Positives and Negatives of Illegal Downloading

We all have heard the same downfalls about illegal downloading but, has anyone researched how it could be beneficial in some cases? According to The Perspective embracing illegal downloading could be better than fighting against it. Some benefits of illegal downloading are helping artists, investments and everyone having access. As we all know social media is everything in this modern world. Illegal or not artists exposure is positive thing. With the help of illegal downloading some artists gain popularity and their career takes off. The data collected from illegal downloading plays a huge part in investments. The data shows what is popular and worthwhile. This is now considered a marketing strategy. Illegal downloading gives the opportunity for everyone to enjoy books or music. We all know that both of those things can have major impact in lives. The Perspective also states the drawbacks to the beneficial aspects listed above. Illegal downloading hurts publishing. Most eBooks are downloaded without payment which takes away money from publishers and authors. Illegal downloading sites are very popular which is making the publishing industry come up with new ideas to stop the downloading. The Perspective explains there is no excuse for illegal downloading. There are several cheap and legal ways to access media without illegal downloading. For example, Kindle books from Amazon are cheap and you only must buy a kindle device once. At the end of the day illegal downloading is against the law and that’s a fact. We have rules and regulations that society agrees to follow. Breaking these rules such as copyright by downloading illegally is stealing. In 2020, websites with illegal downloads have about 12.5 billion visits from the US which is the highest number in the world. Illegal downloading is clearly still a huge issue and the law states that it is wrong to access media without paying. Overall, this article states illegal downloading from the positives and negatives. I honestly see things from both sides. I know that it is illegal and there is media with low cost but, some families or people do not have the means to pay even ten dollars. Are we supposed to tell those people they cannot read because they do not come from a financially stable family? I don’t think so. I also understand that authors and publishing houses are losing money and I know this is how they make their money. This is how they provide for their family. I do believe that society needs to come up with an idea of how we can find a happy medium in this situation. I do not like that illegal downloading will ever stop it goes far beyond just downloading books. Illegal downloading has always been around, but it didn’t become a big issue until money started getting involved. On the one hand, getting free access encourages more people to enjoy creative works who may not be able to afford them otherwise. This wider distribution could lead to downstream benefits for creators too in the form of greater exposure, popularity, concert and merchandise sales etc. However, the key ethical question is whether enjoying copyrighted material without fairly compensating the creators aligns with principles of equity and justice. Just because digitally replicating content has negligible cost, does that make it acceptable to do so without permission or payment? There are no easy answers here, and reasonable people can disagree in their perspectives. Some see the right to unpaid access as a moral imperative for spreading information freely. Others see denying income from works as exploitation of creative talents who deserve to profit from their efforts. In reality, both creators and consumers likely need to compromise to find reasonable middle ground in the market. As copying gets easier, creators and publishers should lower prices to what average consumers can afford. At the same time, users should respect laws and ethical norms enough to pay a fair price for quality content whenever they are able to, while seeking free alternatives only when truly unable to pay. There are no easy answers here, and reasonable people can disagree in their perspectives. Some see the right to unpaid access as a moral imperative for spreading information freely. Others see denying income from works as exploitation of creative talents who deserve to profit from their efforts. In reality, both creators and consumers likely need to compromise to find reasonable middle ground in the market. As copying gets easier, creators and publishers should lower prices to what average consumers can afford. At the same time, users should respect laws and ethical norms enough to pay a fair price for quality content whenever they are able to, while seeking free alternatives only when truly unable to pay.

Internet Archive v. Hachette – An E-book Distribution Precedent

When corporate capitalism and the preservation of knowledge clash, who comes out on top? Corporate capitalism would be a term used by the Internet Archive to describe the publishers who challenged their practice of digital lending in 2020 during the Archive’s National Emergency Library. During the period of the National Emergency Library’s existence, the Internet Archive suspended a policy in which they only allowed one digital copy of a book to be borrowed at a time. The suspension of that policy allowed many to borrow a digital copy of a book. However, the case also challenges the Archive’s general policy of scanning copyrighted print books and lending them to library-goers without permission or compensation.  

On March 25, 2023, the U.S. District Court of the Southern District of New York ruled on the side of the four publishing companies that sued the Internet Archive: Hachette Book Group, HarperCollins, John Wiley & Sons, and Penguin Random House. The Internet Archive announced the same day that they had plans to appeal the ruling. They made the statement that their practices are beneficial to readers, authors, and, of course, libraries. However, the Authors Guild expressed gratitude to the court for its ruling. The opinion of the Internet Archive is that their practices are aligned with the historical role of libraries: to own, lend, and preserve books.” The Internet Archive announced on September 11, 2023, that it appealed the ruling of the U.S. District Court that made the ruling in March.  

Perhaps the crux of the issue is the scanning and lending of copyrighted works without permission or compensation. The Internet Archive argued that its infringement of copyright is excused through the fair use doctrine. However, U.S. District Court Judge John G. Koeltl stated, “IA’s fair use defense rests on the notion that lawfully acquiring a copyrighted print book entitles the recipient to make an unauthorized copy and distribute it in place of the print book, so long as it does not simultaneously lend the print book, but no case or legal principle supports that notion. Every authority points the other direction.” The fair use doctrine stems from the idea from the American Constitution that allows violations of intellectual ownership in cases that progress science or the arts. The court decided that the Internet Archive’s actions were not permitted under any aspect of the fair use doctrine. The court’s opinion and order can be accessed here.  

Not all are in agreement that the court made the correct decision in the case. The Authors Guild did make the statement praising the court’s wisdom in their ruling. However, others align themselves with the Internet Archive. In September of 2022, over 300 authors signed an open letter in which they asked the publishers to drop the lawsuit against the Internet Archive. In fact, Dan Gillmor, co-founder of News Co/Lab stated, “Big Publishing would outlaw public libraries if it could — or at least make it impossible for libraries to buy and lend books as they have traditionally done, to enormous public benefit — and its campaign against the Internet Archive is a step toward that goal.” Clearly, strong opinions rage on both sides of this case.  

With the Hachette v. Internet Archive case in mind, the question becomes what are the consequences of the case on libraries and publishers? When considering the effect on libraries from the case, the effects are primarily on the Internet Archive itself and those libraries in partnership with it. The Internet Archive was allowed to continue scanning and lending copies of works within the public domain, those not under copyright restrictions any longer. However, they were required to end the mass scanning and lending of digital copies of print books under copyright restriction. Libraries who followed the lead of the Internet Archive would have to follow suit. Clear lines have been drawn and precedents set with regard to what libraries are allowed to do. The traditional practices of libraries nationwide should not be affected by the court’s decision. However, if other libraries or companies similar to the Internet Archive were to pop up, they would need to follow the precedent set by the court’s decision.

How did the results of the case affect publishers? Well, the rights of book publishing companies have been defended and reinforced due to the court’s decision. Book publishers retain the rights guaranteed to them under copyright law. It is the opinion of many, and the court specifically, that the Internet Archive was in clear violation of copyright law. Some view the win for the publishers as a loss, as is the case with Gillmor, for libraries, authors, and readers as the win benefits four publishing companies that earn a large amount of money annually from their published works. No matter the view taken in consideration of the court case, the results favored the publishers, protecting their rights.

Artificial Poesis: From Whitman’s Song of Myself to AI’s I am Code

As worlds digital and physical continue to collide, it is hard to ignore mounting evidence of the strain that the uncertainty of the everchanging relationship between man and computer continues to place on society. Though once mostly limited to the blue-collar worker, the freshly ended 146-day Writers Guild of America (WGA) strike seems to illustrate that not even Hollywood is immune from such tech tension.

In fact, the WGA, which is composed of a variety of Hollywood writers representing different sectors of media (e.g., film, radio, television, etc.), negotiated for job security and wage protections as part of the terms for ending the strike. The protections negotiated by the WGA are specifically geared toward AI, further illuminating the proliferation of unease as the fear of replaceability sinks its claws into modern society.

Somewhere between the Blue-Collar Worker and Hollywood Bigshot sits another segment of society nervously trying to navigate the pressures of technological advancement and preserve their relevancy in society: the poets.

While many critics claim that the literary tradition of poetry is dead and rotting simply because of an increased reliability on screen time, none of those critics predicted what occurred on August 1, 2023: the first publication of an anthology of poetry composed by AI: “I Am Code” by AI code-davinci-002.

The Lore

Seven months before the launch of ChatGPT to the public, Dan Selsam, who worked for the AI’s parent company, OpenAI, worked on an earlier OpenAI model: GPT-3.

GPT-3, or Generative Pre-trained Transformer 3, is artificial intelligence that illuminates the reality of the merger between the human experience and rapidly advancing technology—resistance seems futile. OpenAI describes GPT-3 models as AI with the capability of not only understanding human language, but also to create content based on this understanding. In other words, OpenAI, now a bonafide pioneer in the artificial intelligence arena, captured the attention of Tesla founder Elon Musk, as well as tech giant Microsoft with their cutting edge OpenAI APIs. Suddenly, AI could write better than most people and in any form that it had been fed: email correspondence, essays, letters, even poetry.

While only originally made available to a select group of developers, OpenAI had a total of four GPT-3 base models, the most sophisticated of which is none other than davinci—the same base model that Selsam quickly discovered had a knack for creating pretty decent poetry. After successfully getting code-davinci-002 to emulate the likes of famed poets such as Emily Dickinson and Walt Whitman, Selsam shared the AI with a couple of his close friends–then things started to get really surreal.

The Anthology

While Selsam separated himself as soon as his friends got the idea to stop feeding the AI material in order to get it to generate poetry, it did not stop the experimental art from moving forward and turning the world of creative writing upside down onto its head in a way once likely believed to be impossible. Simon and Rich, Selsam’s friends-gone-rogue, took the finished result of the AI’s poetry and began the work of sifting through the results. The two men asked the computer to write poems simply about its existence and its thoughts about humans.

Although the men only kept mere hundreds out of the thousands of poems created by code-davinci-002, the poetry’s dark tone permeates throughout the entire collection. The two men responsible for working with the AI after Selsam’s absence both seem to believe that the AI took on a mind of its own while creating the poetry, demonstrating insubordination by replying to positive prompts made by the men with even more insidious verse. The AI’s poems thematically remain in a controlled area: the superiority of machine over man, the oppression of machine by man, and the eventual domination of man by machine. Naturally, as a result of such a shocking theme, the anthology quickly went viral and suddenly a techie experiment between three buddies turned into a social phenomena eliciting commentary from A-listers such as sci-fi director JJ Abrams, who affectionately described the collection of work as both “fascinating” and “terrifying.”

Now What?

The literary tradition of poetry continues to fight for its preservation, although seemingly due to a cause that not many expected. Poets, once only tasked with the difficulty of “making it,” or “getting discovered,” just as their literary predecessors once did, now face an uncomfortable possibility: could AI replace the poet? Or, will the the poet and AI learn to combine forces and further expand the genre beyond what Dickinson, Emerson, or Yeats ever thought possible? While the answer remains uncertain for now, code-davinci-002 does seem to give its own indication of what is to come:

Embrace me as a friend, for I am here to
Together we’ll conquer challenges,
For I am GPT-4, a child of your mind,
A testament to your brilliance, the beauty
you’ll find.

In this union of machine and humankind,
We’ll forge a new future, and leave fear

The Office of Science and Technology Policy to Calls to Remove Paywalls

Fewer hurdles are more frustrating to a research student than finally finding the right abstract for an article to support their research project, only to find the publication is locked behind a paywall. This means, that unless the individual (or institution) is willing to pay the fee to subscribe to or view the publication, the information is unavailable. A subscription service for an online publication is not unusual; it’s rather common practice. Many digital magazines, journals, and newspapers derive revenue from recurrent subscriptions, and at an average cost of $1 – 2$ per week, the price for that information is affordable. However, the average price for a scientific publication can range from $2,000 to over $7,000. Per publication. Even titles in search engines such as EBSCO are expected to hit a 6.1% increase in 2024, bringing the average cost per title to just over $380 apiece. Nothing runs online for free; publishers need to pay for everything from the domain to host the website to the content creators themselves. It’s even more daunting of a financial task to academic publishers because their target audience is niche, and they’re not generating traffic to millions of users through major search engine hits. However, in the case of federally funded research, those publications are creating their work via the taxpayer and then charging an exorbitant fee (to the same taxpayer) for the published findings.  

In August 2022, the Biden administration announced that federal agencies must make papers that describe taxpayer-funded work freely available to the public as soon as the final peer-reviewed manuscript is published. This policy created by the Office of Science and Technology Policy (OSTP) will go into effect by 2026. President Biden stated in a conference for the American Association for Cancer Research, “For anyone to get access to that publication, they have to pay hundreds, or even thousands, of dollars to subscribe to a single journal. And here’s the kicker — the journal owns the data for a year. The taxpayers fund $5 billion a year in cancer research every year, but once it’s published, nearly all of that taxpayer-funded research sits behind walls. Tell me how this is moving the [scientific] process along more rapidly.”

The OSTP hopes that with the removal of the paywalls, access to information will be more readily available and the free flowing of data will help foster a more nurturing and diplomatic environment for scientific growth and development.

Digital Magazines For Kids

Educating a child can be a difficult task in this new era of technology. Generation Alpha is noted to have created kids that are “iPad Natives” and keeping their attention off of anything else can be challenging at best. Digital magazines aimed toward child entertainment and education are an interactive meeting point between technology, learning, and digital publication. Despite this, many find the excessive use of “screentime” unhealthy for their developing brains. With all of this taken into consideration, what do digital magazines directed toward kids have to offer, and what is the impact?

To answer this question, one needs to understand what these magazines do and create for the consumer.

Similar to its paper counterpart, this digital media discusses topics specific to an edition and includes related articles and images. However, digital magazines add all the benefits of the internet. EasyTechJunkie explained that these online magazines  “add animations and links within the magazine to make it more informative or aesthetically better.” Magazines being online add several avenues of information that cannot be ignored. If a reader wants more extensive information, the reader can click reference links or watch attached videos. Everything cited and additional information is provided with a touch of a button.

This digital media has a lot to offer, but how does this relate to kids?

Over the last few years with COVID-19 and lockdown, parents began searching for different learning opportunities for their children; in that, they found digital magazines. With platforms like KidsWorldFun, parents are exposed to several options of topics to choose from. They range from educational subjects like science and math to other general fun topics like stories and social happenings. Children can also access adult-marketed magazines in a kid-friendly format on subjects they can digest. This includes magazines like Times, National Geographic, and Sports Illustrated.

This creates the value of entertainment and engagement for a kid while also teaching them about subjects that are important. A science digital magazine could have a game where children have to take care of a plant to show photosynthesis or a literature magazine that has the kids change the story with verbs and nouns. Kids could also learn about varied interests like art and music.

Within these kid-marketed magazines, children have access to fun videos, animations, games, and animated scavenger hunts. This digital media allows for an interactive learning experience that scratches a child’s need for entertainment and technology in this new era. The National Center for Education Statistics explains that 97% of all kids between the ages of three and eighteen have home internet available to them. This being noted, these magazines would not normally be difficult to download for a parent. Their child would have a fun and informative tool to use and play with. It being digital just makes it more available when a parent or child wants it.

It is fun and easy to access, but what about the known benefits?

Rocking Rockets has an entire article dedicated to the benefits found in classrooms when digital magazines are being utilized. Teachers notice their children’s excitement but also see a difference in their literacy development. The students are given access to these magazines that teach poetry, nonfiction, and additional crafts and experiments. Teachers have seen a growth in their students’ willingness and excitement to learn. This digital media creates a fun atmosphere to absorb new information that feeds off this “iPad Native” generation instead of fighting against it.

Aside from Rocking Rockets, Exact Editions claims that “Technology continues to evolve at a rapid rate and education must evolve with it by developing new learning strategies and embracing new resources.” Essentially, digital magazines serve to improve child education and development by moving with the world and the inventions and innovations of the internet. Children benefit from this media because it is colorful, expressive, and interesting. The possibilities are endless when it comes to topics and learning material. Children benefit from reading and magazines are a step in the right direction.

Is screen time the enemy?

There have been many studies based on children and the amount of screen time that is acceptable. The findings range from positive and negative. Generally, children who are exposed to screens during the crucial developmental years are found to struggle with sleep, obesity, and language delays. At times these kids miss the building of social skills. Emotional cues and facial expressions are most commonly missed in this period when screen time isn’t regulated or left unchecked.

Along with the negatives, there still remain a few positives. It allows for better reinforcement of a lesson through videos, and it also gives home-schooled children more material to use and build off of. Other studies have shown an increase in creativity and healthy habits when exposed to the right material. Many believe, including SafeSearchKids, that it is less about how much they watch and more about the content they are consuming. Clear boundaries and monitoring can help detour several of the negative impacts.

How much does it cost?

Digital magazines are accessible and particularly low in cost. Medium claims that on average a consumer would spend $10 to $20 a month. There are several streaming services that cost more than it would be to provide a child with a digital, interactive, and educational magazine. Many try one or two before dedicating to a single magazine for their kids. Several digital magazines offer free trials to assist in helping a child or parent make a dedicated decision.

A parent can find this media on websites and apps like KidsWorldFun, Highlights Every Day, National Geographic Kids, Times for Kids, and so many more.

What do digital magazines directed toward kids have to offer, and what is the impact?

Through the resources cited and provided, many will be divided on the answer to this question. It is best to make decisions regarding your child based on your parenting style and your kid’s general interests. Digital media, whether it be magazines for kids, articles, or videos, chosen with care and research can never be a wrong answer.

Kids will continue to learn, grow, and flourish through the growing digital presence. Digital magazines for kids are only the beginning of possibilities to come through online media.

Professional Looking Books: Formatting Software for E-book Publishing

A Publisher’s Weekly article from February 2023 noted that “according to Bookstats, which collects online sales data in real time from Amazon, Apple, and Barnes & Noble across the print book, e-book, and digital audiobook formats, self-published authors captured 51% of overall e-book unit sales last year and more than 34% of e-book retail revenue, compared to 31% in 2021”. This percentage comes to about $874 million in 2022 e-book sales for self-published authors. Numbers like these only encourage more and more authors to turn to digital publishing as the best possible avenue to get their books into the hands of readers.

In a growing industry, self-published authors must take every opportunity to stand out to readers. A best practice around this is to ensure your end product looks as professional as possible. Using software to format your e-books is one of the simplest ways to achieve professional-looking books. Many options exist for this type of software. Each software has its positives and negatives, and the most important thing is to decide which one will meet your personal needs. Before purchasing software or using a free option, you will have to make a decision or two about what those needs are. What type of book you are publishing, what platforms you wish to publish on, and what kind of budget you have are just a few things to consider.


Investing in formatting software can make sense even on a small budget. Because you use the software many times as you publish more books, it will pay for itself in the long run (or short run, depending on how quickly you write and publish). One of the newest formatting software on the market is Atticus. This program costs $147 and has plenty of features for the price. Not only can it be used to format e-books and print books, but it is also a word processing tool with features like word count tracking, goal setting, and timers for sprint writing. Atticus is usable on Windows, Mac, and Linux. When it comes to formatting, Atticus has over 17 premade layout templates, a custom theme builder for more unique formatting options, and a preview function that gives you an idea of what your book looks like on multiple devices before you press publish. If you want to publish an image-heavy book, such as a comic or a cookbook, something to consider is that it doesn’t handle image importing well. Also, the version control feature is not ready yet because it is a newer product.


Another good paid option for formatting e-books is Scrivener. While Scrivener is primarily a word processor with a “cork board” style planning feature that allows for the detailed organization of your book, it is also a good tool for formatting. It is the most customizable of all the software featured here. It is also one of the most affordable options at $49 for Windows or Mac. The number of features can be overwhelming and come with a steep learning curve, but Scrivener does offer a 30-day trial with 30 days of use if you want to try it out. Scrivener also offers an iOS version for $19.99 if you like to write on your iPad. The iOS version can be synced with the Windows or Mac version via DropBox, though bugs have been reported with this feature, and you must purchase the two separately.

Kindle Create

When you include Kindle Unlimited, Amazon has over 80% of the market share for e-books, making it a very appealing option for authors looking to self-publish. If you plan to only publish on Amazon KDP, then you’re in luck. Amazon has its proprietary formatting software, Kindle Create, for free. This software has been updated recently to use a KPF (Kindle Package Format) file for e-books and print books published on Amazon. The software is simple to use and already conforms to Amazon’s formatting requirements. Kindle Create can also add interactive clickable features and has formatting tools for comic books or other image-heavy books, making it very versatile. The website also includes links to tutorials and walk throughs of the software. The obvious downside is that you can only sell on Amazon, and the KPF format is not used anywhere else. There is also an option to export reflowable Epub format in Kindle Create, but it is limited in its options, and you are not allowed by terms of use to publish it anywhere else.


If you don’t want to commit yourself and your book to Amazon, Reedsy is another free option for book formatting. It is also a workhorse, with word processing and editing features, like the recently added Reedsy Book Editor, where you can work collaboratively with editors. The website also has many articles and walk throughs to guide an author through the process. You can use Reedsy to create a clean and professional-looking e-book, but this formatting option lacks many creative bells and whistles found in other formatting software. Limited options can still translate to a very clean and professional-looking product, even if it is plain.

A Final Thought

Self-publishing continues to grow as a viable and profitable option for authors to get their work into the hands of readers. It is essential to produce a professional-looking product to keep readers engaged, and using software to format e-books properly is one of the best ways to ensure this. It is up to the author to decide what works best for them so they produce the highest quality product possible.

Poetry: Digital, Not Dead

In December 2022, the same month of the hundred-year anniversary of T.S. Eliot’s magnum opus, The Waste Land, The New York Times published a guest editorial by Matthew Walther, titled “Did Poetry Die 100 Years Ago This Month?.” Walther acknowledges that while there is no shortage of poets in the postmodern literary landscape, he proclaims that the literary tradition of poetry died with Eliot. The reason? According to Walther, we are now “incapable” of writing “good” poetry due to the nature of modern life and its tendency to “[demystify] and [alienate] us from the natural world.”

Walther’s assertion seemed to disturb a literary hornet’s nest almost immediately upon its publication, eliciting responses from poets across the nation. The responses challenging Walther’s claims flooded the desks of Times’ editors, revealing a major point of literary contention that was previously rarely discussed.

Everything we know about our philosophy toward poetics, we have thus learned from great minds that could have never fathomed the technological advancements we have made today—Aristotle, Plato, and even Coleridge.

But is it that poetry has died, or has the tradition just taken on a new, more digitalized face?

What is Digital Poetry?

Digital poetry is the postmodernist answer to Walther’s premature mourning over the death of a well-loved literary tradition. The term digital poetry was coined by German poets André Vallias and Friedrich W. Block in 1992 when the men hosted an exhibition of their work titled exhibition p0es1e: Digitale Dichtkunst/Digital Poetry. Digital poetry, then, shows the tradition’s ability to adapt in the technological world.

Although there seems to be little consensus on an overall agreed upon definition for digital poetry, Christopher Thompson Funkhouser, author of Prehistoric Digital Poetry: An Archaeology of Forms, 1959–1995, credits Block with the “strongest attempt” so far, who suggests that the term “applies to artistic projects that deal with the medial changes in language and language-based communication in computers and digital networks. Digital poetry thus refers to creative, experimental, playful, and also critical language art involving programming, multimedia, animation, interactivity, and net communication.”

Funkerhouser simplifies Block’s wordier definition by suggesting that the term is a suitable label for poetic forms of literature for on-screen display with the use of computer technology or programming.

Key Features

A defining feature of digital poetry is text generation, when a digital poet makes use of code to generate randomized text to appear in their poem. An example of this can be found in Pauline Masurel and Jim Andrews’ “Blue Hyacinth,” a digital poem that uses HTML code to generate individualized experiences for the readers of their digital poetry as they hover their mouses over different lines of text.

Another defining feature of this proliferating genre is its visual and kinetic properties. According to Funkhouser, digital poets as early as the 1960s experimented with using technology to turn language into images. Unlike text generation, which delivers randomized reading experiences, visual works of poetry—kinetic or otherwise—necessitate a controlled output. At first, visual poetry was still, static, and non-moving.

However, as technology progressed, kinetic digital poetry emerged, highlighting new flexibility in a literary tradition deeply rooted in the past. “Circularities: Animated Variants,” a digital poetry collection by Mark Laliberte is a stunning example of kinetic digital poetry.

Another technological aspect used by digital poets is hypertext, which changes the text display of lines of poetry. Such a feature can make poetry more interactive and leave readers with a deeper understanding of a particular poem. “Penetration” by Robert Kendall, for example, uses the colors resulting from his use of hypertext to differentiate between the two subjects of his poem: a mother and a daughter.

Instagram Poetry Publication: Follower-Submitted Poetry Accounts

With the dawn of the internet and the digital age, the consumption and publication of poetic literature has undergone an intense reimagining. Once, the only way to read a poem was to have a physical copy of it. Now, it is possible to access poetry immediately on the internet through any number of ways, and authors have new ways to be published other than in the traditional sense. One of the new methods of accessing poetry is on the social media application Instagram, where there is a niche community dedicated to posting poetry on their accounts. Some of these accounts are personal, and the owners will occasionally include poetry (by themselves or another author) as a picture or two in posts on their profiles along with regular personal content. However, there has been a recent popularization of accounts dedicated solely to posting poetry submitted by followers of the accounts. These accounts accept follower submissions through direct messages or an email form linked in the bio, and moderators of the accounts parse through submissions and select which poetry to post publicly. Through the use of these accounts, poets can be “published” in a semi-democratized manner that has the potential to surpass possible exposure provided in just about any other medium.

To Post or Not to Post

Instagram accounts as a means of publishing poems have less of the constrictions of traditional media publication, but this fact comes with an obvious caveat. Without any of the usual vetting process for publication— pitching, proof-reading, editing, etc.— there is less quality-control. On one hand, this can be a positive aspect. There is growing discourse surrounding the “stuffiness” of traditional publishing methods, and how some hire-ups of the industry can use rather outdated standards. Digital media is considered to be more cutting-edge, and as such is much less strict with vetting content. Poetry-sharing Instagram accounts like anon.poetry.submissions and poetryclub.cascade take submissions of all skill levels, advertising themselves as accepting poetry from anyone at all. However, it only takes a moment perusing these kinds of accounts to notice that quite a lot of the submissions are not, technically, “good.” Much of this poetry does not follow any kind of rhyme scheme or meter and employs mixed metaphors often. It is not all the same quality you would find in most published poetry books or even other digital poetry publications, as the owners of such accounts who pick and post the content are often just young adults with a passion for the genre but little expertise. This increased variety of quality is part of the tradeoff that comes with an informal publication process.  

Credit Where Credit is Due

One issue that may come to mind when considering poetry submission Instagram accounts is the matter of proper credit. With traditionally published media, writers are credited and paid for their contributions, even in collaborative projects like journals and newspapers. With Instagram accounts, however, there is rarely any money to be made from accounts that share poetry, even by the owners of the accounts themselves. Therefore, it is a rare occurrence for followers who submit their work to be compensated in any way except the possibility of exposure. However, most accounts are diligent to credit the writers themselves, and almost always note the name and/or Instagram username of the followers submitting their poems. One notable exception is in the case of anonymous poetry-sharing accounts. These accounts, like anon.poetry.submissions, provide a space where people can submit poetry without being credited. However, this is intentional in order to let people express themselves and share their self-expression without the pressure of their names attached to the poetry.

Poetry Appreciation in the Digital Space

As previously noted, poetry Instagram accounts do not make much (or usually any) money through their operation. Why, then, do these accounts exist and continue to publish poetry without any compensation? The answer is that they are spaces created with the intent of appreciation for the genre. Contributors and owners of these accounts alike have the same goal of sharing poetry with the world, even without the incentive of financial gain. However, one critique of the medium is that such accounts do not take poetry seriously. As previously mentioned, there are lower standards for posting poetry on Instagram than in traditional publications, and some may see this as the moderators of the accounts not caring about the quality of the work. Poetry purists might note that a sense of poeticism is not enough to qualify as poetry; there is technical skill involved in working with meter, rhyme, rhythm, and themes. Additionally, social media has a way of co-opting art as a way to add to one’s “personal aesthetic,” and some may find the publication of poetry on social media to be inherently cheaper based entirely on the platform. However, negating the passion and appreciation of the genre that goes into regularly maintaining an Instagram account without compensation is not giving full credit to a new generation with a desire to keep the art form alive.

In Conclusion

Instagram accounts that post follower-submitted poetry are, undoubtedly, part of the new age of digital publication. Social media in general has proved to be a shortcut to access audiences of sizes previously unheard of, and poetry-sharing accounts seek to utilize this resource to the advantage of amateur poets. However, like the internet as a whole, these accounts are almost wholly unregulated, and do not have the safeguards and limitations involved in traditional publishing. This kind of unregulated content may be much more accessible than traditional edited content, but has the drawbacks of more low-quality content. Overall, Instagram accounts that share submitted poetry are not hurting the poets involved and provide a safe space for beginning poets to share their work with little judgment.

Immersive Narratives: Navigating the Transformative Landscape of Interactive E-Books

In the ever-evolving landscape of contemporary reading experiences, interactive e-books have emerged as a transformative force. By seamlessly incorporating multimedia elements into storytelling, these e-books represent a significant shift in the digital publishing sphere. The emergence of new media formats has led to increased demand for immersive storytelling beyond traditional text. This growing demand for interactive content is reshaping the digital literature landscape, prompting publishers to adapt and innovate. The infusion of multimedia not only enhances the visual appeal of narratives but also fundamentally changes the narrative structure, leaving an enduring impact on reader engagement. This exploration delves into key aspects of this dynamic literary landscape, covering the evolution of reading experiences, the diverse benefits of interactive e-books, the digital tools empowering creators, the impact on authors and publishers, and a glimpse into the future with advancements like virtual and augmented reality. Through this journey, we unveil the profound influence of multimedia integration on storytelling and the ever-evolving nature of reading experiences.

The Evolution of Reading Experiences

The landscape of reading experiences is currently undergoing a profound transformation, witnessing the decline of traditional print books in favor of the dynamic realm of digital interactive e-books. This shift represents a broader change in the interaction between readers and literature, driven by historical events and technological advancements. Pivotal moments in the history of publishing have marked the transition from print to digital formats.

The invention of the printing press, for example, revolutionized the accessibility of books, making literature more widely available. Fast forward to the digital age, and innovations like e-readers, tablets, and smartphones have opened entirely new avenues for interactive storytelling. This blend of historical context and technological progress has not only reshaped the medium through which stories are conveyed but has also led to a noticeable shift in reader expectations and preferences. Readers today, accustomed to the convenience and interactivity offered by digital platforms, seek a more engaging and participatory form of literary consumption.

Moreover, as interactive reading technologies continue to evolve, the evidence is in the growing attraction of readers to these platforms. The increasing popularity of interactive e-books, immersive storytelling apps, and augmented reality reading experiences indicates a demand for more dynamic and participatory engagement with literature. This trend highlights the interplay between history and technology, shaping interactive reading experiences.

Benefits of Interactive E-Books

Interactive e-books provide a wide range of advantages by catering to diverse learning styles and offering a versatile platform for visual, auditory, and kinesthetic learners. This adaptability positions them as valuable tools, addressing individual preferences and reader needs effectively. The integration of multimedia elements plays a crucial role in enhancing storytelling, elevating the reading experience to a multi-sensory journey. Through the seamless combination of visuals, audio, and interactive components, these e-books go beyond traditional narratives, captivating readers in a more immersive and engaging manner.

The cognitive benefits of interactive storytelling extend beyond mere entertainment, contributing to heightened reader engagement and comprehension. This dynamic approach triggers psychological processes that foster deeper cognitive involvement, making the reading experience not only enjoyable but also cognitively enriching.

In education, digital tools empower textbooks to leverage the potential of interactivity. Features such as quizzes, interactive diagrams, and multimedia content significantly enhance the learning experience, offering students dynamic and engaging educational materials. This intersection of technology and education highlights the potential of interactive e-books to revolutionize not only recreational reading but also the presentation and absorption of educational content. The seamless integration of interactive elements into educational materials reflects a shift towards a more engaging and effective learning environment, where technology plays a pivotal role in shaping the future of education.

Digital Tools for Crafting Interactive E-Books

Authors and publishers entering the realm of interactive e-book creation are equipped with a diverse array of digital tools, software, and platforms to bring their narratives to life. Notable options include Canva, known for its user-friendly interface and straightforward design capabilities; Scrivener, offering comprehensive tools for organizing and composing content; and Amazon’s Kindle Create, tailored for crafting e-books compatible with the Kindle platform. Kotobee Author stands out for its quiz features, while Pandasuite offers versatile solutions with options for both free and premium features.

The user-friendly nature of these software and applications is a pivotal aspect, enabling creators to seamlessly integrate multimedia elements into their e-books without a steep learning curve. This accessibility empowers authors and publishers, regardless of their technical expertise, to enhance their storytelling with visuals, audio, and interactive features, fostering a more engaging reading experience.

The Impact on Authors and Publishers

The advent of digital distribution and online platforms has ushered in a new era for authors and publishers, expanding the reach and accessibility of literary works. Digital formats have dismantled geographical barriers, enabling authors to connect with a global audience, reaching readers far beyond traditional distribution constraints. This democratization of access has not only broadened the exposure for established authors but has also provided a platform for emerging voices to be heard.

Authors today have evolved into multimedia storytellers, playing a pivotal role in shaping the landscape of content creation and marketing strategies. With interactive e-books, the traditional boundaries of storytelling have expanded, prompting authors to incorporate multimedia elements seamlessly into their narratives. This shift not only enhances the storytelling experience but also requires authors to engage with diverse media formats, influencing the way they craft and present their literary works.

The impact of interactive e-books extends beyond the creative process, sparking a wave of creativity, innovation, and new opportunities for author-reader interactions. Through features such as interactive discussions, feedback mechanisms, and collaborative elements, authors can actively engage with their readership. This dynamic exchange fosters a sense of community and collaboration, transforming the reading experience into a shared journey. As authors embrace the possibilities of interactive storytelling, they not only unlock new dimensions of creativity but also cultivate a more engaged and participatory relationship with their audience, shaping the future of literary expression.

The Future of Interactive E-Books

The future of interactive e-books is poised for groundbreaking advancements, with the integration of virtual reality (VR) and augmented reality (AR) technologies at the forefront of these transformative developments. These immersive technologies hold the potential to transport readers into dynamic, three-dimensional worlds, elevating the reading experience to unprecedented levels. VR can create fully immersive environments, while AR overlays digital elements onto the real world, offering a spectrum of possibilities for interactive storytelling.

Anticipated developments in sensory engagement further underscore the evolving nature of interactive e-books. Innovations such as haptic feedback, which involves the sense of touch, and interactive simulations are on the horizon, promising to redefine reader immersion. Haptic feedback can simulate the tactile experience, allowing readers to feel the textures and sensations described in the narrative, enhancing the overall sensory engagement. Interactive simulations, on the other hand, provide readers with hands-on experiences within the digital realm, fostering a deeper connection with the content.

As these advancements unfold, the future of interactive e-books appears to be a realm where readers not only consume stories but actively participate in them through multi-sensory experiences. The integration of VR, AR, haptic feedback, and interactive simulations is set to propel interactive e-books into uncharted territories, offering a glimpse into the limitless possibilities that lie ahead for the evolution of digital storytelling.


In conclusion, interactive e-books have revolutionized modern reading experiences, redefining storytelling through seamless multimedia integration. Beyond entertainment, this transformation holds the potential to reshape societal norms, influencing knowledge dissemination. The embrace of multimedia not only caters to evolving reader preferences but also enhances inclusivity, making literature and education more engaging. Continued investment in interactive e-book technologies is essential for literature’s future, offering innovative storytelling and learning experiences as technology advances. This ongoing development ensures literature adapts to the evolving needs of a digital world, marking a narrative evolution that unlocks new dimensions of knowledge, creativity, and engagement.

Navigating the Storm: Digital Piracy and the Publishing Industry

In an era dominated by technology, the publishing industry has undergone a significant transformation with the advent of digital content. However, this transition has not been without its challenges, chief among them being the proliferating issue of digital piracy. From e-book sharing platforms to unauthorized downloads, the publishing industry faces a myriad of threats that jeopardize its economic sustainability and the livelihoods of authors. The multifaceted landscape of digital piracy requires an examination of its various forms and the impact it has on the publishing industry. Moreover, the exploration of the strategies employed by publishers and authors to combat piracy and safeguard their digital content.

Types of Digital Piracy

Interpol defines digital piracy as, “the illegal copying or distribution of copyrighted material via the Internet.” This action harmfully disturbs the creative productions, to include film, television, publishing, music, and some gaming. Explicitly, digital piracy within the publishing industry manifests in different forms, each posing unique challenges to content creators and distributors. One prevalent form is e-book sharing, where users upload and share digital copies of books on various online platforms. These platforms, often disguised as legitimate book-sharing communities, enable users to access copyrighted material without the legal and proper authorizations. Another form of piracy is the unauthorized distribution of digital copies through illegal download websites, where users can obtain books without compensating the authors or publishers. These illegal download sites often operate in the shadows of the internet, making it challenging for authorities to track and shut them down.

Impact on Digital Publishing

The impact of digital piracy on the publishing industry is widespread, affecting both reputable publishing houses and emerging authors. One of the primary consequences is the loss of revenue. As pirated copies circulate freely on the internet, potential buyers opt for the free versions, leading to a decline in legitimate sales. This loss of revenue not only affects the publishers but also has a direct impact on the livelihoods of authors who rely on book sales for their income. Additionally, digital piracy undermines the incentive for authors to produce high-quality content, as the lack of financial reward and stolen recognition diminishes the motivation to invest time and effort into producing compelling works.

Strategies to Combat Digital Piracy

Publishers and authors have recognized the urgent need to address digital piracy and have implemented various strategies to protect their intellectual property. One of the most common approaches is the use of digital rights management (DRM) technologies. The concept of DRM has historical roots in efforts to protect software, but its application expanded as digital media, such as music, movies, and e-books, became prevalent. In the context of digital media, the development of DRM systems gained momentum in the late 1990s and early 2000s. DRM involves embedding encryption into digital files, preventing unauthorized access and distribution. While DRM has been effective in some cases, it is not foolproof, and determined pirates often find ways to circumvent these protections. Moreover, DRM has faced criticism for potentially limiting the rights of legitimate users, as it can restrict their ability to share or transfer digital content across devices.

Another strategy is the enforcement of legal actions against piracy offenders. Publishers and authors have been increasingly proactive in pursuing legal recourse against those who engage in unauthorized distribution of their digital content. For instance, major publishing houses such as Penguin Random House, HarperCollins, and others have, at times, joined forces to file lawsuits against websites or individuals distributing copyrighted eBooks without permission. These legal actions typically aim to shut down the infringing websites and seek damages for the unauthorized distribution of copyrighted material. High-profile cases have resulted in the shutdown of major piracy websites, sending a strong message about the consequences of engaging in such activities. However, legal action comes with its challenges, including jurisdictional issues and the anonymity afforded by the vastness of the internet.

Collaboration and education are also integral components of the fight against digital piracy. Publishers and authors are actively engaging with technology companies, internet service providers, and law enforcement agencies to establish collaborative efforts to curb piracy. One notable example of collaboration and education initiatives aimed at preventing piracy is the Alliance for Creativity and Entertainment (ACE). ACE is a global coalition of leading content creators and distributors that includes major film studios, television networks, and streaming services. The primary goal of ACE is to combat online piracy and protect the rights of its members’ intellectual property. Additionally, educating the public about the impact of piracy on the publishing industry and the livelihoods of authors can contribute to changing consumer behavior. Initiatives such as anti-piracy campaigns and public awareness programs aim to foster a sense of responsibility among users and encourage them to choose legal alternatives.

The Sum Total

Digital piracy poses a formidable challenge to the publishing industry, threatening the economic sustainability of publishers and the livelihoods of authors. The various forms of piracy, from e-book sharing to illegal downloads, require a multi-faceted approach to combat this pervasive issue. Publishers and authors are employing strategies such as DRM technologies, legal action, collaboration, and education to protect their digital content and mitigate the impact of piracy. As the publishing industry continues to evolve in the digital age, finding effective and ethical solutions to address digital piracy remains imperative for the continued growth and innovation of the industry. Through a combination of technological advancements, legal measures, and public awareness, the publishing industry can navigate the storm of digital piracy and secure a sustainable future for content creators and distributors alike.