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Why Amazon's Kindle Should Use Open Standards
Tim O'Reilly wrote in Forbes a while back that he thinks the Kindle only has another two or three years of life left, unless Amazon wises up and embraces open standards. He came to this conclusion, in part, because of his experience deciding how to publish documents on the web back in the mid-1990s.
"You see, I'd recently been approached by the folks at the Microsoft Network. They'd identified O'Reilly as an interesting specialty publisher, just the kind of target that they hoped would embrace the Microsoft Network (or MSN, as it came to be called). The offer was simple: Pay Microsoft a $50,000 fee plus a share of any revenue, and in return it would provide this great platform for publishing, with proprietary publishing tools and file formats that would restrict our content to users of the Microsoft platform. The only problem was we'd already embraced the alternative: We had downloaded free Web server software and published documents using an open standards format. That meant anyone could read them using a free browser. While MSN had better tools and interfaces than the primitive World Wide Web, it was clear to us that the Web's low barriers to entry would help it to evolve more quickly, would bring in more competition and innovation, and would eventually win the day."
You're free to make that choice. But:
(1) There are other strategies that may be more to your economic benefit. I write science textbooks and science fiction. In the areas that I'm familiar with, one good example of a highly successful alternative strategy is the Baen Free Library of science fiction books. A couple of other very talented professional SF writers who make their work available for free online are Cory Doctorow and Benjamin Rosenbaum. For a few hundred other (mostly nonfiction) examples, see my sig. (I'm not a particularly well known SF author, but here is where I've done the same thing with my fiction. My nonfiction is free online here.)
(2) History has shown that DRM doesn't work. Back in the 1980s we went through the whole DRM fiasco before. Back then it was called "copy protection." You would buy software on a 5-inch floppy disk, and it would have various formatting trickery that made it hard to copy. Users hated it. For one thing, they couldn't back up their software properly, so as soon as the disk wore out, they had lost their investment. Users voted with their feet, refusing to buy copy-protected software. The result was that copy protection disappeared. Since then, various people have kept insisting on relearning the same lessons over and over. The outcome is always the same. DRM doesn't work, users hate it, and because users hate it, it ends up being a failure in economic terms.
Find free books.
Paulo Coelho is not the literary world's most active Web aficionado, but he's certainly its most prominent. The Brazilian author has sold more than 100 million books, which include 14 short story collections and the novel "The Alchemist." He has been a fan of the Internet since the early 1990s. He spends at least three hours a day online, writing e-mails back and forth with his readers and posting photos on Flickr, MySpace and a blog.
Coelho's online activities also include a somewhat nefarious one: he likes to promote pirated copies of his own books. At the recent Digital, Life, Design Conference in Munich, Coelho told a gathering of tech company CEOs, artists and designers that since 2005 he's been directing his readers to an online site where they can download his books, in languages from German to Japanese, for free. "I always thought that when, at the beginning of your career, you strive to be read, you can't change your mind later and become greedy about it," he said.
Tell that to his publisher, HarperCollins. When reached by NEWSWEEK, a HarperCollins spokeswoman, Patricia Rose, said the publisher knew nothing about Coelho's online activities.
With his announcement Coelho is turning up the heat on an issue that's been simmering in the book publishing industry for years. In supplementing traditional promotional strategies, such as book signings and reviews, with free downloads, Coelho is championing a model that's gaining momentum among his fellow, albeit lesser-known, authors. Writers of technical manuals, academic books and fiction authors, like science fiction writer Cory Doctorow, have been putting their entire books online for free, with the consent of their publishers. Some authors claim that online publishing increases book sales by stimulating word of mouth. Publishers, for the most part, have been reluctant to endorse the practice for fear that it will undermine their sales and contracts for foreign rights and distribution. The trouble is, nobody really knows what effect free online publishing has on book sales, because there's almost no data to go on. "I think the Internet, for [publishers], is a very strange world, still," says Coelho's agent, Monica Antunes, from her office in Barcelona. "They can't make up their minds whether it's good or not good."
Whereas most authors who have embraced online publishing have done so openly, Coelho had been deftly hiding behind the anonymity provided in the digital world. His site, Piratecoelho, culls pirated versions of his books on sites like BitTorrent and eMule. He pays 10 fans scattered across France, Spain, Brazil, Russia and Turkey to find new pipelines for him to gather versions of his books onto the site. Visitors to his blog can click on an image of Coelho, resplendent in a neatly trimmed white beard, scarf and eye patch (he resembles an affable buccaneer in real life as well), and continue on to the site.
Coelho believes his online activities have only increased his already healthy sales. When he first came across a pirated edition of one of his books, in Russian, on the Internet in 1999, he put the link on his site, and the impact was immediate. Bookstore sales in Russia, a market in which Coelho was having distribution problems and where he had sold only 1,000 books, rocketed to 10,000 in 2001. He has since sold 10 million copies of his books, his agent says. His fans have downloaded complete editions of his books, in languages ranging from Spanish to Swedish, more than 20 million times in the past seven years. By publishing online, he says, "you give the reader the possibility of reading books and choosing whether to buy it or not."
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A) It costs a couple of hundred dollars more than the competition.
Back in 2001? I don't think so. There were no commonly available 5 GB devices in the iPods form factor back in 2001. Today, yes, 2001? No.
B) It ripped off the UI from the competition with the exception of the buttons on the case
Not really, the entire UI was basically based off the click wheel which wasn't really used on anything else back in 2001. If you have evidence feel free to show me, but I can't remember (and a quick Google search turned up no results) of any other player having a similar UI back in 2001.
C) The iPod never had as many features as the competition did, you're probably thinking of attachments. D) The competition wasn't crap, I've used the competition for years, and I've never had to send it back for a costly battery replacement.
About the only other digital audio player that came close back in 2001 to the iPod would be the Personal Jukebox and even then it used a larger HD making the entire device itself larger.
Taxation is legalized theft, no more, no less.
Well Talk to Apple about a propietary locked down format for content that can be easily pirated.
Uhmmmm. No! Apple supported that format (AAC + Fairplay) in addition to the worldwide unprotected (MP3) format. In fact, they supported the unprotected format first and only added the DRM-encumbered format later as necessary to strike deals with the music-distribution cartel.