Today’s Publishing Perspectives is all about Jellybooks, a new service for “Discovering, sharing and group buying ebooks.” Online book discovery was the focal point of the last couple weeks of my “Intro to Literary Publishing” class, so this comes at a perfect time . . .
Anyway, here’s a bit of Amanda DeMarco’s article:
Set to launch in early spring, the Jellybooks experience corrects some common mistakes in online book browsing, says Rhomberg: “We have spent many months trying to understand why physical bookshops still play such an important role in discovery.” For example, people really do use book covers in deciding what to read, so you won’t see thumbnail reductions. Interestingly (but very right when you think about it), cost isn’t much of a factor in choosing a book: “We found that price information plays very, very little role when users try to decide what makes for a great read. Clearly it matters when they have decided to buy a book at which point they will shop around (i.e. buy online and not in a physical store), but during the discovery process, price information is not a factor, so lets get rid of it.”
Once a user finds a book that looks interesting, they can download the first 10% to a personal cloud library account to read later on a device of their choice. These samples will be available two to six weeks before the title appears in stores. There’s no DRM, and they can be shared with a link without restriction. [. . .]
Once you’ve started browsing, downloading, and sharing, Jellybooks will use the information it has gathered to offer you special 50-percent off “Sweet Deals” on books that fit well with your choices so far. Not every Jellybooks user will be notified about every sale. “Books are quite personal and you don’t want people to get the wrong perception that they’re getting irrelevant stuff or too much stuff. So your reading and sharing behavior allows us to determine if you would be interested in getting the deal.”
Similar to Groupon, the deal only happens if enough people sign on to purchase, which means sharing is important for attaining the required number. If it’s reached within the 12-hour span, the book is downloaded (Sweet Deals are currently e-books only) and your credit card is charged. One important difference from Groupon, Rhomberg notes, is that “the discount has to be earned by the group as a whole. With Groupon it often just automatically goes over. Here we don’t want you to feel it’s too automatic and so you’re lazy…In its nuances it’s constructed to be a little more social and a little bit more about recommendations.”
Sounds like an interesting addition to the constantly growing list of discovery sites . . . I signed up to receive notification when this goes live and will definitely post about it once it has and I’ve had a chance to play with it.
Karel Schoeman’s Afrikaans novel, This Life, translated by Else Silke, falls into a genre maybe only noticed by the type of reader who tends toward Wittgenstein-type family resemblances. The essential resemblance is an elderly narrator, usually alone—or with one other. . .
In Joris-Karl Hyusmans’s most popular novel, À rebours (Against Nature or Against the Grain, depending on the which translated edition you’re reading), there is a famous scene where the protagonist, the decadent Jean des Esseintes, starts setting gemstones on the. . .
There are books that can only wisely be recommended to specific types of readers, where it is easy to know who the respective book won’t appeal to, and Kristiina Ehin’s Walker on Water is one these. What makes this neither. . .
Imagine the most baroque excesses of Goethe, Shakespeare, and Poe, blended together and poured into a single book: That is The Nightwatches of Bonaventura. Ophelia and Hamlet fall in love in a madhouse, suicidal young men deliver mournful and heartfelt. . .
In 1899, Maurice Ravel wrote “Pavane pour une infante défunte” (“Pavane for a Dead Princess”) for solo piano (a decade later, he published an orchestral version). The piece wasn’t written for a particular person; Ravel simply wanted to compose a. . .
Fiston Mwanza Mujila is an award-winning author, born in the Democratic Republic of Congo, who now, at 33, lives in Austria. From what I could find, much of his work is influenced by the Congo’s battle for independence and its. . .
Twenty-One Days of a Neurasthenic is not a novel in the traditional sense. Rather, it is a collection of vignettes recorded by journalist Georges Vasseur in his diary during a month spent in the Pyrenées Mountains to treat his nervous. . .
Founded in 1960 by such creative pioneers as George Perec, Raymond Queneau and Italo Calvino, the Oulipo, shorthand for Ouvroir de littérature potentielle, came about in when a group of writers and mathematicians sought constraints to find new structures and. . .
There’s little to say about a series of prose poems that willfully refuse to identify pronoun antecedents. Or perhaps there are a million things. The poems in Morse, My Deaf Friend— the chapbook by Miloš Djurdjević published by Ugly Duckling. . .
The Crimson Thread of Abandon is the first collection of short fiction available in English by the prolific Japanese writer and all-around avant-garde trickster Terayama Shūji, who died in 1983 at the age of 47. This collection would be important. . .