Publishing has evolved through dematerialisation. Content is now ‘malleable, updatable and transferable. It has geographic simultaneity’ (Bhaskar, 2013. P.49). The process of getting a book from author to reader traditionally followed Robert Darnton’s communications circuit model of 1982, but this has been altered through disintermediation.
Claire Squires’ has updated the model to make it more relevant to modern book publishing. She added a literary agent, as many publishers such as Random House do not accept unsolicited submissions (The Random House Group n.d.). She also included freelancers’ and outsourced agencies as part of the publishing team, because hiring through this medium is becoming more frequent, particularly through websites such as E-lance, as it saves the company money to hire on an ad-hoc basis. Lastly, the printer and binding are no longer two different stages; the books go from the printer, to the distributor straight to the retailers (University of Stirling n.d.).
Michael Bhaskar agrees with Prof. Squires’ argument that publishing has evolved. He raises the theory of how books are ‘frames for content’ (Bhaskar, 2014), and how publishers’ are still producing the same content, however the way in which it is packaged and distributed has changed: ‘books are a distribution mechanism, it just means you could circulate the works’ (Bhaskar, 2014). Through new ‘frames’ being developed, Claire Squires’ has been able incorporate these changes into an updated communications circuit model.
Although the model serves its’ purpose of illustrating a traditional publishing process; there are several disadvantages. It was created in 2012, therefore is already out of date, as it doesn’t cover the surge of new digital business models. For example: independent publishing houses are increasingly using Print on Demand companies such as Lightening Source. This changes the circuit as the bookseller will look through their monthly catalogue, and place an order before the books are even printed. The communications circuit for this scenario would be:
Author --> Literary Agent --> Publisher (creates the book) --> Booksellers (decide whether they want to stock the book) --> Print on Demand (they produce a print-run for the exact amount of units purchased by the bookseller) --> Booksellers (it will be sold through the bookseller) --> Consumer.
Traditional publishing business models still exist, such as: One-off payments, subscription and advertising, as they are transferable from print to digital. However there are new models which have been adapted specifically for digital such as: rentals and e-lending, donations, bundling, pay per chapter, crowd funded, open access, pay wall and freemium (Markou 2014).
Faber & Faber have utilized new business models, by producing digital content for several formats such as e-books, Apple applications for tablets, and incorporating the subscription model into their digital strategy. They have also successfully mastered digital marketing and online engagement by building communities through Faber Social. This expertise has enabled them to increase e-commerce through launching the Faber Shop with the Book People (Bookseller 2014).
I think it’s good that publishers are kept on their feet, and have to adapt to changes within the industry, as the pressure to remain innovative against the competition, will result with consumers being offered the best reading experience.
Word Count: 526
Bibliography
Bhaskar, M. (2013). The Content Machine: Towards a Theory of Publishing from the Printing Press to the Digital Network. United Kingdom: Anthem Press.
Bhaskar, M. (2014). Becoming The New Publisher: What Do Digital Publishers Do?
Darnton, R., 2007. ‘What is the History of Books?’ Revisited. Digital Access to Scholarship at Harvard, pp.495–508. Available at: http://dash.harvard.edu/handle/1/3403039 [Accessed October 17, 2014].
Digital Strategy of the Year: Faber & Faber. (2014). The Bookseller, p.26
Downey, G., 2013. Darnton - ‘What Is the History of Books?’. The Future of Print. Available at: http://thefutureofprint.blogspot.co.uk/2013/02/darnton-what-is-history-of-books.html [Accessed October 17, 2014].
Elance, Hire Great Freelancers. Available at: https://www.elance.com/?rid=1TN5N [Accessed October 17, 2014].
Lightening Source, What is POD? Available at: https://www1.lightningsource.com/default.aspx [Accessed October 17, 2014].
Markou, H., 2014. Business Models for Digital Publishing, U65025: Publishing in the Digital Age. Oxford Brookes University, unpublished.
The Random House Group, How to get your book published. Available at: http://www.randomhouse.co.uk/lp/how-to-get-published [Accessed October 17, 2014].
University of Stirling, The Digital Communications Circuit. Available at: http://www.bookunbound.stir.ac.uk/research/infographic/ [Accessed October 17, 2014].
Claire Squires’ has updated the model to make it more relevant to modern book publishing. She added a literary agent, as many publishers such as Random House do not accept unsolicited submissions (The Random House Group n.d.). She also included freelancers’ and outsourced agencies as part of the publishing team, because hiring through this medium is becoming more frequent, particularly through websites such as E-lance, as it saves the company money to hire on an ad-hoc basis. Lastly, the printer and binding are no longer two different stages; the books go from the printer, to the distributor straight to the retailers (University of Stirling n.d.).
Michael Bhaskar agrees with Prof. Squires’ argument that publishing has evolved. He raises the theory of how books are ‘frames for content’ (Bhaskar, 2014), and how publishers’ are still producing the same content, however the way in which it is packaged and distributed has changed: ‘books are a distribution mechanism, it just means you could circulate the works’ (Bhaskar, 2014). Through new ‘frames’ being developed, Claire Squires’ has been able incorporate these changes into an updated communications circuit model.
Although the model serves its’ purpose of illustrating a traditional publishing process; there are several disadvantages. It was created in 2012, therefore is already out of date, as it doesn’t cover the surge of new digital business models. For example: independent publishing houses are increasingly using Print on Demand companies such as Lightening Source. This changes the circuit as the bookseller will look through their monthly catalogue, and place an order before the books are even printed. The communications circuit for this scenario would be:
Author --> Literary Agent --> Publisher (creates the book) --> Booksellers (decide whether they want to stock the book) --> Print on Demand (they produce a print-run for the exact amount of units purchased by the bookseller) --> Booksellers (it will be sold through the bookseller) --> Consumer.
Traditional publishing business models still exist, such as: One-off payments, subscription and advertising, as they are transferable from print to digital. However there are new models which have been adapted specifically for digital such as: rentals and e-lending, donations, bundling, pay per chapter, crowd funded, open access, pay wall and freemium (Markou 2014).
Faber & Faber have utilized new business models, by producing digital content for several formats such as e-books, Apple applications for tablets, and incorporating the subscription model into their digital strategy. They have also successfully mastered digital marketing and online engagement by building communities through Faber Social. This expertise has enabled them to increase e-commerce through launching the Faber Shop with the Book People (Bookseller 2014).
I think it’s good that publishers are kept on their feet, and have to adapt to changes within the industry, as the pressure to remain innovative against the competition, will result with consumers being offered the best reading experience.
Word Count: 526
Bibliography
Bhaskar, M. (2013). The Content Machine: Towards a Theory of Publishing from the Printing Press to the Digital Network. United Kingdom: Anthem Press.
Bhaskar, M. (2014). Becoming The New Publisher: What Do Digital Publishers Do?
Darnton, R., 2007. ‘What is the History of Books?’ Revisited. Digital Access to Scholarship at Harvard, pp.495–508. Available at: http://dash.harvard.edu/handle/1/3403039 [Accessed October 17, 2014].
Digital Strategy of the Year: Faber & Faber. (2014). The Bookseller, p.26
Downey, G., 2013. Darnton - ‘What Is the History of Books?’. The Future of Print. Available at: http://thefutureofprint.blogspot.co.uk/2013/02/darnton-what-is-history-of-books.html [Accessed October 17, 2014].
Elance, Hire Great Freelancers. Available at: https://www.elance.com/?rid=1TN5N [Accessed October 17, 2014].
Lightening Source, What is POD? Available at: https://www1.lightningsource.com/default.aspx [Accessed October 17, 2014].
Markou, H., 2014. Business Models for Digital Publishing, U65025: Publishing in the Digital Age. Oxford Brookes University, unpublished.
The Random House Group, How to get your book published. Available at: http://www.randomhouse.co.uk/lp/how-to-get-published [Accessed October 17, 2014].
University of Stirling, The Digital Communications Circuit. Available at: http://www.bookunbound.stir.ac.uk/research/infographic/ [Accessed October 17, 2014].