5
Redefining publishing
Challenges from the past
Abstract
The chapter focuses on challenges from the past that were investigated and discussed in the previous chapters with the aim to synopsize and further point out publishing opportunities and strategies which can be exploited in the context of information and communication technologies. Additionally, publishing values such as globalization, access, convergence and discoverability are taken into consideration whereas the upgraded role of the aesthetic capital and of information in the publishing activity is outlined. In that framework, transformations of the book and of the publishing value chain are considered. Conclusions of the chapter may further serve the methodological and theoretical framework set in this book and raise questions of future research interest including the boundaries of the book and of reader engagement, the role of the publisher, convergence of media, the use of mobiles and the revival of the printed book, reading experiences and aesthetic issues.
Keywords
Book; Challenge; Convergence; Publisher; Publishing; Publishing chain; Reader
5.1. Re-discovering strategies, re-considering values
5.1.1. Rediscovering and reusing
Strategies may be rediscovered and redeveloped having their origins in concepts and features that we recognize as our past. Values may also be rediscovered or reconsidered in a new technological, social and cultural framework identifying as well their diachronic aspect. In the previous chapters we tried to explore the extent to which current trends are ‘new’, investigating the ways by which every era introduced, developed and then established its own ‘new’. Challenges nowadays are undeniably many and often more complicated than expected; they seem to derive from new information and communication technologies but their origins and explanations can be traced beyond tools into more complicated aspects of the publishing activity depending on needs, desires, expectations and aesthetic concepts. Thus, challenges from the past lead us to publishing policies and strategies based not only on history and knowledge in the methodological framework introduced in this book but also on our current needs and desires.
Innovation is undeniably among the keywords for the publishers who in a highly competitive environment have to introduce new elements, forms, terms, models and strategies so as to:
• Further establish their fame,
• Create a recognizable profile,
• Enrich their catalogue/frontlist,
• Revive and exploit the opportunities of backlist in a new concept,
• Reach new audiences,
• Establish a direct relationship/communication with their existing and potential readers,
• Collaborate with other stakeholders of the publishing chain,
• Collaborate and gain partnerships with other stakeholders in the creative/media industries (art, multimedia, music, information industry, etc.),
• Gain feedback from the reader,
• Develop the artistic identity of their editions and exploit the aesthetic capital for marketing reasons,
• Take advantage of social media,
• Take an advantage in a competitive environment,
• Satisfy the reader’s needs,
• Introduce the element of surprise.
Already tested and successful strategies and methods may be of value to the publishing industry. The revival of preorders is a good example. As issues considered in this chapter have already been discussed in the previous pages, they will not be repeated but concerned so as to synopsize publishing opportunities, values and strategies that derive from the past and are or can be of use nowadays. The chapter aims to outline conclusions, set questions and recognize topics of future research interest in the methodological framework set in the first and second chapter.
5.1.2. The emergence of a converged culture: new reading, aesthetic and consumer experience
Reading on mobiles and tablets alters the book per se as well as reading, aesthetic and consumer experiences. Specific editions are created so as to be read on the devices we usually have with us, mainly mobiles/smartphones and tablets. For example, at ‘editions at play’ by Google the word ‘readtime’ is used specifying our available and needed time, helping the reader to define the reading experience.1 Furthermore, the use of multimedia and of gamification in these editions redefine the borders and the aesthetics of the book.
This convergence of media will be a valuable key concept for:
1. Approaching new audiences,
2. Developing new reading experiences,
3. Developing consumer behaviour,
4. Introducing new elements to the book,
5. Altering the information mechanisms of the page,
6. Altering the typology of the book,
7. Developing the aesthetics of the edition, further empowering the aesthetic capital,
8. Introducing new stakeholders in the publishing chain-circle-circuit altering at the same time the relationships,
9. Creating collaborations, synergies,
10. Further exploring a correlation with other forms of art,
11. Exceeding the borders of the existing reading audience.
Already existed audiences will be interested in the new forms of the book as well as other potential audiences defined by age and information literacy. The question is ‘how successful’ these editions have been till now. Although there is much concern and discussion about them, sales of printed books and of the ‘most traditional’ electronic publications that reproduce the aesthetics of the printed page are still high. Apart from the point that these highly experimental forms obviously prepare the audience for the next step, they also set a converged framework for both printed and electronic material emerging issues of reading and consuming, and setting questions about the nature of the book and of the publishing activity.
5.1.3. Aesthetics in publishing: introducing the aesthetic capital of publishing
The artistic identity of the book, whether printed or not, whether in its traditional or emerging forms, is of significance. Aesthetics in publishing still and always matter giving added value to the edition, being part of the book as described in the second chapter. In that framework, the aesthetic capital has to be added to the other capitals of publishing (Thompson, 2010, pp. 3–14). The book goes certainly beyond content: the desirable, useful, friendly and often interactive book of our digital era has to gain and demonstrate its artistic identity so as to reach new audiences, most of which come from the printed book. The picture and other visual material are a threshold providing precious (not only visual) information and access to knowledge. Furthermore, we have to consider the embellishment of the text and the relationship between content and aesthetics, as discussed in the second chapter.
Thus, the capitals of the publishing industry are as follows:
• Intellectual
• Economic
• Human
• Symbolic
• Social
• Aesthetic
The aesthetic capital is related with the visual identity of the book, whether printed or not, whether tangible or not. This visual, artistic identity is undeniably of value and of specific commercial merit, constantly being transformed nowadays due to new technologies. The aesthetic capital may be additional or not to the text (intellectual capital, intangible asset) and certainly it offers a lot toward marketing strategies. As in the new forms of the book the term ‘material object’ or ‘tangible assets’ does not serve well, we can use the term ‘artistic identity’ or ‘visual identity’ taking into consideration convergence of media, gamification, multimedia, music, etc.
In that framework, we have also to consider:
• Reader participation in the aesthetic identity of the book,
• The role of aesthetics in personalized publishing services,
• The visual paratext that is further developed in ebooks.
All the above are derived from methods, behaviours, concepts and strategies from the past. Undeniably, reader participation in the development of the artistic identity of the book, whether electronic or printed, whether with the use of multimedia or not, is of significance and may be used as an updated method for getting feedback from the reader, reaching new audiences and developing marketing as well as promotion strategies. Reader engagement leads to direct communication with the readers and, apart from providing data and feedback, can develop the artistic identity through specific tools, platforms often controlled by publishers and social media.
Undeniably, the artistic identity of the new forms of the book has its origins in the printed book. Apart from it, there is inevitably common ground between the two: the printed book’s artistic identity (illustration, decoration, visual paratext, mechanisms of the page) influences the new forms of the book (Scheme 5.1) not only due to the needs and expectations of the readers’ but mainly due to the taste and enhanced methods established till now. This influence and enhancement can be vice versa; it is also challenging and of further research interest how new technologies and new forms of the book influence the printed one that still thrives.
Ebooks enhance the use of multimedia converging different forms of art and of information technologies. From this point of view, already tested methods, issues and concepts may serve as the basis of ‘new’ introductions and policies. For example, some of these converged editions may bear in mind lavishly illustrated books in a different technological and cultural environment. In that context, the combination of aesthetics of previous decades (that, apart from known and tested, are almost nostalgic, such as covers) with the new technologies may be a decision worth taking.
Additionally, personalized publishing services form a challenging, under development and discussion field that remind us of hand-illuminated books and of Renaissance strategies not only for embellishing the book but also for using it in terms of privilege, prestige, recognition, direct communication, recommendation and patronage. As a method for penetrating into new audiences and satisfying needs and desires of specific readers, these services can be used supplementary so as to augment reader participation and promote titles.
The significance of the artistic identity of the book, whether printed or digital, will further be recognized due to the added value to the edition. As the last lines of this book were prepared, the Global Illustration Award (for five categories) was announced to be conferred in the Frankfurt Book Fair (Anderson, 2016) the director of which, Juergen Boos, stated that ‘in today’s visually dominated world, illustration and design are of increasing value and particular importance in the process of creating beautiful books.’
Certainly, new forms of the book, often converged, look for their specific identity; publishers and designers–illustrators as well as marketers have to explore the new opportunities based on the aesthetics in publishing. Meanwhile, the revival of the printed book and its augmented sales currently push forward stakeholders to reconsider and redevelop the aesthetics concepts. Reviving older and tested methods and combining them with the new opportunities offers a privileged point of view and strategy.
5.1.4. The addition of colour (and of participation)
The addition of colour in printed as well as in enhanced ebooks and book apps creates different aesthetic experiences trying to overcome the monotony, reminding simultaneously of the choices for coloured illustration during the previous centuries (Blocklehurst and Watson, 2015, pp. 24–30). Woodcuts were printed in black ink, and occasionally were embellished with the addition of colour (Dackermann, 2002), whereas in unique luxury copies during Renaissance, as discussed in the second chapter, hand illumination was added by miniaturists of the era. Nowadays, new forms of the book offer the opportunity of adding and enjoying colour in books.
In that context, we have to consider the current success of colouring books. These printed books, for which some wonder if they are really books, offer the opportunity to the reader of creating and participating by the addition of colour. This systematization of the colour as a creative and relaxing activity may be of further research interest regarding publishing, reading, social and educational concepts, and promotion methods. Certainly, it may be used in enhanced books and ebooks and may be applied to reader engagement strategies.
5.1.5. Desires of the reader and the element of ‘publishing surprise’
Readers desire to
• Have access to information; readers want to be informed not only about new releases but also about activities, news from the industry, discounts and communities of readers. Information is a value and an asset of our era, and publishers have to provide access to it and additionally to evaluate, select and offer it to the readers,
• Read,
• Buy,
• Own the book as content and as object of aesthetic value,
• Discover,
• Be updated,
• Enjoy,
• Share with others; social media play a significant role in building communities of readers and transforming the traditional ‘word of mouth’,
• Communicate with stakeholders; publishers have to handle it. (For example, providing direct communication with the authors through special platforms, websites, social media.),
• Have privileges/be rewarded/exceed the borders of the member,
• Have advanced roles as discussed in the third chapter focussing mostly on reader engagement.
These desires have to be satisfied on a twofold basis: on the one hand, by the knowledge of the readers’ needs, concerns and expectations (marketing, feedback from the readers) and on the other by the element of surprise. The combination and balance between the two will provide an advantage to the publishers, presupposing often new business models.
In that context, keys for the publishers for knowing their audience are:
• Information,
• New information and communication technologies,
• Social media,
• Data,
• Feedback,
• Surveys for reading behaviour, information seeking behaviour,
• Knowledge of the past.
The element of surprise is among the most powerful for the publishing industry. Calasso (2015, p. 54) identifies, regarding the Italian publishing scene in the 1950s, that ‘everyone was tired of being taught selectivity. They wanted to find things out for themselves’. Nowadays, the reader seems to be in the centre of the publishing activity; reader engagement, social media, online reading communities and advanced reader copies…, etc., are leading towards a reader-centred approach or what it seems to be like that. The ‘audience development director’2 is created in that context adding a new stakeholder in the publishing chain–circle, as discussed in the fourth chapter, and pushing a step forward the exploitation of the reading audience with the aim to develop publishing policies and strategies.
5.1.6. Reader engagement: readersourcing
According to the above, among the challenges for the publishers is the direct communication with the reader. Regarding reader engagement, the different points of view (publisher’s, author’s, reader’s, etc.) in developing behaviours, methods and policies are of further research interest. From the publisher’s point of view, the reader has to be inspired and encouraged in a preset framework with the use of social media and the development of marketing and audience strategies.
The term ‘readersourcing’, used and introduced in this book, attempts to explain the nowadays emerging role of the reader in the publishing chain-circle-circuit and exhibits the benefits that the publishers obtain through strategies adopting reader engagement. Readersourcing presupposes knowledge of the market and of the audiences, and offers to the publishers feedback from readers, direct communication, book promotion, publicity and sales. Thus, readersourcing can be an effective tool for marketing, exploring interactivity with other stakeholders and also discovering new talents and good books. In that context, online communities and self-publishing platforms owned by the publishers offer the privilege of intervention and of further developing business models.
5.1.7. Back to backlist
New information and communication technologies provide to the publishers the opportunity of reviving an older or classic title. With printing on demand no book is out of print any more. Revised editions of older titles, often with new introductions and other paratext material, new translations and editing as well with a new aesthetic approach offer a ‘second life’ to the work. Regarding the aesthetics of these revised editions, the publisher has to choose between reproducing the older typology of the book or creating a new one often combining the older with new opportunities. The former recalls the already tested commercially, emotionally and aesthetically typology, and the other invests on innovation, even surprise. Nostalgia not only for the content but for the book as material object is of significance (such an example is the ‘pulpification of classic works’; Abrams, 2016). Redesigning revised older editions is certainly a challenge on the basis of which there is the use and reminding of the previous aesthetics.
5.2. Keep reinventing: challenges from the past for the publishing industry
5.2.1. Transformations of the publishing value chain
In the publishing chain new stakeholders can be observed mainly related to information and communication technologies, coming often from other disciplines (such as multimedia, informatics, game designing, information management, etc.). Collaborations, new technologies and converged material have to be developed in what we can call the ‘publishing framework’, related thus with books, and obviously with people creating, publishing, offering and reading books. For example, regarding publishing it is not just another app or game that we use but a game adopted and enhanced in the book, a new opportunity and dimension correlated and incorporated into the book and the publishing and reading process as known and developed.
As already discussed in the previous chapter, the publishing chain-circle-circuit has been transformed into an information value publishing chain. In that framework, the roles and responsibilities of the reader, the literary agent, the marketing department and of those related to new technologies have been upgraded. Readers take an advanced role due to a number of reasons – in which information technologies, social media and marketing strategies are included – and publishing companies encourage it as part of their strategies.
In that context, we have to recognize that the publishing company is still the protagonist or among the protagonists. But the roles have to be redefined and reconfined under the magnifying glass of information technologies and of the changing needs, desires and expectations of all stakeholders. There is a lot of concern about the information role of the publishers who do not only provide information but also evaluate, curate and select information. Thus, the traditional values “selection, judgement, taste”, that create the privileged and protagonist role of the publisher, are more than valuable and updated. Apart from books, the publisher has to provide information and paths to it, to correlate different forms, to converge media, to take advantage of the new opportunities, to collaborate and gain synergies.
It seems that there is a lot of concern about content. We have though not to forget that publishers mainly publish books/editions, not just content, not just platforms, tools or information – all these are just part of a publishing policy that aspires to create a recognizable profile, to discover and introduce books, to reach and augment readers. The book, in all its forms, is the product. From this point of view, publishers still often set the rules and the scene, offer the opportunities, decide and choose, propose and innovate, satisfy and introduce.
It is true that publishing has always been a privileged field. ‘Publishing is a glamorous but low paying profession, and there seems to be an endless supply of exceptionally bright, eager people (mainly English, and history majors) who want jobs in book publishing’ (Greco et al., 2013). Inevitably there is a convergence of roles and a widening of collaborations and synergies nowadays. Among other tastemakers, publishers are high in the hierarchy having the privilege to decide and introduce.
Due to recommendation technologies though and social media new tastemakers have emerged including reading communities, social media and book clubs. Electronic bookstores, for example, play a significant role through the services provided (rankings, preorders, recommendations, etc.). In that framework, we may wonder what taste and tastemaker mean; different points of view, such as of marketing or of art history, imply different approaches and methodologies. Obviously, beyond technological tools, business and publishing models, promotion and marketing strategies, concepts of information seeking behaviour, taste, expectations and desires can be found.
5.2.2. Transformations of the book
The boundaries of the book are obviously extended and reset. We read on printed and electronic books, on the paper and on the screen, on tablets, mobiles and ebook devices. Meanwhile, special platforms, apps, etc., are created for the publishing activity due to new publishing and business models as well as to digital marketing and new promotion strategies. In a world of variety and opportunities, the book is constantly being transformed and at the same time transforming reading, writing, communicating, studying, enjoying, living, searching and discovering. Convergence, experiment and innovation set the framework for the new issues taking into consideration the publishing tradition and the art of the era.
In the core though of all these, there is the book in its tested and familiar concept that still influences and defines reading and consumer behaviour. Apart from the fact that the printed book is still preferred at certain kind of texts, the expectations, needs and desires of the reader lead to converged new forms, traces of which can be found in the publishing past. Naturally, questions are raised concerning boundaries, as it will be pointed thereafter.
The life cycle of the book is further widened. The book does certainly not start when published and not finished when its reading is over. Social media and information technologies have extended the borders of ‘word of mouth’, of reviewing and sharing information. There is an emerging social and bookish role of the reader. Limitations and specific parameters unavoidably exist related to the nature of social media, of the publishing strategies and policies, of the stakeholder’s aims. As enlightened in this book though, reader engagement is not so new as we think it is, and lessons from the past, whether from the publisher’s or the author’s or the reader’s point of view, may offer to the development of strategies and policies.
Furthermore, the success of the printed book demonstrates that there is a privileged area for introducing and experimenting combining the older with the new one, the tested with the experimental, the traditional with the innovative. As aesthetic experiences are everyday changing due to a number of reasons (among which the convergence of media and information technologies are prevailing), the development of the aesthetics policy in the publishing company will provide a recognizable profile and the use of specific visual and marketing tools. In that framework, the publishers have to consider as well the transformations of the printed book; though not so revolutionary as those of the digital-electronic these transformations will bring a step forward the publishing company offering new reading and aesthetic experience. From this point of view, information mechanisms of the page can go hand in hand with the aesthetics/visual mechanisms of the page (this is an issue of my future research).
5.2.3. Inside and beyond revolutions
We like to use the word revolution, we are accustomed to thinking that new things happen every day, that technology runs implying thus that we live in a challenging era. The word ‘revolution’ is indeed used very often for describing or introducing current trends. We want to categorize and characterize things giving added value to them and thus to our lives. In that framework, reality and myths have always gone hand in hand; we think that myths often help us to understand, explain and exploit. We think that the Internet and new technologies have brought about a revolution; but, as discussed in the previous chapters, the printing revolution (Eisenstein, 1983), the Gutenberg revolution, is a continuing, ongoing revolution, its limits exceeding current trends.
We generally like revolutions because they offer innovation and a scope in our lives. ‘The beauty of the Web is that it democratized the tools both of invention and of production’ (Anderson, 2012, p. 7). Obviously, information offers choice. Choice offers freedom and democracy. Freedom leads to reinventing: the book, content, taste, communication, our lives, etc. Key concepts of the publishing industry, such as access, globalization, discoverability, convergence, engagement, innovation, democratization of taste, are diachronic values proving that the revolution that started with Gutenberg was the first information revolution and is still continuing.
5.2.4. Inside and beyond boundaries: questions, regards and future research
Certainly, there are limitations and borders that we have to recognize and often to exceed. The starting point is that books in all forms have to be viable products ready to be promoted, sold and read. It seems that what Robertson (2013, p. 5) wrote for past periods is of value nowadays: ‘although by definition print is a medium for producing multiples, the expansion of the market through industrial means of production also meant significant fragmentation and conflict at this time. Mass markets are made up of competing groups, all vying for status.’
In a hybrid publishing world, questions are raised regarding the boundaries:
• Between printed and electronic, traditional and new forms of the book: Although there is much concern about new technologies, the printed book survives, even thrives in specific audiences and kind of texts. Furthermore, the aesthetics of the printed book may create a module, a basis on which several innovative ideas can be introduced. In that framework, enhanced multimedia seem to fulfil older desires and issues developing new ways of reading, enjoying and understanding, whereas colouring books go back in time as well as gamified content. Thus, questions concerning the boundaries of the book, especially its nature and structure, are reset. For example, there is a discussion about the colouring books.
• Between verbal and visual (converged forms of media): Innovations in the visual identity of the book, as well as in visual paratext, introduce new concepts in the aesthetic capital of the book. Text and image, word and picture are further and in new ways combined changing thus the book as an aesthetic object. Experimental and augmented multimedia, the introduction of picture, sound and links to the digital text, the options provided to the reader by new technologies and business models set the framework for the redevelopment of the page and of the book. After Renaissance, this is the first time that the page in its structure, aesthetics and what has been called in the book ‘information mechanisms’ have been changing so deeply (this is an issue of my future research).
• Between private and public. To publish means to make the text (and the information included) public (Clark and Phillips, 2014; Bhaskar, 2013, pp. 16–22). Nowadays, the borders between private and public seem to have been redefined due to social media/networks and new information technologies (Papacharissi, 2013). Even though, this is not something new and surprising as discussed in the case of Pietro Aretino at the third chapter. Publishing, since its beginning, made public the information and the text giving access to it and providing the opportunity of response, collaborations and dialogue. Aretino published his correspondence mainly for reasons of image and prestige, so as to gain privileges demonstrating thus the opportunities provided by printing to communicating and making the private (or the considered to be private) public. Nowadays social networks provide a lot of personalized opportunities and there is a lot of discussion about it.
• Between globalized and localized there is no conflict, as it seems. In a globalized world, the introduction and reception of the ‘new’ trends in the smaller publishing markets is certainly of great research interest; the extent to which the ‘new’ is adopted and combined with the traditional and with the unique features of each industry is investigated in the bibliography and has to be further investigated (for example, Baensch, 2006; Banou et al., 2013; Banou and Phillips, 2008; Banou, 2011; Musinelli, 2010; Kovac and Squires, 2014; Carrenho, 2015, 2005; Ramos, 2013).
• Between the expected and unexpected: readers usually expect the next book according to their profile, needs, desires and other readings; these expectations are often being defined by the author or the publishing company or the kind of text. The already developed tradition influences these expectations for both text and picture/aesthetics of the book. The element of surprise for both text and artistic identity, as already discussed, is significant since it further establishes the symbolic capital of the publishing company creating a recognizable profile and introducing market authors, styles and concepts. The unexpected is a risk but it is the step for sales and success.
• Between text and paratext: nowadays due to information technologies and converged forms of the book, the relationship between text and paratext can further be developed or redeveloped. Paratext, both verbal and visual, as discussed in the second chapter, can be more interactive providing, apart from immediate access to links and material, options to the reader so as to decide what and how to read, to enhance, to explore. Thus, the book seems to become more friendly and convenient and provably more personalized.
• Between public taste and personalized publishing services. In the second case, the choice and the decisions are of the reader–commissioner; issues of taste are also reconsidered in that framework reminding in a more democratized and systemized framework of a Renaissance patronage tradition. Personalized publishing services are also a step forward for promoting books and encouraging participation of the reader in the publishing activity. Questions regarding taste, prestige, power are raised.
• Between reader engagement and publishing strategies: reader engagement is valuable for the marketing and promotion methods of the publishers. The limitations though and the boundaries, although not always visible, have to be set. The role of the reader although active and upgraded in comparison to the past is often defined in an already set framework in which the publisher finally decides. Certainly, there are many cases in which the framework is not set by the publisher, but in a world of abundance of opportunities every trend and tool can be a challenge for different stakeholders.
• Between recommendation technologies and shared experience. We live in a world where others seem to recommend, propose, introduce to us because they know our needs due to marketing tools and data collection. Thus, on the one hand, readers share their experiences through social media and online communities of readers redefining thus the “word of mouth” and on the other recommendations are made to them every day influencing and defining their behaviour and taste.
• Books that were about to print but never published. Is that just a matter of history? Certainly, but not only. It would be challenging for publishers and editors to look at these cases and take advantage of manuscripts and preparations for the edition. The expectations and sometimes the myths created push forward these editions. In that framework, paratext is of certain value connecting the past with the present.
• Between ourselves and the others. The question is never between us and the books, it is between us and the world around us, between us and the others. In a world of abundance and running technology, reading and publishing always mean communication still implying personalized ways of reading, understanding, sharing, thinking, acting and creating. In an often difficult and fragmented world, every book is a promise, reading is an action of freedom, and sharing an action of democracy. These diachronic concepts are not lost but further empowered (and ought to be empowered).
Questions regarding the borders and extending them encourage and inspire us to develop theories, methodologies and strategies. In a changing hybrid world, such as ours, challenges and lessons from the past enlighten current publishing issues.
5.2.5. Challenges from the past. How and why?
The book has always to be a desirable and viable product, being valuable for each reader due to both content and artistic identity, whether printed or digital/electronic. Every book is a different experience for the reader; every book is different for the publisher and other stakeholders. Undeniably, the impact of information and communication technologies, of convergence and social media create certainties and myths, that are related with the realities and the illusions of change (and of revolutions as well). As changes go deeper in the publishing industry, in the nature of the book and in the publishing chain-circle-circuit, challenges from the past meet certainties and uncertainties of nowadays hybrid era providing the framework for understanding and developing (and redeveloping). Rediscovering and adapting these rediscoveries in the current information technologies’ context means to introduce, to reimagine, redesign and reinvent the book restructuring in cases the process.
Among the great challenges for the publishing industry nowadays that derive from the past we may recognize the following:
1. Aesthetics of the book: The development of a recognizable aesthetic profile or visual identity by exploiting and converging traditional and innovative (due to new technologies) elements,
• Reader engagement in the aesthetics of the book (and in the aesthetics publishing chain–circle), as described in the second chapter,
• Further exploitation of verbal and visual paratext using multimedia and other opportunities (for example, frontispiece – photo or portrait of the author, running titles, page headings, etc.)
• Reconstructing the page,
• Use of ‘patronage paratext’,
• Introduction of the aesthetic capital in the publishing’s capitals.
2. Using converged forms of the book (multimedia, gamification,…)
3. Reader engagement (Readersourcing), as in the third chapter,
4. Further developing online reading communities,
5. Direct communication with the reader; building a relationship of trust between publishers and readers,
6. Use of recommendation technologies,
7. Development of editions for mobiles and tablets,
8. Personalized publishing services,
9. Personalized copies,
10. Short forms,
11. Serialization,
12. Preorders,
13. Crowdfunding,
14. Storytelling,
15. Collaborations, synergies; introducing new stakeholders in the publishing chain-circle-circuit,
16. Collaborations with libraries,
17. Exploitation of already used and tested methods. Lessons from the past, which – if studied and understood – will provide the framework for strategies.
Key values of the publishing industry include innovation, selectivity, taste, surprise, convergence, data, experience and engagement. But beyond this, challenges from the past show the road, apart to success, to the understanding of the industry. This book has identified as key issue the creation of a methodological framework based mainly, but not only, on the historical explanations of publishing combining – apart from publishing history, book history, literature and art history – methodology from sociology, media, information science, management and marketing. In that context, ‘re-’ seems in this book to be a key issue: reinvent, reimagine, redevelop, redefine, reuse, reconstruct, reconsider, etc. New terms introduced, such as readersourcing or aesthetic capital, attempt to offer to the study and policy-strategy making of the publishing industry.
But the majority of things has always to be studied. The above are also topics for further research in which we may add questions such as the following:
• Measuring through surveys (qualitative and quantitative) the impact and effect of the all above mentioned issues,
• The use of devices such as the tablet and mobile for reading,
• Hybrid environment and issues of the printed book,
• Colouring books,
• Paratext: new concepts,
• Visual information,
• Different points of view for reader engagement,
• Bookselling cultures and the rise of independent bookstores,
• The impact of recommendation technologies by publishers or bookstores,
• Boundaries of technologies and of social media that are often defined by their use and success,
• The aesthetic publishing chain-circle-circuit in different publishing sectors,
• Role of the reader in academic publishing.
Certainly, there is always something more and better to be studied, and to be written. The above may serve as a challenge for future research, discoveries and rediscoveries.
5.3. A comment as epilogue. Time and the book (or reinventing ourselves)
Approaches in this book resemble sometimes to a poly-prismatic mirror which offers to each issue and feature a privileged image that finally constitutes and reconstructs the phenomenon as a whole. Probably this may be attributed to the fact that each book competes with the time: personal time and objective time, the time of the book and of the author, even of the reader.
Thus, we may talk about the time of the book that is transformed into the book of time. Because the boundaries are not only of information, knowledge, communication, research but also of pleasure, taste, sharing and access to ourselves. Some consider time as a rival, others as a friend. But the luxury of the book further implies a luxury of time, of a time rediscovered, rewon, restructured and redefined. The time of each book we read or write or in which we are somehow involved is a deeply experienced, rewarding and reconsidered time.
From this point of view, every book can be a book of reinvention and of reimagination. Discovering and reading books implies often reinventing ourselves in kaleidoscopic options of time trying to offer to our desires and needs a different approach; these approaches may go back in time to a redevelopment and fulfilment of reconsidered options or towards the future inside issues and options reimagined. Reinventing the book means to a large extent to reinvent ourselves; and before this, reimaging the book means to reimagine the world around us and our lives as well.
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