable and non-floating. When they land at your branch, please send to Service Center and put in Review status. Again emails will be going out to customers who were on the holds queue. Fortunately, this time there were only five copies and 9 holds on one print edition. Again the PAC will show no available copies.
Thank you for your help!
Posted by Darren
Is this terminology precise or puffery?
In the case of the cultural products we truck in – books, movies, ”albums” – it seems to be somewhere in between, an honest measurement that can nonetheless measure many different things. It’s just important to keep in mind the listing source and the criteria it uses when comparing apples and oranges.
Some sources that bestow bestsellerdom on books are the New York Times, Publisher’s Weekly, and USA Today lists, among many others. They all have their own criteria and methods for determining weekly sales ranks, the exact details of which are sometimes zealously kept secret (especially the NYT’s). Some pull out age groups, formats, genre and fiction vs. non-fiction, where others (USA Today) tend to shuffle in most everything, which can be interesting. Some survey retail outlets that are not primarily “bookstores” and some such as the American Booksellers Association’s survey only independent bookstores. Amazon.com ranks titles based on its own online sales. A nice niche list I like to review occasionally is the CBA BSL, which surveys Christian bookstores and often explains holds queues for titles that aren’t otherwise on the radar.
For a more cumulative, forest-level view of book sales, consult the Bowker Annual Library and Book Trade Almanac, reservable from our Professional Collection. Or if you’re willing to shell out tens of thousands of dollars you can try Nielsen BookScan or Book Industry Study Group (BISG) reports for the most rigorous sales analysis money can buy. Personally, I’ll stick to what’s freely available.
Posted by Darren
May 8, 2012
The May 1 issue of Library Journal includes their annual review of the ten best magazines of the previous year. Although there are some interesting titles, to me the best feature is the overview of the magazine publishing industry. This information is timely: we’re starting to work on the system’s magazine renewal for 2013 and considering the purchase of Zinio for the coming year.
I’ll head off the SINCs now: appealing as the title is, we won’t be adding Toad Suck Review to the collection.
posted by Nancy
March 12, 2012
A big story right now in the publishing world is a threatened Justice Department lawsuit against Apple and five of the “big six” publishers (namely, Hachette, MacMillan, Simon & Schuster, Penguin, and HarperCollins, with Random House not included). This follows on a class action submitted by a Seattle law firm last year. The allegation is price fixing through the adoption of the agency model for ebooks, whereby Apple or other distributors take a 30% cut and allow publishers to set retail prices, thereby undermining the wholesale discount pricing model favored by…Amazon for instance. It is against the law for large providers to collude to keep prices artificially high for consumers.
In this case, though, the collusion could be defensive and prompted by competition from Amazon’s popular Kindle and Amazon’s claimed ability to price low enough to stifle competitors, which could also be a potentially illegal practice if it became “predatory pricing” (though that seems difficult to prove under US law). The charge of predation comes periodically from booksellers, publishers, and others.
There is a lot of interesting dispute about pricing models and which help and hurt what suppliers and consumers.
Price-fixing versus cut rate prices from one aggressive vendor? For whom should consumers really root? It may be a case of Mothra vs. Godzilla. Take your pick.
Posted by Darren
November 8, 2011
Hey Sno-Isle Bookstore libraries (and all others): if you haven’t linked to EarlyWord, you should. The website publishes news for libraries about the publishing world with an emphasis on the Next Big Thing (well, Things). EarlyWord scans the publishing world – and the media world – to help us stay on top of the titles our customers will be asking about. If you’re stumped for display ideas, this website is a great resource.
Here’s an example: a recent post discusses the renewed interest in Sherlock Holmes, which will heighten with the release of the second Robert Downey film (scheduled for theaters in mid-December). In addition to titles by Sir Arthur Conan Doyle, you can supplement a display with the list of Sherlock Holmes wannabe titles, like House of Silk, by Anthony Horowitz.
Posted by Nancy
September 13, 2011
Last night I did something almost unheard of these days: I walked into an independent book store and bought a hardcover book at honest to goodness full retail price topped off with Washington sales tax and everything. It has been a while, but this sanctimonious sucker feels good about supporting a quaint community bookstore with personally handwritten bookmarks on the shelves. I don’t remember my last new book purchase before that (probably in an airport). I have to admit I got into the habit of downloading new books on my phone courtesy of Amazon One Click whenever I found myself painfully low on a library queue. (A quick check of OverDrive often pays, too, though. This week I scored Caleb’s Crossing with no wait and it’s a great timekiller stand by). Apparently I’m not alone in downloading the must have titles, and print sales are really sliding compared to ebooks. It isn’t a gradual plane of descent either but a true plunge, 64% in June for trade paper! This situation favors online retailers, naturally. By the end of 2010, the store retailer’s share of the market had dropped to 40%, and I’m sure it will be much lower now after Border’s demise. But are consumers really in love with ebooks as such or is it just the current price difference? We seem to experience stronger than ever demand for print books when the additional monetary cost is zero. Hm.
If like me, you were listening to NPR this morning on your way in to work you heard that a restored edition of the James Jones classic, From Here to Eternity was released today. The restored edition contains profanity, and references to homosexuality that were censored from the book because they were deemed too offensive back in the 50′s.
The restored edition from digital publisher, Open Road Media will only be available as an ebook. Open Road Media specializes in backlist titles of major authors which aren’t available as ebooks. As a digital only publisher, Open Road Media have a lower overhead than traditional publishing houses and share the profits equally with the author, or as is the case with From Here to Eternity, with the author’s estate.
The restored edition of From Here to Eternity should be available on our downloadable ebook site later this morning.
posting by jim who loves instant gratification
May 6, 2011
Have you ever wondered what those ISBN’s and EAN’s are all about? They are clearly useful for distinguishing books (and book-like products such as audiobooks), especially those that happen to have the same title, as well as different editions or formats of books with the same title and author. As such, they are indispensable for cataloging, marketing, and trading in books, not to mention verifying RINC’s. But why do they look the way they do and how did they come about?
ISBN stands for International Standard Book Number. Until the mid-2000′s, this was a 10 digit number indicating issuing country, publisher, and title, with a check digit to validate the other numbers (see below). The national ISBN Agency issued blocks of numbers to publishers, who then assigned specific numbers to titles from their authorized blocks.
Since 2007, the ISBN agency has required publishers who issue ISBN’s to issue, and retailers to accept, a 13 digit number (ISBN-13) to assure that unique numbers can be issued to new titles indefinitely into the future. Going to 13 digits also allows us to join an international standard called EAN, which stands for Universal Article Number (originally European Article Number). If you compare an ISBN-10 with an EAN or ISBN-13, you’ll notice they differ only with the prefix 978 for EAN’s (necessary to include because new titles will soon go to 979), and the last check digit.
ISBN’s came into use in the 1960′s when European and American book publishers increasingly were automating and saw the need and usefulness of standard identifying numbers. The United States adopted ISBN’s in 1968, with R. R. Bowker serving as the national ISBN Agency.
For more information: http://www.isbn.org/standards/home/index.asp.
ISBN-13 for Dummies, published by the Book Industry Study Group.
Anatomy of an ISBN
0-8028-0768-7 - country where ISBN is assigned
0-8028-0768-7 – publisher
0-8028-0768-7 – title
0-8028-0768-7 – check digit
posted by Darren