Showing posts with label eBooks. Show all posts
Showing posts with label eBooks. Show all posts

Sunday, February 24, 2013

Listen Up!

I'm not a techno maven, so please forgive my self-congratulation and delight at having figured out how to download digital audio titles (and eBooks) to my iPhone...from the Public Library.

Is that great, or what?

I don't have a tablet at the moment (lost my Kindle & am obsessing about alternatives.  Thinking Galaxy Notebook? Mostly an Apple family, so wanted to try something else). So I am mostly focused on audio right now. Love the idea of downloading from the library for several reasons:

1.     Very inexpensive (free).  You do have to get a library card, though. (also free)

2.     You aren't stuck with a physical product that sits around, cluttering things up--as if you're going to listen to it again, which is unlikely.  And if you want to, why just take it out of the library again!

3.    OK, yes, I worked for publishers, who often had an uneasy relationship with libraries due to their free-ness when you're trying to make a living selling books. But libraries have always been magical and wonderful places for me.  They are an amazing repository for information, help, knowledge and access.  Via their remarkable "free sampling" program, they introduce people to new things--like digital content--that often create new consumers and enrich our lives. So I believe in & support libraries--by using them as well as giving.

4.     OMG when you download digital content, it is never late! It just disappears when your time is up.  No need to keep track or be nearby to hand it in.  Poof.

5.    With a WiFi connection, you can download a book from anywhere, anytime.  Finish something in the middle of the night on a business trip or vacation?  Just browse the shelves and download something new at 1:00am.

Audio is an interesting format, with incredible advantages and some challenges.  It is a genuinely different vehicle for "consuming" content, and it can take a bit of personal exploration and experimentation to find your sweet spot. What are this issues? you may well ask...

A.  Sound.  It's pretty basic.  You have to have earphones (comfy earphones) if you're in company (unless it's a shared experience), and the environment has to be quiet enough so you can hear.  For example, New York is a really loud city.  It's hard to hear as you walk on the street, ride the subway or sit in a cab.  Not impossible, but I find myself turning the volume up & down a lot.

B.  Someone is reading to you--often a delightful asset, but sometimes a liability.  If good, the voice can significantly enhance the experience.  I've been listening to several P.G. Wodehouse Bertie & Jeeves titles & they're a delight.  All the upper crust characters, ridiculous expressions, outrageous situations come alive with the accents & tones of voice.  

James Joyce's reader is a Joyce expert, delivering wonderful Irish accents, even singing when the story required. And it's a comfort to feel the stream of consciousness is flowing by with an approved cadence and pace.  

Life of Pi's Indian accented reader turns out not to even be Indian, but really enhanced and enriched the story for me.  

But if the reader is bad, it can make the listening experience unbearable.

C.  Also, with audio, they read every word.  I skim when I get bored reading, or if there are long lists, or it feel repetitive. You don't really have that option with audio.  

You can skip forward, but it's not the same as glancing down a page to confirm they're still yammering about battle details or lush descriptions.  

This can be a good thing if the writing is good--forcing you to slow down and savor the words and images. But if you're listening to some little known Victorian novel, you may discover why it is not well known when you find yourself subjected to what seems like hours of exquisitely described detail of an emotional or physical landscape.

D.  Some people just lose traction listening & feel they have to keep going back to remember who said what to whom & when & thus find audio frustrating, as it doesn't offer the visual cues of flipping back a page, or looking in the middle of that long paragraph.  

In this case, they need to listen to stuff they don't care about so much (avoid 'How To' or non-fiction or complex fiction). Consider plays, or poetry, where listing & responding is perhaps more important than keeping track of everything.

E.   Why bother? Well, I love storytelling, and audio can slip in through the cracks and deliver a great reading experience when actual reading is impossible.  I can listen and look out the window of the train or plane or bus.  I can listen and knit or sew or mend. I can sit with the gang as they watch TV and listen to my story.  Grocery shop.  Walk the dog.  If I'm alone, I can be read to sleep, with a built in timer that will shut off after 15, 30, 60 minutes. Though if being read to makes you fall asleep, perhaps listen to the radio when you're driving!

Downloading audio books from your public library:


Load the app onto your iPhone, Android, Blackberry, etc.  

Locate your library (hopefully) on their very long Add A Library list.  

Put in your library card number & password.  Search.  Browse.  Create a Wish List & fill it with titles you're interested in.  Ask for a eHold on a title that isn't available right now--you'll get an email when it becomes available & you can download it.  If you finish before your book is due, return and delete it.

Select and download titles--you'll get a sense for how long they are by the number of packages of data.

Plug yourself in...and listen up!

Monday, October 24, 2011

eReaders--Isabel Swift wonders: what's with the "But I love BOOKS" response?

I'm sure you've had the same experience--or have been one of the players in this conversation.

But first, a bit of background….

In addition to being VP of editorial for Harlequin, over a decade ago I also chaired a digital/eBook task force charged with exploring this new business opportunity. Additionally, much later, I was part of the new business group launching a number of new digital initiatives. So I guess what I'm trying to say is: I swing both ways. And in the course of my work, I had a lot of conversations with people--readers, writers, booksellers, digital entrepreneurs. Today, I still love to find out what people are reading--and how they are reading.

Back to the present. So, I'm at a dinner party, or cocktail party, or just striking up a conversation in line or traveling--and the subject of books and reading comes up. Often one person has an eReader (frequently a Kindle, sometimes an iPad or other eReader) and is either extolling its virtues, or reluctantly (or not) going through the learning curve.

Someone else invariably chimes in (sometimes with passionate intensity) "But I love BOOKS! I could NEVER get an eReader!" Then they go on a bit about the smell, turning the pages & the multitude of pleasures, information and sensation that a physical object offers. The self-confessed eReader reader is given the hairy eyeball, or at best, a pitying look. Emotions can (and have) run high over this line in the sand, this perceived chasm.

And don't get me wrong--I love books too. Physical books. But I am stumped as to why there is such a prevalent and passionate assumption that physical Vs digital is an either/or choice. Like once you purchase an eReader, a scarlet TTTWW (for Traitor To The Written Word) will be emblazoned on your forehead and a magnetic force field will drop down (visually similar to the Cone of Silence in Get Smart) preventing you from ever touching another physical book with your dirty digital hands. You have not remained faithful to the books that raised you--dipping your wick elsewhere is clearly felt to be a relationship ender.

Huh? I just don't get it. My reading world is not monogamous! I believe in choice! I love stories. I love storytellers. Books have not changed my life--stories have, with their information, insights, compelling worlds, emotional challenges and eye opening truths. Stories that are shared though listening (conversation, audio, radio, lectures,...), seeing (performance, films, TV, museums,…) or reading (books, newspapers, magazines, documents, letters,…).

Yes, the story's trasmission vehicle can make a difference in the impact of a story. Watching the Rolling Stones' Steel Wheels concert live Vs at an IMAX theatre with rabid fans Vs on a DVD alone at home delivers quite different experiences. Reading a hardcover, paperback, listening to the story on audio, reading it on an eReader all deliver a different experience.

Sure, there may be preferred formats for certain stories. Haven't you heard people say "You don't need to see that movie in a theater, it'll be fine on DVD"? I assure you watching The Rocky Horror Picture Show live at midnight is a great example of the transformative impact of how you experience a story Vs sitting at home with the remote.

But everyone understands the benefits of access, choice, convenience. As a reader, I don't like to be without something to read. And while I am usually a fairly committed reader, I must confess I'm not entirely monagamous. As a frequent traveller I have found myself lugging stacks of material: manuscripts, educational/business reading, fun reading, recommended reading, themeatically appropriate reading, books 2 and 3 in the series, just in case… You know what I'm talking about!

Now I can have everything on one slim tablet and people no longer ask me if I am carrying rocks in my suitcase. Maybe I'll have a paperback in my purse too--cheerful in the knowledge if I tire of it or finish it, I have other options. Bedtime reading with sleeping spouse can cease to be an issue with a back-lit iPad. And another interesting aspect of the digital reading experience is product privacy. No one knows what you're reading.

(Though for some that could be a drawback, as looking intellectual, educated, in-the-know and generally superior could be the key driver behind plowing through an improving literary tome. But surely a secondary market will spring up of sheaths for one's tablet that will say perhaps: "Don't bother me...Riveted by Rushdie!" or "Intellect @ Play" or "I'm improving myself. And you?")

Alternatively, maybe you really don't mind carrying two or three volumes around in your gigantic purse. Perhaps you are unmoved by the ability to download a recommended read instantly at the dinner table in The-Back-of-Beyond. Unlike me, perhaps you may have a house filled with empty shelves, just waiting to be filled, with your other bookshelves are stacked with easy-to-find, easy-to-search titles. But that is not my world.

So enough with this "I love BOOKS!". Of course you do. But I love stories….

Wednesday, January 14, 2009

January 1st Marks the Preliminary Launch of HarlequinCelebrates.com

To celebrate 60 years of pure reading pleasure, Harlequin will make 16 full books available for download on HarlequinCelebrates.com beginning January 29th – our anniversary!

For the month of January, a teaser site has been created where people can sign up to receive a reminder to come back for the unveiling of the full anniversary site and to download free books.

Visit HarlequinCelebrates.com to sign up for your reminder!

And if you want to learn more about what's happening in digital at Harlequin, check out Tote Bags 'n' Blogs January 14th post: Sneak Peek at Exclusive Digital Publishing from Harlequin by Malle Vallik.

Lots of good info there!

Thursday, October 11, 2007

Spotlight on Harlequin

For those who may have missed the info on Dearauthor.com, here it is:

SPOTLIGHT ON HARLEQUIN

Fall '07: What’s new for Harlequin Enterprises/Series and Single Title Imprints, all formats. What is HQE publishing ? What is HQE looking to publish?

- Information about & HQE looking for
- HQE Publishing Program

eBOOKS & AUDIO & NEW INITIATIVES - Malle Vallik

eBooks

• As of September 1st, Harlequin is delivering 100% frontlist in eBook format—the only major trade publisher offering 100% of their frontlist
• Spice Briefs launched to great success in August 2007: original, exclusive eBook content
• Created “one-click buys” for the passion series for the avid reader & made it available to all eBook retailers (i.e. package all 8 Presents titles together as one unit)
• Continue to create eBook bundles of selected backlist, for example all of Caridad Pinero’s “Calling” titles together in the Calling Collection (October)
• Creating new eBook product by “chunking” anthologies--each novella with be its own eBook. Part of an Holiday promotion – 12 Christmas short stories for your digital stocking!
• New programs are in development!

Audio

• Ongoing program with Audible.com delivering 5 – 6 titles (offering both series and single titles, debut and established authors) per month
• Launching an audio continuity featuring 2 Blaze titles every month for $9.95
• Ongoing radio program on XM radio: Sonic Theater channel. Our website is ttp://sonictheater.xmradio.com, and Harlequin Romance Radio is aired at 1 am and 9 am Eastern time on channel 163.

Social Media

• 2nd Life author reading event on September 25 with M.J. Rose, featuring her book THE REINCARNATIONIST
• Launched & ongoing Harlequin Author Spotlight podcasts
• Launched and ongoing I Heart Presents blog (at www.iheartpresent.com)
• Will be launching a new romance blog in October
• MySpace profiles: SpiceBriefs complete—check out http://myspace.com/spicebriefs
• MySpace profiles to come: Harlequin, Kimani Tru, MIRA
• Launched digital author toolkit – updated monthly—check out http://www.digitalauthortoolkit.com/

***************************************************************************************************************
SPICE BRIEFS– NEW INITIATIVE– Susan Swinwood

Writing guidelines for Spice Briefs

Fall 07 - Top titles for Spice Briefs:

GILT AND MIDNIGHT by Megan Hart (September)
TOKYO RENDEZVOUS by Jina Bacarr (November)

SPICE – Susan Swinwood

Writing guidelines for Spice

Fall 07 - Top titles for Spice:

There are two fall titles for Spice in '07:

THE TWELVE DANCING PRINCESSES/Nancy Madore, September
CAINE’S RECKONING/Sarah McCarty, November

Both are fantastic books – Nancy’s is a collection of erotic stories based on a traditional fairy tale; each chapter of the story is devoted to one of the twelve princesses as she searches for the solution to her sexual frustrations.

Sarah’s book is the first in her historical western erotica series: the men of Hell’s Eight. Each of these eight Texas Rangers are tough, sexy, hardened men…until they meet the women who make them weak.

***************************************************************************************************************
HQN & LUNA - Tracy Farrell

Fall 2007 – Top Titles for HQN:

October is a stellar month at HQN, topped by Brenda Joyce’s next Masters of Time paranormal, DARK RIVAL and a new Carly Phillips contemporary, SEALED WITH A KISS.

November features a new Shannon Drake historical from Heather Graham, THE QUEEN’S LADY, a Diana Palmer seasonal hardcover reissue, LONG TALL TEXAN LEGACY and our 2nd NASCAR collection, NASCAR HOLIDAY 2.

December delivers an original romantic suspense story from New York Times bestselling author, Beverly Barton, A TIME TO DIE.

What HQN is looking for:

HQN publishes strong, complex single title romances. Our current focus is on acquiring author who write historical and contemporary single titles, but we are always looking for other romance sub-genres, paranormal in particular, if the material is exceptional.

LUNA Fall '07 – Top Titles:

October, Jeri Smith-Ready continues her RITA nominated series with VOICE OF CROW.

November, C.E. Murphy begins her new Negotiator series with HEART OF STONE.

December, Diana Palmer makes a guest appearance with THE MORCAI BATTALION, a completely revised version of the only fantasy novel ever written by the author, originally published in 1980 and out of print for decades.

What LUNA is looking for:

We’re primarily looking for urban fantasy and otherworld fantasy and are no longer looking for historical fantasy at this time. We’re particularly interested in loosely-linked series of stand-alone titles featuring strong female leads, unique storylines and a fresh narrative voice that will appeal to fantasy, romance and mainstream readers alike.

MIRA & Red Dress Ink – Margaret Marbury

MIRA Fall '07 – Top Titles:

September:
76 SEASIDE AVENUE by Debbie Macomber (massmarket paperback)
THE REINCARNATIONIST by M.J. Rose (hardcover)
October:
WHERE ANGELS GO by Debbie Macomber (hardcover)
THE SÉANCE by Heather Graham (massmarket paperback)
LAST KNOWN VICTIM by Erica Spindler (mass market paperback)
MENDING FENCES by Sherryl Woods (mass market paperback,)
November:
THE LAST NOEL by Heather Graham (hardcover)
December:
THE WIDOW by Carla Neggers (first time mass market paperback)
SILENT IN THE GRAVE by Deanna Raybourn (tirst time mass market paperback)
DEMON’S KISS by Maggie Shayne (massmarket paperback)

• For MIRA, we are primarily looking for strong historical fiction and commercial literary fiction

Red Dress Ink Fall '07 – Top Titles:

SORCERY AND THE SINGLE GIRL by Mindy Klasky October tradepaperback

• For Red Dress Ink, we only looking at exceptional, smart and funny chick lit.
Sorcery and the Single GirlThe ReincarnationistEyes of CrowRogue AngelThe Widow by Carla Neggers74 Seaside
The imprint STEEPLE HILL - Joan Marlow Golan, with Love Inspired, Love Inspired Suspense, Steeple Hill Cafe; KIMANI PRESS - Linda Gill, with Sepia , Arabesque, New Spirit, Kimani Romance, Kimani TRU, GOLD EAGLE - Feroze Mohammed, with the Mack Bolan, Stony Man, Deathland, Outlander and Rogue Angel series and WORLDWIDE LIBRARY with its Mystery series are also part of the HQE family, but are not listed in detail here.
***************************************************************************************************************
SERIES - Harlequin & Silhouette - Birgit Davis Todd & Mary Theresa Hussey

The fall of 2007 has many of the themes and initiatives that are clear reader favorites and important for the series business throughout the year.

As always, our focus is on finding, developing and publishing “good stories, well-told." And to get those stories, our editors work with authors through all phases of story development - and then with art and marketing to ensure those stories get the right packages.

We also try to emphasize connected miniseries in our publishing schedule. There are multiple continuities appearing in the series lines, including the conclusions of The Royal House of Niroli from Harlequin Presents, Mission: Impassioned from Silhouette Romantic Suspense, Dynasty: The Garrisons from Silhouette Desire, Montana Mavericks: Strike It Rich from Special Edition, Dark Enchantments from Silhouette Nocturne, Secrets We Keep from Harlequin Romance, Texas Legacies: The Carrigans from Harlequin American, Million Dollar Secrets from Harlequin Blaze and many more.

Harlequin and Silhouette series programs are known for their long-standing commitment to authors, with many authors celebrating 25, 50, even 100 book milestones with us. We work with both new and established authors to develop long-running, successful series with their own characters, as well as encouraging strong, standalone titles that lead new readers to discover new favorites.

As a mark of this commitment, we have multi-New York Times bestselling authors Diana Palmer and Linda Lael Miller publishing in series this fall.

Another strong component of our publishing program is our continual search for new authors. We are one of the few publishers accepting unagented material, and we also run contests to find new authors. Check out the Harlequin Superromance Conflict of Interest Contest at www.eharlequin.com in Writing Challenges. The contest is open to all writers and the deadline is fast approaching!

Just this fall, from September to December, we are publishing more than thirty new-to-the-company authors, many of them first-time-ever authors as well. With three new authors in Harlequin Presents, and first-time authors in Silhouette Desire, Harlequin Everlasting, Love Inspired Suspense, Harlequin Blaze, Silhouette Special Edition, Harlequin Superromance, Harlequin Intrigue as well as in our Kimani Press and single title programs, Harlequin is a wonderful place to be discovered--and some amazing authors have published their first books with Harlequin and Silhouette.

We also have some great programs in place for readers to discover these authors! Along with our marketing and terrific bookstore support, there are a number of digital and hard-copy sampling programs in our future. We firmly believe that if you try a Harlequin or Silhouette title, you will love it! And so we plan to take advantage of as many outlets as we can to start the "addiction"...

We also experiment with anthologies within the series to highlight strong authors and themes, and encourage exploration of innovative ideas and stories to attract new readers.

Do be sure to visit our website at http://www.eharlequin.com/ to get the latest updates on word counts and tips from the webhosts as well as from past articles done about writing. We also have frequent visits from editors to talk about their individual lines, and fellow authors are a terrific resources as well.

In short, the fall of 2007 is all about the strengths that writing for HQE Series always displays: commitment to excellent stories by terrific authors, published across the nation and around the world.

Pick up a book and join us!

Friday, January 05, 2007

Successful Storytelling in the Digital World

Slide1

Happy New Year! Here, at long last, is our presentation at the RWA on Successful Storytelling in the 21st Century. We wanted to review the evolution of storytelling over time, determining what the essential elements are, how they have changed and how they have remained the same over time.

The goal of a story is to entertain or inform—sometimes it achieves both. That has remained true over the centuries, though the kinds of stories and the way those stories are shared have changed with the times.

Our session at the RWA explored how the changes and opportunities that technologies have brought us as publishers and writers enhance and open up storytelling in new and different ways.

The group also shared insights into how they were exploring this new frontier. With the advent of new formats, technologies and the rise of consumer controlled content, writers have the opportunity to think differently about connecting with their audience, sharing their stories, and they do....

Workshop presented by: Malle Vallik Editorial Director, New Business Development & Isabel Swift, VP, Author & Asset Development at the RWA National Conference, 2006. Workshop Notes, including Q & As are courtesy of Vicky Elabd with profound thanks! I would also like to credit Amy Wilkins for her brilliant selection of graphics to accompany our 10 points, and thank the amazing Maria Marfori for translating them so I could post them on the blog. Truly, it takes a village!

Introduction

In the storytelling world of the future, publishers and authors can leverage assets into new formats to reach a broader audience.

Stories both entertain and inform. An attitude of New Vs Old, “us” Vs “them” has historically prevailed when new technology came along—the monks thought they had nothing to worry about with the appearance of the Gutenberg Press. They were secure that the superior quality of their workmanship with illustrated manuscripts would win! Do we see similar responses now as traditional publishers look at electronic publishing? Perhaps.

Slide2

Now we are seeing new ways of reaching an audience being layered upon the old, and the challenge is to get the story to the audience in some format—often more than one format. In fact often the more formats used, the more people can be reached.

Additionally this is a “communal age” in which we can all participate and build on each other’s ideas to move storytelling to a new level.

Slide3

Top 10 things to remember when telling stories in the Digital Age:

Slide4

1. A great story is still the foundation. Humor, emotion, effective characters, a compelling situation, strong conflict are all key elements. A storyteller must deliver universal themes that connect with readers, making her laugh, cry—touching her. That has always been true. That will always be true. But a great story can be shared across many different formats as well.

Slide5

2. Bite-sized presentation reaches a larger audience, and more quickly. Examples are RSS feeds, cable news, computer news, Sesame Street, Headline News, making information or entertainment so 'easy to swallow' it's impossible not to access. Several examples of authors who write in this style are Sharon Sala (in her Mira books) and James Patterson. Harlequin On The Go (HOTGO) a mobile phone service providing Harlequin content: chapters, tips, trivia polls, book covers, etc., every day directly to cell phones.

Q: How is this format different from an e-newsletter?
A: this service comes directly from the cell phone provider (Verizon, etc.) and is the first such service geared towards women.

Q: Is the content different from eHarlequin?
A: The menu is new. We offer on-line reads from eHarlequin as well as original material, and in future we may be bringing in additional original content.

Q: Is it going through the e-mail service on our cell phones, or does it hook up to a web page from Verizon?
A: It is one of the entertainment menu options from Verizon. You do not require an e-mail hookup to view content.

Slide6

3.Re-purposed Content: The market has changed with the addition of these new formats. Now there are more ways to access stories that might never have been reissued in the past. eHarlequin reads, Harlequin Mini and Round Robin as 99cent eBook offers, backlist series romance in Retail and eBooks. Re-releases are now much more popular, and more readers are able to access back-list material. We can release them chapter by chapter, even by cell link. This is good for both readers and authors.

Audio Books: Gives an added dimension of sound and the quality of the narrator's voice to the story experience. Additionally you can 'read with your ears' during times when you normally couldn't physically read.

eBooks, the kind that you can download to a portable PC or reader are a small market right now, but give readers another option. Harlequin has increased to 40 new books per month and the backlist program is over 20 titles per month.You can add information to an e-book that is not available in print versions, i.e., back-story on characters for readers who want more information (in the same way a DVD contains “bonus material” on movie releases).

Slide7

4. Portability: phone downloads, TV shows on iTunes for IPOD; you can have access to so much material anytime, and there is more of everything.

Audience suggestion: you can schedule what’s coming out so you can go buy new books when they are released, as well as utilize electronic contest entries and PR materials.

Slide8

5. Multiple layers: Back-story can help publishers/producers by soliciting reader/viewer response to storylines.

Example: Lost used customer online response to create interest and also develop a richer, better story. Snakes on a Plane also used the audience to change elements of the film to improve the experience.

Audience comments:
• “I’ll often post scenes I’ve discarded, and get reader responses from them.”
• “I include interviews with characters, character photos, and email addresses, so my readers can communicate with them directly. I have an opportunity to expand and do more with my story and characters, and interact more with readers.”
• “Adding content makes the fictional worlds we create more real, so that the line between fiction and reality is blurred.”

Slide9

6. World building: audience participation in the fictional worlds of the story, i.e., Lost,Lord of the Rings, Star Trek spin-off stories, fan-fic. If you ask for interaction, you let go of some of the control over your story. But you gain because you have more ideas to work with. One author is thinking about creating a virtual casino that exists only in her story, so readers can visit.

Slide10

7. Interactive, connectedness, participation: A collaborative business model in which everything comes together, and everyone is part of the whole (example: Wikipedia). A writing group does this, as does “TV Without Pity”, in which producers and writers will look at comments and respond to their audiences.

Audience examples of interactive experiences: Choose-you-own-adventure; DVDs; kids are also writing their own stories online, since they are familiar and comfortable with the media. With virtual movies, you could throw out an ending you don’t like and replace it with one you like better. How can we make more of those things happen?

Slide11

8. The world we’re in now is full of discovery, uncertainty, and lack of control. We’re all in it together. In genre fiction, there is an element of predictability, but we should always ask ourselves how we could add more unpredictability, discovery and sense of adventure to our stories. Technology and interactivity can help make that happen.

Slide12

9. Voyeuristic: reality-show appeal. We relate, gain insight, feel superior to the people we see on “reality” TV. The lack of polish can make the experience seem more relevant to our own lives. What does this trend do to storytelling? What is the window into reality? How might that relate to the more grounded-in-fantasy storylines? Not at all? Or is there a spin?

Slide13

10. Freedom: to tell the story of your heart; new technological options allow you to create a deeper, more complex story. The audience can become involved in a much richer storytelling world, and can help create it too. The possibilities are virtually limitless!

Two quotes very relevant to our time:

Slide14

“Omni mutantur, nuhil interit.”
“Everything changes, nothing perishes.”
Ovid, b 43 BC

“Plus ça change, plus c’est la même chose.”
“The more things change, the more they stay the same.”
Alphonse Karr, b.1808

These words are centuries old, but they are as relevant today as they were when they were spoken.

Some things really don't change.

As authors, always: Embrace change, and Evolve....

Slide15

Experiment and Entertain

and never stop Engaging your reader with your story, no matter what the medium

Change creates options--it's often not "instead of" but "as well as." Most of us will always enjoy reading a book. But when we are trying to travel light, isn't it great that we have an option to carry all of Proust--or far more appropriate, the entire works of Nora Roberts, Diana Palmer, Penny Jordan and Debbie Macomber in our Kate Spade purse?

To have the option of accessing all my favorite keeper romances without having to build a second addition to my home? To listen to the latest while I'm walking the dog? It's appealing!

General Q & A:

Q: Yesterday at the digital fair, you talked about original content, what are you looking for?
A: If you have a great idea for our cell phone content, we’re very open.

Q: Are you doing wallpaper?
A: The people we hired weren’t able to do that yet.

Q: You could do wake up calls (like Target does on sale days)
A: Great idea!

Q: (from panel) How do authors respond to readers rewriting your story (as in fan-fiction)
A: some like the idea, others feel that it would take away from their voice

Panel comment: Your story moved them so much that they wanted to engage in it? Awesome!