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Francis] book backlist of some 50,000 titles, over 20,000 are available
as e-books (e-book revenues increased 30%) with a print on demand
facility for 18,000 titles' (Neilan, 2009).
Ernst (2009), in his 'end-user perspective', states that, from Springer's
experience, reading from a computer is still perceived as difficult by many,
and print books are still mainly preferred for cover-to-cover reading. The
JISC E-books Working Group has also noted some of the issues that have
to be resolved by libraries, such as the problems experienced with usage-
based models, the fact that students expect to be provided with free access
to e-books for their courses, as they have already paid, and that it is still
too early to explore OA models for e-books, due to copyright issues.
Publishers need to consider unlimited access subscription models too,
given the flows of student demand. Pollock (2009) argues that 'the
addition of interactive features such as podcasts online, interaction with
Learning Management Systems, and the ability to embed revision notes
(flash cards) can increase the e-book's value by offering an enhanced
experience to both students and teachers. The personalized experience
of e-books also adds a direct-to-student channel to complement the
established golden triangle (in the textbook world) of publisher, lecturer
and bookseller'.
E-books and facing the music?
While publishers want to retain revenue by strict controls against
illegal distribution, users usually want flexibility in price and access.
Nothing is set in concrete in terms of user habits, as Encyclopaedia
Britannica found out. Consumer habits are driven by ease of delivery
and economy of scale. The music industry has possible lessons for the
book industry, given that the former ultimately encompassed cheaper
media and a willingness to let a product be given away for free. If the
music industry learned the hard way, in terms of distribution and price,
then maybe the publishing industry, outside of the major STM
multinationals, who have had a stranglehold on their disciplines to date,
has not yet faced the music?
Chris Anderson is the author of the bestselling book The Long Tail .
He 'dismisses as “a common misunderstanding” the idea that free has
ruined the music industry. “Music labels are one tiny bit of the music
industry. Every other aspect - the artists, the tours, the merchandise,
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