ebook

Page 1 of 3123

Basic WordPress (Nimble Theme) Website for small Ebook Publishing Business. | Elance Job

I am starting a Ebook Publishing Business specializing in taking audio sermons and developing them into ebooks. I will have three Product Packages (….transcribing, editing, cover design, isbn…ect) I will need…


1. Approximately 10 pages (s…

Category: IT & Programming > Website Design
Type and Budget: Fixed price (Less than $500) Escrow
Time Left: 6 d, 20 h (Ends Mar 13, 2013 15:27 pm ET)
Start Date: Mar 6, 2013
Proposals: 10 (High $822, Low $200, Avg $348)
Client Info: 4 jobs posted, 50% awarded, $190 total purchased, Payment Method Verified
Client Location: Chandler, United States
Preferred Job Location: Anywhere
Desired Skills: Computer Graphics Web Design Web Services WordPress
Job ID: 38697789

View job

HOW TO CREATE A BLOG FREE WITH WORDPRESS WITHOUT CODING

HostGator: makemoneyfromhomelionsclub.com (CLICK HERE) HostGator Coupon Codes: 25% OFF: lionsclub100 (This is better than the coupon code that will already be typed in, which will only be worth 20% off the entire order). $9.94 OFF: lionsclub1000 The website we create in these video lessons: mikeomarwebsites.com The main website where all video lessons can be found makemoneyfromhomelionsclub.com The ebook on how to make money online makemoneyfromhomelionsclub.com

http://www.youtube.com/v/yvCiisUsTjU?version=3&f=videos&app=youtube_gdata

Excerpt from: HOW TO CREATE A BLOG FREE WITH WORDPRESS WITHOUT CODING

Legimi Wants To Be The ‘Spotify For Ebooks’ With A Business Model That Relies On You Reading Less

main-promo-ipad

Legimi is definitely a startup I’ll be watching closely in 2013. Put simply, it aims to be the ‘Spotify for ebooks,’ in which for a monthly subscription, users get access to a potentially infinite library of reading material, all accessible via the cloud. But more than that, this Polish startup, whether it succeeds or not, epitomises the collision of old media business models with new technology and new consumer habits.

After years of being told that one day consumers will access all of their media from the cloud, anytime and anywhere, thanks to the likes of Spotify, Deezer and Rdio (music), or Netflix, Lovefilm and Hulu (film and television), that day has finally arrived. The subscription, cloud-based model, combined with new consumption devices — tablets, smartphones, and Internet-connected TVs and set-top boxes — and near-ubiquitous broadband, has ushered in an era where consumers no longer feel the need or desire to own the media they consume. So, why not apply that same consumption model to ebooks?

Well, as it turns out, there are a number of companies who already are, but in many ways it’s still very early days. Niche offerings, such as Safari Books Online, which specialises in professional and developer-related content, have been around for a while, where a subscription model is viewed by publishers as less-risky because the audience is already somewhat ring-fenced, and content becomes outdated quickly. More mass-market is Amazon’s Kindle Owners’ Lending Library, but this is still very limited and can hardly make the claim to be anything close to a ‘Spotify for ebooks.’ Then there’s the much-hyped and Founders Fund-backed Oyster, which is yet to launch but plans to offer an all-you-can-eat subscription model with an emphasis on mainstream content.

However, the New York-based startup is remaining tight-lipped about which publishers are signed up, and it’s here where many commentators predict that any subscription-based ebook service will fall down at the last hurdle: They simply won’t be able to strike the content licensing deals required, with the number of publishers needed to make the all-you-can-eat proposition a reality. That’s because the new consumption model requires a new licensing model where publishers are given a share of subscription revenue based on the number of books accessed.

Or does it?

This is where we return to Poland. Legimi thinks it’s found a way to change the consumer offering without having to tear up the legal or commercial framework that already exists for ebooks on a pay-per-download basis.

“Our approach is different; we pay the whole price of an ebook once an end user exceeds its free sample (approximately 10 percent of the book),” Legimi co-founder and CEO Mikolaj Malaczynski tells me in an email. The premise being that most readers never make it past the free excerpt, but if they do, the company pays the full wholesale price to publishers. “We have statistically calculated the average consumption for tablet users and smartphone users, which is lower than one book per month,” he says.

Or maybe another way of looking at it is that the business model relies on a tl;dr generation (my words, not Malaczynski’s) where multiple content and services are constantly vying for a user’s attention, and that this is especially true when content is consumed on an always-connected tablet or smartphone. Whether or not consumers are reading less long-form content or not, however, perhaps misses the point. As long as the number of books read past the free sample remains inline with the overall economics of a monthly subscription, then the model could work, or at least act as a bridge until such time when publishers are more willing to embrace the idea of a subscription model.

To that end, Legimi has already launched an MVP in the form of an iPad app in the startup’s native Poland, while an iPhone version should follow in January, with Android and Windows Phone also in the pipeline. I’m told that major publishers locally are playing ball, too, such as W.A.B., Insignis, Muza, and Buchmann, enabling Legimi to offer a range of popular international and domestic titles.

Moving forward, Malaczynski says that the priority is to keep expanding the available catalogue and to optimise the business model, presumably to find the sweet spot in terms of what to charge. But much more ambitiously, Legimi is planning to launch in two additional European markets next, likely Germany and the UK. It’s at this point when the licensing ‘loop hole’ and assumptions about consumption will really be tested.

“If you ask about the average consumption of one book per month, I am not sure if it’s a universal figure,” concedes Malaczynski. “We will need to test it market by market, but we have an algorithm to verify it.”

On the upside, Malaczynski says that the rights infrastructure for publishing doesn’t differ too much between countries, meaning that Legimi can hopefully avoid spending “years negotiating new agreements with publishers, which don’t really understand the subscription model.”

And that’s where we come full circle. In the end, a ‘Spotify for ebooks’ seems inevitable, as consumer habits find themselves ahead of the market once again. It’s probably more a case of when not if. Perhaps Legimi, or another startup willing to take its model and run with it, can help to make it happen sooner rather than later. Here’s to 2013.

Visit link: Legimi Wants To Be The ‘Spotify For Ebooks’ With A Business Model That Relies On You Reading Less

After Selling 4 Million Kindle Singles Across The Pond, Amazon’s Short eBook Format Debuts In The UK

kin

Originally announced in late 2010, and launched in early 2011 in the U.S.-only, Kindle Singles was an early attempt by Amazon to popularise a format that sits somewhere between a magazine article and a fully-fledged book. It also turned the e-tail giant from eBook seller to eBook publisher, working with authors directly under its Kindle Singles publishing program, offering them a 70/30 split in their favour.

Today, Amazon announced that it has brought Kindle Singles to the UK, with the Kindle Singles store now open for business this side of the pond. The company also says that in the U.S., “over” 4 million Kindle Singles have been sold to-date.

Penned between 5,000 and 30,000 words, Kindle Singles are described by Amazon as “editorially curated” — meaning that the company is effectively acting as publisher — showcasing writing from both new and established writers. Those that come directly to Amazon and are accepted into the program earn 70% royalties on every Kindle Single sold whilst “retaining the rights to their work”.

At launch, the UK Kindle Singles store sees works from newly signed up UK writers and some of the existing U.S. catalogue, such as works by Lee Child, Christopher Hitchens, Susan Orlean, Ann Patchett, Jodi Picoult and Jon Krakauer.

One new title that sounds like it may be of particular interest is “Going Nowhere: A Life in Six Videogames” by Sam Leith, who charts his own life “through the addictive lens of a lifelong videogamer”.

Amazon is naturally talking up the potential for independent authors to make money, citing authors who have had Kindle Singles hits in the U.S. — publishing is still a hits-driven business — such as Mishka Shubaly, who is said to have earned in excess of $148,000 in 18 months (over £90,000) via four Kindle Singles titles.

See the rest here: After Selling 4 Million Kindle Singles Across The Pond, Amazon’s Short eBook Format Debuts In The UK

Bloomsbury’s ebook sales jump 89% in first half, but pre-tax profits fall by 40% overall

da 520x245 Bloomsburys ebook sales jump 89% in first half, but pre tax profits fall by 40% overall

Harry Potter publisher Bloomsbury has reported revenue rises of 2% in the six months leading to the end of August this year, however overall the publisher’s pre-tax profits (stripping out costs for international relocation etc) fell by 40%, dropping to £0.9m ($1.44 million) from £1.5m on the previous year.

Digging a little deeper, however, ebook sales jumped 89% to £4.5m from £2.4m though it’s not clear exactly how the arrival of Harry Potter in digital format buoyed these figures.

JK Rowling first announced her intentions to take Harry Potter into the digital realm last summer, with the launch of Pottermore.com. The proposed October launch was put back to March this year with all seven novels rolling out. And although agreements were inked to take the novels to all the common ebook platforms, Pottermore was the main go-to for actually procuring the series. Amazon later secured an exclusive license to bring Harry Potter to Kindle Lending Libraries, despite not being able to sell the books directly.

However, while Bloomsbury does play a role in the ebook element of the Potter franchise, and receives a share of the revenues, it is for all intents and purposes a separate entity and won’t translate into the multi-billion pound money-spinner it enjoyed with the print books. Bloomsbury hasn’t provided separate sales figures for the Harry Potter series, but it does acknowledge the launch of Pottermore.com briefly in the report.

In terms of the broader picture, Bloomsbury reports a turnover of £43.5m from March to August this year, up from £42.4m on the same period in 2011, and despite the drop in profits, Chief executive Nigel Newton remained upbeat, noting the figures showed a “positive trend” overall, as quoted in the Bookseller. “The group continues to make good progress,” said. “We have acquired two new businesses further boosting our presence in the academic market, particularly in the USA, and have launched our own sales and publishing operation in India, a market which has the potential to become one of the largest English language book markets in the world.”

Indeed, in July last year Bloomsbury acquired Continuum International Publishing Group, which represented almost £7m of Bloomsbury’s print sales. But the six-month interim report points to other external factors for the drop in print sales:

“Bloomsbury’s print sales this period have also been affected by the Olympics, during which many people stayed away from the high street, and a market dominated by the best selling Fifty Shades of Grey and more specifically by a reduction in sales of Harry Potter titles year on year, following the release of the last film in that series in the summer of 2011.”

“Higher ebook sales and academic turnover continue to increase the weighting of our sales to the second half,” continued Newton. “In addition, we have a strong second-half list, including potential best sellers, and are targeting a significant number of rights and services contracts. We remain well positioned for the future and results continue to show a positive trend over the longer term.”

In terms of digital, which naturally comprised mainly of ebook sales, this now represents 10% of Group continuing turnover, compared to 6% in 2011, and 15% of the Adult division continuing turnover (2011: 9%). More adults read ebooks, it seems.

Image Credit – Thinkstock

Read the rest here: Bloomsbury’s ebook sales jump 89% in first half, but pre-tax profits fall by 40% overall

Page 1 of 3123

Preview A Theme Template

Your Shopping Cart

You have 0 items in your shopping cart. View Cart