841 Matching Annotations
  1. Jan 2023
    1. Four factors (digitisation, economisation, medialisation and the increased use of quantitative, bibliometric indicators) have been identified, whose effects are rarely taken into account in their combined interactions.

      not sure I agree that their interactions are rarely taken into account, but they are useful nonetheless. Part of what is to be considered is how these factors serve to reinforce each other.

    2. Without taking into account the developments that strengthen trust and which are especially connected to digitisation, however, this image remains incomplete and one-sided.

      indeed, the media can also help to strengthen trust in science by helping to showcase the valuable work done by researchers

    3. One structural problem seems at first glance to have been caused primarily by the economisation of the publishing landscape.

      very much the Global North view and raison d'etre of OA

    4. Because of the described conjunction between the legitimating mandate of publicity and the attention management in the context of the competition for funds, science becomes ‘medialised’.

      i like this notion, and curious where this idea is going

    5. The number of employed science journalists is decreasing while that of professional communicators specialised in persuasive communication (PR) goes up.

      is this true?

  2. Sep 2022
  3. Jun 2021
  4. Jun 2020
  5. Mar 2020
    1. We are currently using 80 as the threshold for that score.

      what happens if you increase to 90? How many do we lose? And if you drop to 70, how many do we gain?

    2. wikipedia 1171 8.1

      also quite high

    3. blogposts 7117 49.4

      this seems very high

  6. Jan 2020
  7. Sep 2019
  8. Apr 2019
    1. However, I am also aware that part of the privacy will be sacrificed in exchange for the benefits.

      not minor issues

    2. is


    3. What do the parents want their children to learn from books?

      while most of the above questions are demographic in nature, and can probably be pretty easily answered, this question is much harder. Where might this data exist? How would you be able to collect it?

    4. Will the trend be similar within the Chinese community?

      You could look into contracting a survey firm to trying to collect some of this specific information for you

    5. I want to find out how many Chinese parents are there in Canada and how many of them have child(ren) 3-10 years old

      you can probably get some sense of this from Statistics Canada Census data

    6. How many Chinese immigrants have young children at home in Canada? What are their book-purchasing habits? Will they buy books in English or Chinese for their kids? Will they order books online and have the books shipped directly from China?

      great to see these specific questions, on a specific context, that data would very readily answer.

    1. Using Amazon’s data, we could find out more about what kind of metadata works and how best to optimize our titles for discoverability in a way that takes advantage of Amazon’s algorithms.

      This is very concrete (plus, a smart thing to do)

    2. As a publisher, I could use data to identify historical trends of what has traditionally succeeded in terms of themes, format, and more.

      which data would give you this?

    3. how people read online

      books? long form? Would you see who shares long content? how much time they spend reading in FB?

    4. Speaking on a more specific level, having all the user data for Facebook would enable me to optimize my marketing by helping me learn more about specific reader demographic profiles and how to optimize my audience information when generating ads for specific books and branded contents.

      nice to see you get to specifics, but which Facebook data? On the publisher's page?

    5. data

      again, which data?

    6. but I would work to interpret the data and let it inform my decisions in a way that is collaborative.

      but what kind of data would you want to see for each activity?

    1. Editors can use these tools to streamline the process they need to take with the manuscript and combine it with their gut instincts and human experience to allow a book to reach its full potential.

      Perhaps I'm cynical, but aren't you giving too much credence to the role of editors in helping a book sell well?

    2. beta reading

      you need to explain what this is or, better yet, use a more descriptive term

    3. If the majority of readers are calling it quits after chapter three then some changes need to be made in the writing.

      what about people that quit because they get busy? Or because their book club date came and went, and they had to move onto the next book?

    4. (who is far less trained to recognize real talent and art, the je ne sais quoi of good writing than my editors and their gut)


    5. Plus, only so many people read so many books a year which means the amount of blockbusters is finite. If I only wanted to be producing blockbusters then I’d be putting out two or three books a year, and somehow having a drastically reduced field of competition. No, I don’t need to sell a million copies of my author’s latest work

      you were off to a strong start, but feel you're dwelling on this point a bit too long here, especially since it is not central to what you want to use the data for.

    1. owever, if publishers don’t depend on readership data, then how can they strive for blockbuster hits?

      I suppose more how they used to? Knowing how much, reaching out through other channels? It is not as efficient, but perhaps readers will start demanding it

    2. I’m interested in exploring this flip in the question, that what if readership data is restricted from publishers? How would it impact the productivity of the publisher, or alternate the decision-making process of what gets published?

      very good questions!

    3. While there is data that can predict the next blockbuster hits, as shared from Stephen Phillips’ “Can Big Data Find the Next Blockbuster Hit“, I believe that the most useful information a publisher can obtain is from the author and his/her readership credentials to prove that the author is worthy of being published. It’s sad that the amount of likes or follower count is how we qualify how worthy an author’s work is to be published, but I believe this is what the future of publishing is moving towards. Many publishers look at an author’s previous publishing experiences, or if an author has previous entertainment success to use as a security blanket, as a means to promise success and high profit from a project. For example, it’s been very popular to look at the social media account information from prospective poets, as most “Instapoets” are now published based off of viral posts from their poetry. I think this is how most celebrities become authors too. It’s so risky for publishers to publish works, as most ideas don’t really make money. I understand that not most publishers publish just for monetary value, but for the large-house publishing companies, I don’t see it any other way. It’s as if this data acts as the closest publishers can bet to a promised return on a project. 

      You are making a good set of arguments here, but I am finding them all jumbled together in a single paragraph of strung together sentences. Try to break down your thoughts and arguments and organize them into their own paragraphs that explain more carefully what you mean.

    4. readership credentials

      what do you mean by "readership credentials"?

    1. but since I have access to all the data in the world, I can capitalize on this opportunity.

      but what data precisely? Having data and knowing the answers are different things

    2. That way, fans of the TV show would buy books produced by my publishing house

      have you looked at other books/tv series connections? I think these are almost always done on really big best sellers only. What makes you think it'd work for smaller titles?

    3. season.   I also

      why this space?

    4. spending liberty.

      never heard this phrase before

    5. trend waves

      so looking at hot topics?

    6. trends in the market and ride those waves.

      tends in what? where would you look?

    7. I would consequently also know what time and days of the week they are in the mood to shop/attend events.

      Clever idea, but wondering what you see as the source of data for this

    8. I don’t think there is any way to not

      the double negative makes this sentence hard to parse

    9. impede


  9. Mar 2019
    1. they’re doing and who they’re giving it to

      you changed from 'we' to 'they' here

    2. Amazon has developed camera technology which they use in their Amazon Go store that can tell the difference between each product in the store and charge the customer accordingly.

      you are jumping a bit all over the place

    3. You only need one app, one platform, one secure place. You can communicate with your friends and family, make purchases, share images, whatever you like, and it’s all private (right?).

      I am left wanting a bit more explanation of nuance here

    4. Maybe sharing your information with one corporation would be better?

      this comes a little abruptly. What is the argument you are building towards here?

    5. We’ve sold our souls (private data) to the Devil (Facebook, Google, Amazon) for eternal euphoria (funny cat videos)

      I like this, even though I would say that you haven't quite sold that GFA are the devil yet).

  10. Jan 2019
  11. Nov 2018
  12. Aug 2018
  13. Jun 2018
    1. service

      juan's annotation


  14. Feb 2018
  15. Jul 2017
  16. Nov 2016
    1. designed as a marketing strategy,

      my sense is that this has always been the case

    2. which makes me wonder…Is this because of the book?

      a nice transition

    3. You know what I mean.

      not exactly.

    4. f this is the case, then why do they all look so… average

      Is this a case of selective seeing? Perhaps most covers have always been bland, but we see the ones from the past as more interesting?

    5. this site,

      name author, or site

    6. Books are now designed using stock photos, illustration software, editing software, and downloaded fonts.

      there are still some amazing cover designs.

    7. sites

      Wordpress is a software platform, that also happens to be centrally hosted at wordpress.com

    8. this

      why not a screenshot?

    9. It is important

      Why is it important?

    10. the image of a website dictates if we’re going to stay on the sit

      Is this true?

  17. Aug 2016
    1. I am an Assistant Professor

      Annotations with Like buttons... custom build! Details coming soon...

  18. Feb 2016
    1. but I don’t think that’s nec­es­sar­ily what their con­cern is.

      OK. Now this is the response...

  19. Jan 2016
  20. tkbr.ccsp.sfu.ca tkbr.ccsp.sfu.ca
    1. read­ing hap­pens on the Web

      here is an annotation link text here

  21. Dec 2015
  22. Nov 2015
  23. Oct 2015
    1. Table of Contents

      seems odd to have this section here, after Challenges

    2. but does not seem to be supported in others.


    3. check for unused classes or styles

      try the Check Book tool in Calibre

    4. pseudo-frontmatter

      what do you mean by this?

    5. n section 2.4: 

      good use of figures

    6.  specific fonts

      such as?

    7. Finally

      I find the image below hard to read/understand what you're trying to communicate

  24. Sep 2015
  25. tkbr.ccsp.sfu.ca tkbr.ccsp.sfu.ca
    1. Juan Pablo Alperin

      You can also reach him at @juancommander on Twitter

  26. Aug 2015
    1. The XSL TransformationThe best

      again. transitions.

      Something along the lines of: with the content available in ICML, and a separation of content and styles, converting those to different formats is best done with XSLT

    2. An ICML file only concerns itself with what InDesign calls a Story—any piece of continuous text. When text from one page or text box overflows into another, it is a continuation of the same Story. Since the information about each front-list title is independent from the others, it would have made sense for our catalogue to have each as a separate Story. However, an ICML document can only contain one Story, so it was much simpler to run all the titles together than to create a multitude of ICML files, which would have needed to be individually placed.

      this is probably a better first paragraph, with the first one coming after saying "Importantly, the ICML format is the one that is used when Placing from InDesign".

    3. .

      what's this period?

    4. ICML is the format that allows the website content to be placed and automatically updated in the catalogue I

      same comment about transitions for this section (probably for all, review each).

      I would start with a more general description of what ICML is, then say that it is the format used when Placing from inDesign

    5. the same CMS as Harbour.The ONIX StructureHarbour

      work on the transitions between sections. At the end of the previous section, bring up ONIX again, and at the beginning of this section, introduce the section before diving into the content.

    6. efer to Figure 1, page XX

      again, you don't need to put "see" in front, or "Page XX" after. Just (Figure 1) is sufficient.

    7. Content Streams

      I'm partial to having an introductory paragraph or two before the first subheading of a chapter.

      The paragraph below could go before this heading.

      I might also try to introduce the custom solution a little more gently: "in developing an alternative, we sought to automate as much of the workflow as possible by reusing information...

    8. With that in mind, we focused on searching for ways to improve catalogue produc-tion without considering how, or even if, those same solutions would apply in other contexts. Systems for preparing ebooks or posting new content to KnowBC.com, for example, can be pursued later.

      not sure it is necessary to say this here.

    9. requires.Designers

      abrupt transition

    10. see Table 1 on page 3

      You don't need the page number. Just "(Table 1)" is sufficient.

    11. digital

      their digital workflows

    12. the

      a prototype for ... (you haven't talked about a prototype yet, so "the prototype" is misleading)

    13. needs

      but that also offers general lessons for others, since all workflows involve some degree of information reuse

    14. staggering

      what about: "certain". Hard to quantify, and staggering is a subjective term

    15. books


    16. are in essence

      how about: "can be treated as" or "can be thought as"

    17. none reuse information that was captured in earlier stages of the workflow.

      great. much better problem statement.

    18. Associate Professor and Director

      Assistant Professor

    19. Senior Lecturer,

      Associate Professor

    20. Senior Supervisor

      I'm the senior supervisor


    1. Is it possible to add annotations to a PDF? PDF.js is mainly written for reading PDF files, not editing them. Because of that we don't yet support adding any kind of annotations. We do however support rendering a number of annotation types for viewing.

      But you can use Hypothes.is! Of course, if you are reading this probably already know that.

  27. Jul 2015
    1. used their


    2. The projec

      The project described in this report

    3. Juan Pablo Alperin Supervisor Associate Professor and Director,

      John is "Associate Professor" I am "Assistant Professor"

      Also, I am your senior supervisor.


  28. Apr 2015
    1. and they are just as important as data

      or, arguably, they could all be done through the use of more data. A little like how we talked about the Netflix case for selecting the right thumbnail image.

    2. choosing to publish only women’s mystery novels in paperback in order to maximize sales leaves out every reader and author outside of these categories

      This would be a poor use of the data. Identifying little subgenres that have some sales would also be possible. or to identify the right size of a print run, or what part of the country to distribute it in.

    3. Uncle Ben, Spiderman)


    4. solely on data

      This may be a bit of a straw-man. Most people do not suggest that you use ONLY data-driven decision making.

    5. As creative industries

      Creative industry

    6. national


    1. the statistic I am focusing on is the algorithm’s ability to correctly determine the success of a book given its writing pattern.

      right, but this is unrelated to algorithms to do market research / write for you, which seemed more aligned with your original premise that algorithms shouldn't be used to supplant human labour, but instead it should be in new and hybrid ways. These statistical analyses cannot be used in those hybrid ways, or at least you haven't talked about how.

    2. Beyond looking at historical placement and reception of texts to help decide acquisitions, algorithm run platforms can also improve the publishing process via statistical stylometry. Statistical stylometry is the “statistical analysis of variations in literary style between one writer or genre” (Stony Brook) that can be used to determine commercial and critical success. In 2013, Professor Yejin Choi from Stony Brook University unveiled a study in which an algorithm was used to analyze 800 books from Project Gutenberg, a platform which “houses 42,000 books that are available for free download” (Stony Brook). The study was one of the first to try and provide quantitative insights into the relationship between book success and writing style. It looked at “1,000 sentences from the beginning of each book […] [and] performed systematic analyses based on lexical and syntactic features” (Stony Brook), before comparing those statistics to the number of downloads. The study itself uncovered numerous interesting trends and correlations such as how less successful books tend to be “characterized by a higher percentage of verbs, adverbs, and foreign words” (Stony Brook), while successful books make more frequent use of discourse connectives.

      This seems like something completely different than what you've been talking about until now. Algorithms for writing, and algorithms for analyzing what have been written. You should make this distinction clear, as the two kinds of algorithms have very different potential uses.

    3. This in turn can also give publishers a better sense of what users, demographics, and groups a certain book attracts, ultimately allowing for “more precision” (Conner) in audience targeting. The same can also be said for topic research as well, with algorithmic investigations working to discover popular or over saturated genres and comparable titles. Access to such databases would help ensure that a potential book was “genuinely unique, […] [and] potentially patentable” (Conner), consequently relieving some copyright and monetary risks. Authors and publishers alike would thus be able to see how certain styles or genres of books were received, giving them the opportunity to tailor their own products and marketing for success.

      This is all basically Conner's argument.

    4. and enact hybrid models of automation.

      an interesting premise. Curious where you're going with it.

    5. being hailed as the next wave of betterment

      again, by whom. a citation would help.

    6. these algorithms

      would be good to know what realm of algorithms you're thinking about here.

    7. which has recently begun to pick up steam

      a couple of links to stories, showing it has received attention would work well here.

    8. , regardless of medium


    1. and desires to be consumed in a “serious way

      I tend to agree. Good tie back to the earlier love of reading comment earlier.

    2. perhaps to help build a reader’s profile avatar, to perfect recommendation algorithms

      I'm finding these kinds of suggestions a little confusing, as it is not clear what they might look like as a gaming strategy.

    3. Examples of successful gamification can be seen in Scholastic’s 39 Clues,


    4. motivation they need to engage with the book in a positive way

      an example of the kind of gamifcation you're talking about would be useful by this point. Although it has been defined in the general, it is hard to imagine the specific that you're talking about.

    5. fulfillment of any of these drivers can be achieved through alternate forms of media

      this is making it more clear.

    6. being entertained through storytelling

      aren't these kinds of things what is referred to as the enjoying of reading itself? I'm not so clear on your distinction.

    7. This is misguided.

      controversial. I like it.

    8. This essay argues that gamification in publishing is a beneficial development and should be sustained in any of its present forms or potential uses. Gamification, as will be defined, can influence positive reading behaviour through the reader’s play and interaction with the content by means of intrinsic and/or extrinsic motivators. Presently, companies like Scholastic, Kobo, and the Huffington Post have successfully integrated gamification into their publishing (or platform) models, but many publishers remain skeptical of its intrinsic, long-term value to the reader’s experience. It should be noted, however, that “gamification” strategies—although not traditionally defined as such—have been a long-standing part of print editorial, production, distribution, and marketing plans even before the inception of digital reading. Furthermore, reader psychology naturally allows for the acceptance of a gamified environment through the reader’s inherent motivation to complete, share, and collect content. As such, a publisher or content provider’s adoption of gamification in digital production, while not only benefitting the industry as a whole, should be expanded beyond the elementary use of points, badges, and leaderboards (PBL), and adopted cross-genre.

      an OK introduction, but it is still unclear what gamification looks like in the publishing industry, so it is a little difficult to understand and get behind the premise.

    1. social trinity

      did you coin this? Or someone else's term. I like it.

    2. (52%) and online (49%)


    3. they can now reach multiple audiences through their metadata

      not entirely clear how, but I assume you'll get there.

    4. wouldn’t today’s discoverability actually be better than the old days of paper books in a 4-storey bookstore

      This is going to be for you to answer!

    5. Compared to traditional print book marketing strategies, such as jacket copy, print advertising, and co-op bookstore placement, discoverability in the digital landscape is better than ever before and presents an enormous opportunity for publishers in terms of awareness and sales.

      a strong premise.

    1. Topic modeling and its application to BISAC code selection is an obvious fix to a system that so clearly is not function.

      agreed. and good additional benefits outlined above.

    2. Replace “theme” with “subject heading” and interpret zooming in as selecting a more specific BISAC code within a subject heading, and topic modeling and the selection of a BISAC are mirrored processe

      good analogy

    3. These patterns can include the recurrent use of certain words or phrases, or the repeated appearance of relationships (in terms of grammar, order, and position) between words or phrases, and are measured or quantified so as to provide the statistical likelihood that a text pertains to a specific theme or subject matte

      good definition.

    4. The question then, is how do we fix this broken system and implement a consistent process for selecting BISAC codes?

      Up until now, you've done a great job at motivating the problem.

    5. There should be consistency across formats. In other words, hardcover, paperback, mass market, large print, audio books, and e-books should all have the same BISAC subjects.

      seriously? This is the advice they give... sigh.

    6. ineffectual response

      would be good to point out why it is ineffectual.

    7. and no categorization tools or aids are supplied.

      even if they were, I would imagine their use would be irregular and inconsistent between publishers.

    8. it


    9. Unfortunately, this assumption is untrue.

      oh, how sadly true (that it is untrue)

    10. Chapters-Indigo, and would confirm the store as being laid out in sections based on the genre of the books found within.

      This is generally true of most bookstores around the world, I think.

    11. From the first book we read, or, more often, have read to us, we begin to form preferences. We find authors we like, writing styles or reading levels that we enjoy consuming; plotlines that compel us to keep reading, and characters we connect with, but underlying all of these nuanced preferences is one very specific penchant: genre.

      Good opening.

    1. So while the Times may lose certain reader insights, Facebook gains a whole world of new insight that the company would not have previously been privy to—information like what stories readers of the Times are more likely to read through completion, what authors are read the most, and what stories are read most in certain parts of the world

      arguably, they can already do this, because so many NYT stories are shared on FB already, that they can pull the stats from how those links perform

    2. Is the coming contest between platforms and publishing companies an existential threat to journalism?

      another critical question—which I realize you're not posing directly—but one that I think also merits attention.

    3. do they come to these owned channels with their wallets open?

      again, a critical question. In the FB ecosystems, users wont pay for content directly, because they will be served ads. But these users will also learn the expectations that the NYT content should be free...

    4. But how does the New York Times brand benefit from this?

      Crucial question.

    5. This should be no surprise as this company is the same that only permits Instagram users to have one functioning hyperlink on their profile and none in their posts.

      the connection here is not immediately obvious. I realize it has to do with the external links, but it does not relate back to the previous sentence, which is talking about the data FB has that publisher's do not.

    6. was

      must have been?

    7. the pen

      hard to read pen as an enclosure when talking about publishing.

    8. Fundamentally, it seems unlikely that it’s in the best interest of digital publishers to cede power to a third-party company with its own shareholders to answer to, and ultimately, this partnership is a wedge that could sever the Time’s social audience from itself by allowing Facebook to corral its audience while setting Facebook on the road to becoming a publisher themselves.

      a lot to think about for one sentence.

    9. In the trail of navel-gazing and soul-searching that’s streaking like condensation on the window through which Facebook and the New York Times are about to shake hands, the debate about the deal that would see the media organization publish content directly to Facebook has boiled down to duel between control and independence versus access to audience.

      strong opening.

    1. In conclusion, self-publishers have approached the web as a platform or context of endless opportunity, whereas traditional publishers have perceived it as a threat to their business models and in turn, their very purpose of publishing. Essentially, a new form of publishing is already set as the stage where self-publishers are able to introduce new standards of creating content and curating content, marketing and distributing it with user-friendly, accessible and even free tools. The smart traditional publishers, and even booksellers, as we have seen have used this as an inspiration to expand their own models, and collaborate with successful self-publishers, even emerging bloggers and annotators by offering unbundled professional services and content strategies, as well as editing and formatting tools to publish their own books. The new stage of the “techno-publishing”, a term I coined myself, is a place to invest coding skills, multiplatform marketing and content disaggregation for the right audience at the right time, is where the business of publishing is right now. What is left, is for us to decide which part we’ll play in it as future publishers.

      this paragraph provides a nice summary if the points you've tried to convey in your essay. I think the essay meanders a little on the way, but manages to convey this point.

      I still think your most insightful observation is the one I commented on above—the reader as an author—which unfortunately goes under-explored in your essay. Think about that one some more!

    2. With that said, the self-published author owns the right to the e-book.

      unclear how this is contributing to your larger argument.

    3. Berinstein, 2015)

      mixed citation. You've been using numeric citations elsewhere.

    4. The future of the book: “Almost as constant as the appeal of the book has been the worry that appeal is about to come to an end. The rise of digital technology—and especially Amazon, underlined those fears” (The Economist, From Papyrus to Pixels)[8].

      same as above. These quotes feel injected into your essay, and interrupt the flow of your narrative.

    5. create a community

      This seems slightly different, and could probably stand to be separated from the previous notion. In the first, I see the reader as becoming an author, and thereby in a position to start demanding some of the rights of the author. The second has to do with a community as an entity to be dealt with, but I see this as more similar to the typical relationship publishers have with audiences. The former is an entirely new relationship.

    6. Traditional publishers, who already face competition from retail giants such as Amazon, now have to consider their competitive edge against a surprising opponent – the consumer, and in this respect, the reader. We can see that through social computing, as described by Alan Liu as an evolutionary form of reading where the reader assumes the role of annotator, and thereby contribute to the work of the original author.

      This is a novel idea. I now understand what you mean by the consumer being an opponent (it wasn't clear from the abstract).

    7. According to Bowker’s statistics “more than three million new titles were published in 2010. Of these, over 2.7 million were non-traditionally published books, including print-on-demand and self-published titles.[

      careful with inserting single-sentence paragraphs. You're just stating a fact here, but not working it into a narrative.

    8. incubator, and consultan

      would be good to elaborate on what you mean by these.

    9. Mashable,

      FYI: you should be citing the author here, not the venue.

    10. all that has changed

      not clear what "all that" is referring to.

    11. Self-publishing is setting the stage[1] for the future of publishing with the prevalence of “do-it-yourself” tools and applications, almost diminishing the value of the traditional publisher as gatekeeper.

      good, clear opening.

    1. Danah Boyd

      minor point, but danah boyd insists on typing her name in lowercase.

    2. However, sexism within tech industries, as well as in technology itself

      I really like this topic. It is a sign of my own gender bias that I had never made this connection before. Thank you for bringing it to my attention.

    1. How would its online subscribers react upon finding that the story that they have paid good money to read is being freely shared on Facebook?

      My guess is that there will be stories that are exclusive to FB. I don't think anything behind the paywall will appear on FB. But who knows.

    2. legacy publishers still exist as whole entities even as their reliance on social media increase

      again, great observation.

    3. their cultural capital is inextricably tied up with their brand appeal

      astute observation

    4. In fact, as Peretti points out, organic social shares of their content qualify as earned media as opposed to viral hits, which can be easily obtained by buying cheap traffic.

      You seem to have strayed off point with this paragraph. The focus until now has been on the NYT, and switching to focusing on BuzzFeed this late in the essay is a little disorienting.

    5. silent crusade against click-baiters


    6. Evan


    7. How does it expect to transplant its content into Facebook without risking its robust subscription model?

      This is a crucial question, and one that could make for its own essay.

    8. the same NYT report

      link missing.

    9. Facebook but only if it’s on its own terms;


    10. around them have liked and shared it

      plus through the trending widget

    11. Only recently did it add

      citation needed.

    12. case studies of their lucrative partnerships.

      good find.

    13. Google News

      Not sure Google News is the right comparison. Google as a whole provides a point of entry, but I'm unsure of the popularity of Google News, or if FB or others would see it as a threat.

    14. 80% leap in referral traffic

      citation here the previous link?

    15. Sounds plausible enough but a closer look at Facebook’s recent activities shows the move is part of a bigger plan


    16. .

      great hook and intro topic so far.

    17. Facebook and News Publishers: The Writing is on the Wall

      clever title

    1. [9]

      you're a little too over-reliant on this single text—which I admit is highly relevant and practical.

    2. the easiest and least expensive method of hybrid

      a reasonable suggestion, although, as you've discovered, it can be quite limiting.

    3. PDFs

      ah. Exactly. Maybe you had just gotten mixed up when presenting.

    4. fixed-layout e-publishing

      this reminds me, that I wanted to help you clarify what fixed-layout is after a comment you made in your presentation: fixed layout basically means content that is not reflowable. That is, once the layout is created, different devices will only resize the screen. Think PDF.

    5. this paper aims particularly at publishers starting out or looking to adapt to today’s changing technologies and who plan to offer enough of a catalogue to make these suggestions beneficial to their process

      good definition of scope.

    6. Whoever came up with the saying “Jack of all trades, master of none” never saw hybrid publishing coming

      great opening.

    1. online

      The differences/distinction of a service like Safari merits more attention.

    2. is this truly an exercise of freedom or, rather, a limitation on it?

      well put.

    3. inside

      Shatzkin always has great observations/insights. A good one to have picked up here.

    4. These publishers, in fact, are putting into the service only their backlist titles, leaving the new, “most attractive commercial titles” out of the offer

      Might make this a little tidier if you'd split up the limit because of time, and the limit because of content.

    5. nd I’m now venturing into the realm of speculation

      comparison of the number of subscribers is a little problematic, because you're comparing the size of the services today—which is different than their potential. Below, you say that the market is likely smaller (this is very probably true), but it'd be better supported by some statistics from reading surveys.

    6. solicit customers to ‘subscribe’

      Not sure this is a fair comparison. Subscriptions in this sense are very different from those of subscription services. Yes, there have always been subscriptions, but always to specific publications, not always across the work of a publisher or sets of publishers.

    7. The popularity of Netflix-like subscription services: or a book is not a film (nor a song

      fun title. I'd remove the brackets from the "nor a song"