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.

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.

Digital “Ownership”

According to a study conducted by Virtua, 77% of Americans would prefer to own digital items rather than stream them. Between video streaming services, news publication subscriptions, audiobook subscriptions, and eBook subscriptions, Americans are exhausted by recurring fees without retention of a digital item. With the purchase of a physical book, consumers maintain the book until it is damaged or lost. Ownership of the physical book copy belongs to the purchaser of the book. This is not the case for the purchase of digital media.

Individual Readers

This issue of ownership is further exacerbated by the possibility of eBooks disappearing from a person’s device if a company wishes. In 2009, Amazon infamously remotely removed copies of George Orwell’s 1984 from purchasers’ devices. This quiet remote removal perfectly exemplifies this issue of ownership. While the issue was remedied and the books returned, the possibility of remotely removing digital media still exists, meaning that purchasers may lose access to a book they paid for.

If a platform is discontinued or a business goes under, the eBooks supported by the platform will become inaccessible. Unlike a physical book, access to an eBook is dependent on the platform that supports it. Currently, no procedures are in place to preserve the ability to access the book. If the platform disappears, so do the eBooks supported by that platform. In 2019, Microsoft shut down its eBook store, causing all eBooks purchased through its platform to be inaccessible. The retention of an eBook is contingent on the platform remaining intact.

The possibility of removal or disappearance of a purchased eBook reveals that the purchaser does not truly own a copy of the book. The purchase of an eBook is a license to read it, not true ownership. Additionally, purchasers are unable to allow others to borrow their eBook or to resell it as they could with a physical book copy.

“Digital retailers insist that ownership depends on the terms of an end user license agreement (‘EULA’)—that incomprehensible slew of legalese you reflexively click ‘I agree’ to dismiss. Those terms—negotiated by lawyers working for retailers and publishers—determine your rights, not the default entitlements of personal property. And buried within those thousands of words that we all ignore is one consistent message: you don’t own the books you bought; you merely license them. That is to say, you have permission to read them. Until one day, you don’t.”
The End of Ownership

Libraries

Libraries experience problems with digital ownership as well. Libraries cannot retain unlimited access to disperse digital media because it would be financially harmful to the publisher. From the library’s perspective, Libraries must repurchase eBooks after a certain amount of borrows. Libraries are bound to expensive subscriptions to eBooks that must be renewed. Therefore, libraries do not truly own the material they are purchasing.

Over the past few months, lawsuits in several states pertaining to libraries’ purchase and retention of eBooks have arisen. Multiple states are attempting to create legislation requiring publishers to sell eBooks to libraries at a “reasonable” price. Maryland passed legislation requiring this but was overruled in higher court due to copyright issues and constitutional boundaries. To quote the Opinion of the court, “Striking the balance between the critical functions of libraries and the importance of preserving the exclusive rights of copyright holders… is squarely in the province of Congress and not this Court or a state legislature.”

Legislation passed by states on this issue has proven unsuccessful thus far. This allows publishers to ensure that digital books are only borrowed or accessible through subscription, not owned. Libraries are left with soaring eBook subscription prices that must be paid over and over again, instilling fear that they may be unable to access the desired media due to cost.

Subscription Model

While many areas of digital media are shifting towards the subscription model, eBooks may be shifting away from it. Recurring fees and the possibility of losing a purchased digital book are concerning to consumers. Individual readers and libraries alike are concerned about the lack of ownership. If you must repurchase your book, do you really own it?

As a publisher, digital ownership must be approached from both a financial and ethical perspective. In a world moving steadily more digital, the thought of not truly owning any purchased digital material is concerning. Americans’ attitudes about digital media are changing, and publishers should adapt their methods to align with consumers. Publishers should consider how to best accommodate the needs and wants of consumers in a way that preserves financial growth.

From Fanfiction to Film: How Wattpad is Ushering in A New Age of Writing

Wattpad is an online community of authors and readers that hosts stories from typically unpublished authors. The site is unique in combining social media and a reading platform, which allows readers to interact with the books and the author. Wattpad was founded in 2006 by Allen Lau and Ivan Yuen as an e-reading platform where “readers could download an app to read and chat about fiction shared by professional and aspiring writers from around the world.” According to Lau, being mobile was the top priority. This mobility allowed for interaction on the site to skyrocket. Wattpad appeals to up-and-coming writers who wanted to distribute their work without going through a publishing process.

Writers typically release the book a chapter at a time and readers can make in-line comments on stories, allowing the writer to adjust the book to the reader’s preferences. Wattpad readers are primarily young people who were drawn to the appeal of free books written by their peers instead of older, more established authors. Many of these young authors became success stories through the constructive criticism and praise they received from their fans.

Anna Todd and Happily Ever After

Wattpad has been a powerhouse for undiscovered authors in the past few years. Anna Todd’s After began as a Harry Styles fanfiction in 2013. Written under the name @imaginator1D, After became an almost overnight success, with the fanbase reaching the hundreds of thousands. Todd wrote the majority of After on her phone, with no outlining or proofreading before she uploaded the chapter to Wattpad. While some may dislike the lack of outline, Todd and her fans equally enjoyed the “social writing” model. Todd would listen to her fans’ feedback and adjust the story to their preferences in real time. Not only did Todd’s fanbase grow, but the relationship between the fan and the author grew as well. Readers felt like they had a say in the story, which increased their loyalty to the author, as well as their willingness to offer financial support.

With the help of Wattpad, Anna Todd received a book deal with Simon and Schuster in 2014, just one year after she published her first chapter on Wattpad. After was also granted a movie in 2019, with three sequels to follow. Todd’s story is a testament to the power that her fans and Wattpad hold. The first movie currently holds an 18% on Rotten Tomatoes, though fans give it a significantly better rating of 66%.

Wattpad to Movie Pipeline

Though Todd’s story is one of the most notable, it is far from the only success story that has come from Wattpad. At seventeen, Beth Reekles became the youngest Wattpad writer to score a book deal for her story, The Kissing Booth. Reekle later went on to earn a movie deal with Netflix, though that movie also did poorly on Rotten Tomatoes. Despite the abysmal critic reviews, The Kissing Booth garnered immense fan support. According to Sara Perez, this disconnect is due to the “built in audience” of Wattpad users.

Readers don’t just read and watch these stories, they create them. Wattpad utilizes the fan base when adapting stories for film. In an article for Quartz, Adam Epstein discusses Wattpad’s story-to-film process. The fans are integral to the adaptation process, with some “superfans” gaining access to the script to provide feedback before the film hits the box office. This process seems to work well. Epstein writes,

Most books come with a built-in audience, but this one comes with a built-in audience that’s also invested in the development process itself. It not only makes them more inclined to watch the show when it comes out, but leads them to become evangelists for the project on social media, which helps build buzz.
Adam Epstein, Quartz

Wattpad is unique in that its user base not only reads and shapes the stories on its platform, but also the way the stories transition off the platform.

Story DNA

According to Aron Levitz, the fans’ engagement is part of the “microtrend,” which allows Wattpad to know what will sell based on the size of the fanbase and reader engagement. Macrotrends are made possible by Story DNA. Story DNA is Wattpad’s deep-learning AI technology, which, according to Ashleigh Gardener, “deconstructs stories into their elemental features, such as sentence structure, word use, and grammar,” This gives Wattpad further insight into what makes a story popular outside of comments, likes, and shares. As a result, up-and-coming stories are given a greater chance at being discovered and transitioning off of Wattpad. The development of this technology is leading to a future of reading that is not just consumed by the reader but also formed by them.

Wattpad is unique in the fact that it is constantly reinventing itself to the benefit of its writers and readers. Wattpad has adapted from merely presenting stories to publishing them and promoting them outside of the digital platform. Wattpad not only publishes for fans but with the fans. The future of reading is driven by the reader, not the author or publisher.

What Publishers Can Do to Increase Learning in Digital Textbooks

Focus, comprehension, and critical thinking are shallower when one is reading on a digital device rather than on paper. An Insider article with Patricia Alexander and Lauren Singer showed that reading is faster on a device than on paper. Most people tend to skim through the text in order to find the “answer” rather than closely reading the text.

Despite the overwhelming evidence in favor of print books, we live in a digital age. Many students use free, or even illegal sites to get their textbooks because of the rising costs of education. While e-textbooks are significantly cheaper, that price cut simply cannot compare to a free resource when the student is getting the same experience. Digital textbooks must go beyond simply offering the text and give students an immersive and intuitive approach to learning that has adapted to the digital world.

Limit amount of text on a page

One of the biggest obstacles to close reading in a digital format is text overload, especially when it is formatted as a big block of text. Something that gives digital textbooks an edge over sites like Project Gutenberg is the ability to break up text. Project Gutenberg is popular among students for its free and legal access to many required readings; however, the site is clunky and the HTML format means that the student is forced to read through a wall of text.

Scrolling

Scrolling is one of the worst things a student can do when trying to read online. Even if the student has put away their phone, scrolling through their required reading is one of the biggest distractions for a student. In a study done by Pablo Delgado, Cristina Vargas, Rakefet Ackerman, and Ladislao Salmeron, “scrolling may add a cognitive load to the reading task by making spatial orientation to the text more difficult for readers than learning from printed text.” The mind diverts attention that could be used for comprehension to tracking the text as the reader scrolls, telling the finger to scroll, and when to stop scrolling.

Length

If scrolling is bad, how do publishers fit all the information on the page? Well, they don’t. The best way to help a reader digest information is to limit the amount of information on the page. According to Laura Singer, any more than 500 words on a digital “page” will overload the reader and impact comprehension. You eliminate text overload by fitting a section to a page. This also carries the added benefit of geospatial recognition that is similar to print books.

Headings

The physicality of print books is something that has been increasingly hard to replicate on the digital scale. The geographical place of text within a codex is a key point in how students remember details and it is extremely difficult to digitally replicate. This is where headings come in. Headings and subheadings help to position the reader in the text and break up the text into easier-to-digest sections.

Remove Distractions

The biggest edge that print books have over digital books is their lack of distractions. Many digital textbooks must be accessed online, which requires the student to navigate to a search engine, type in the name of the publisher, log in, and access the textbook. Not only does this limit study time to times where the student has access to the internet, but there are so many opportunities for students to get distracted. It would be easier for students to access their text through an app that allows offline access.

The use of flashy colors and animations can succeed at grabbing a student’s focus, but they can also steal attention away from the material. This is the same concept as scrolling. When the brain has to take in any kind of movement and read a text, comprehension is going to be compromised.

Offer Customizations

The largest benefit over both print books and free websites is customization. The ability to customize the textual space goes beyond aesthetics. Accessibility is easiest in the digital format, where one can quickly change between fonts, colors, and text size. A student with dyslexia can change to a font that better supports reading. A visually challenged student, or a student that learns better through auditory input, can use a text-to-speech feature.

The ability to take notes in the margins is an important part of gaining a deeper understanding of the text; however digital textbooks are unable to provide comparable in-text note taking features. The options are so abysmal that the UNC Learning Center suggests creating a word document for each individual chapter, or writing notes out on a separate sheet of paper. These options take away valuable time and focus from comprehending the text. Furthermore, these options will quickly become bloated and confusing. Publishers must develop an in-text note taking and annotation system in order to have an edge over print books and free resources.

There are benefits and drawbacks to every type of textbook, but the purpose behind every one of them is the same: To help students learn. Education is rapidly moving towards a digital model and students demand textbooks that can keep up.

The MetaJacket

As digital publishing platforms become more expansive in formatting, availability, and range, digital book covers have reemerged in importance. Originally, book covers were ornate designs made for the rich, then a protective measure for books, before finally becoming chest pieces in book marketing. Designs not only had to be somewhat reflective of the book but also needed the ability to draw potential readers. Author and columnist Tim Kreider even states that there are two main “principles of design—in books:”

1. Your product must be bold and eye-catching and conspicuously different from everyone else’s, but
2. Not too much!
https://www.newyorker.com/books/page-turner/the-decline-and-fall-of-the-book-cover

The same principles hold in digital publishing now, as many websites now mimic the appearance of front-facing books in physical books shop: Kindle, Play Books, Libby (OverDrive), ComiXology, Radish. Previously, platforms like Tapas and Webtoon predominantly displayed thumbnails where the covers were constrained to a one-by-one square designed to take a small portion of the screen. Much like Audible displays their audiobooks and how Radish formats their serialized stories now. Nevertheless, in recent years both websites have changed to include a larger thumbnail that mimics the design of a physical book. The change can most likely be attributed as a testament to the quality of the art and story to lure more readers, similar to how traditional publishing markets a book.

Moreover, the cover of an e-book can deter readers from even purchasing a book, and according to Giles Clark and Angus Phillips in Inside Book Publishing, “books without covers on Amazon do not sell well.” It reinforces the idea that digital book covers have become a vital form of metadata that, as Sophie Darling quotes, “acts as a ‘visual portal.” Metadata, in simple terms, is “any data that describes your book.” This, in turn, with the fact that book covers now take up more space in digital publishing platforms, makes book cover designs more crucial to the success of the book in the digital market. Especially since more traditionally published books with proper funding are becoming more easily accessible in these markets. For example, Marissa Meyer’s The Lunar Chronicles and her Renegades series are slowly becoming available on Kindle Unlimited. Meyer’s book covers have also taken on a more stylized, illustrative, and dynamic design to appeal to a slightly more modern readership after ten years.

Meyer’s original covers for her Lunar Chronicle series.

The new covers for The Lunar Chronicles series. These are the current covers displayed within the Kindle store.

This is a rising trend in print books and among self-published authors in the digital bookscape. Rendering Kreider’s initial belief that “the illustrated book cover, like painted movie posters or newspaper comics, is pretty much dead” as grossly inaccurate. That, along with the idea that book covers were a concept that would phase out. Furthermore, massive digital book platforms like Kindle and Google Play Books display the cover of a book for approximately a few seconds before opening the body of the text. Thus, reinforcing the idea the book cover is essentially promoting valuable ideas concerning the work. As Nielsen, a book retail sales analysis group, states:

“Given the indications that we have for online sales, there is a strong suggestion that supplying complete and enhanced metadata will be even more vital for e-books, where the bibliographic data is the consumer’s only source of information. The implication is that as the book industry takes its next step into the digital age, metadata will not only remain an essential part of the industry but become increasingly important.”
(Breedt and Walter)

However, as important as these book covers are, many self-published authors starting out cannot afford to commission an artist to create any type of cover. These authors often create book covers themselves using free stock images or with their own artistic talents like Kimberly Lemming. To better market their books to make up for their poor metadata book jackets, authors utilize many social media marketing trends like those on TikTok that draw the focus towards the body of work rather than the less than impressive e-book cover. They present presumably the best excerpts from their novels as well as themes they consider impressive or exciting to garner interest.

Nevertheless, a book cover still is, as Bill McCoy says, “an introduction to the experience you’re going to have in consuming this [its] content.” Moreover, as platforms continue to push book covers forward, they are becoming a form of metadata worth investing in. A prime example would be Ruby Dixion’s special edition covers for her Ice Planet Barbarians series. She recently invested in a new cover for a print version of her book, as she finally had the funds to do so. However, as this author grows, she seems to be slowly replacing all of her book covers for this series and updating the metadata in Google. This is an indication that these new stylized, illustrative covers are seemingly testing better with her growing readership and bringing her more readers than her previous book covers.

Bibliography

Breedt, Andre, and David Walter. 2012. “White Paper: The Link between Metadata and Sales.” Nielson BookData UK., January.

Clark, Giles N, and Angus Phillips. 2019. Inside Book Publishing. London ; New York: Routledge.

Darling, Sophie. 2019. “How Are Book Covers and Their Components Represented in the Digital Market?” Interscript Journal, no. 2 (June): 20–35. https://doi.org/10.14324/111.444.2398-4732.004.

Success in Serialization

Digital publishing has re-envisioned many of today’s traditional publishing methods, like the serial novel. While serial fiction is a piece of literature released through installments like it is now. Historically, each installment contained its own story loosely connected to an overarching narrative and popularized by The Pickwick Papers by Charles Dickens. Outside of Dicken’s writing style and themes, its popularity came from its accessibility. Besides being inexpensive like the traditional publishing texts, the modern serialized story is composed of episodes, or mini-chapters, that actively support a more significant narrative than individual shorts. Therefore, making it vastly different from its predecessor.

As digital publishing grows, many new outlets for serialized fiction develop, allowing more authors to thrive. The popularity of the modern serialized novel could arguably be traced back to websites like Wattpad, a highly interactive platform for digital publishing. Websites like these restructured how a community can create readership and reader retention, especially with the growth of the author’s note, and allow authors like Pepper Pace on Kindle Vella to become successful.

Kindle Vella

Kindle is not a new market in the field of digital publishing or self-publishing. However, Kindle Vella relatively is. While it did a soft launch in 2021, its official launch in 2022 was successful, albeit through marketing and a free set of tokens for new readers. Its success was thanks to the soft launch—ultimately benefiting many authors.

Reader Engagement

Kindle Vella is user-friendly and allows the reader to be as interactive as the author and platform allow. At the end of each episode, readers can like the episode, follow the story, or continue reading. Polls can even be done if the author wills it. Thus, building a community and allowing personability to negate pitfalls that can be faced in choosing to publish serialized novels, like upset readers from infrequent or inconsistent updates, grammatical errors, or what appears to be filler content that doesn’t move the story forward. Therefore, implying that reader engagement is the sole reason for success on Kindle Vella, as the top five promoted stories are stories that are “favorited” by the audience.

The Serialized Cost

As Kindle Vella is a self-publishing platform for serialized novels, authors have complete control over their success. No contracts hold the author to a particular word count, specific release dates, or approved plot arches. As a result, an author, in theory, can actively work on uncompleted stories like they could on platforms such as Wattpad or Inkitt. Except with compensation and, in turn, more options for revenue later as many outlets have strict guidelines for works that were previously available for free.

However, Kindle Vella charges approximately “one token per 100 words,” making word count crucial for pantsers—writers who don’t plot, plan, their novels—on the platform. Other platforms are successful due to regular updates and consistent costs per episode. Not ensuring these terms for readers can be highly detrimental for authors, even when delving into genres garnered towards adult audiences, making Pace’s success on Kindle Vella notable.

Pepper Pace and Audrey Carlan

Ever since the hard launch of Kindle Vella, the first and fifth place positions for the monthly top five favorited novels have stayed the same. Pace’s The Galatian Exchange has remained in fifth place for four consecutive months since January 2022. Her dedicated installment schedule and her personability through her reader engagement led her to this. The Marriage Auction by Audrey Carlan has remained in first thanks to Carlan’s pacing or, on Kindle Vella’s platform, low-cost installments.

While serialized stories are often accessible because they are generally affordable, Kindle Vella has made many readers feel as though they are being extorted by authors. This is one of the significant issues Pace has faced since the beginning, and it is most likely the reason she has not resin above fifth place. However, because of the platform’s emphasis on the author’s note and reader engagement, Pace has retained readership despite fluctuating prices due to word count. Since most users often don’t look for price explanations in publishing guidelines, as they are readers rather than publishers, Pace took it upon herself to explain. However, she only did so after much backlash in later chapters.

Alternatively, Carlan maintained her position arguably solely based on her accessibility. Though readers may complain about infrequent and short installments, Carlan seemingly follows a similar update schedule to Pace—updating twice about a week, negating such claims.

Knowing the main reasons why each author has achieved success, as well as what sets their levels of success apart, is key to understanding how to maintain success in self-publishing a serialized fiction in the digital age.

Webcomics: Formatting & Publishing

Sequential art has been a part of storytelling for as long as history. However, as the codex—or traditional book—layout became more prominent. Sequential art began to take on more of a blocked structure typically read in “Z” formation within a book, now known as the modern comic book. The movement shifted sequential art away from long canvases such as scrolls and tapestries like Bayeux Tapestry to fit inside a physical and easily accessible book. Nevertheless, the scroll has been reimagined and is now more prominent than ever in the digital era for e-books.

While the traditional format for a comic book is still prevalent in western comics and is accepted across multiple platforms without issue, the scroll or vertical strip has shot the comic market back into mainstream media. This makes it one of the most popular formats for webcomics, thanks to companies like Naver Corp, which founded Webtoon in 2004.

Now, even though novels can usually be straightforward to modify, comics are not. Determining the format of your book is often one of the first steps before creating your story since not every platform can support every format yet. Despite the current scroll format popularity, it is often recommended to begin publishing a story in the traditional “Z” block panel. This is because it is claimed to be easier to modify by artists into the scroll paneling format versus vice versa; however, opinions vary. An example can be shown by Carly Usdin’s choice to release a digital issue of her comic Heavy Vinyl in 2017 before the serialized comic in 2019.

The Serialized Webcomic vs The Comic Issue

Two out of the three most common digital publication options for online comics are known for serializing webcomics as episodes that are initially released weekly. The third option for publishing currently relates more to traditional publishing than digital. It markets digital comics primarily as issues, or volumes, with the idea of possibly having multiple issues. The current formatting options also imply a more traditional background—the lack of the scroll formatting option.

Webtoon

Beginning with Webtoon, as one of the pioneers of the scroll format, the platform is easily available as both a website and an app to the public for free. There are two major sections on the forum that can determine pay and usually quality—Webtoon Originals and Webtoon Canvas, previously known as the discover page. Webtoon allows everyone to freely post a comic, in any format, following the size constraints of the platform if it falls in line with the community guidelines on Canvas. Webtoon has only recently initiated a way for creators who have achieved a certain amount of foot traffic to receive funds through an ad revenue service. However, “there is no guarantee that members will receive net ad revenue as a result of their participation in the program.” Consequently, implying that the only guaranteed pay is for featured authors and artists on the Webtoon Originals section of the platform. A status that is only achievable when the company reaches out to the selected creator.

Tapas

Tapas, previously known as Tapastic, is an “open publishing platform” much like Webtoon. However, making money on the platform is seemingly a much easier feat than its main competitor. The platform hosts both novels and webcomics in multiple panel formats in both free to read and premium. Both sections have opportunities to make money. The former through advertisements or donations from readers called ink. There is even a yearly event called Inksgiving around Thanksgiving to increase support from readers. Donations or tips like this are often motivated by authors on the “free to read” section because ad revenue does not pay much. Last year a user even noted that:

for Tapas, I have about 2.4k subs and 43.5 k views, and I have only earned 0.71$ in total in ad revenue alone in the past six months. — so, like most people say, don’t get excited too much or don’t expect too much on ad revenue.
(“How Much Do You Earn from Your Webtoons/Novels?” 2021)

To have a story placed in the Premium section, one just has to submit a form that pitches the story to studiotapas@tapasmedia.co, which is effectively easier than simply being noticed. Additionally, as of last year, Kakao Entertainment has purchased Tapas and Radish, a dedicated serialized story platform. It now also hosts the top 27 webcomics available on Tapas. Thus, signifying a potential merger between platforms or an increased opportunity for readership across multiple outlets, inherently demonstrating a future increase in foot traffic for revenue.

ComiXology & Kindle

Now, as of February 2022, ComiXology has merged with Amazon, making the webcomic format increasingly available on Kindle for purchase and sale. A few selected comics have even become available on Kindle Unlimited, one of the largest self-publishing platforms on the market. However, rather than the company allowing all comics to be placed on Kindle Unlimited, there is now ComiXology Unlimited. Comics can now be placed on Kindle Unlimited through KDP and on ComiXology Unlimited after acceptance of “nomination,” which can be submitted via email to support@comixology.com. However, neither sub-platform currently appears to accept the scroll paneling format and opts for the traditional “Z” block paneling for paging through an e-book. This can be noted by Usdin’s comic, Heavy Vinyl, layout on ComiXology Unlimited vs. her layout on Tapas. Now, despite having separate sections, all comics are viewable and readable on the Kindle app. However, sadly navigation or discovering a comic for readers can be difficult. Establishing a readership may be slow at first because of the new merger, despite an easier chance of revenue.

Even though each platform currently has its difficulties and obstacles to monetary gains, there are a variety of benefits as well as the potential for growth for both creators and publishers.

Used E-books for Sale

When customers buy traditional print books, they expect to be able to use the book however they please. When that customer buys a book they can sell, trade, or give it away because they own the product. E-books are different in this aspect, though. When a customer buys an e-book, they do not own the product. Rather, they own the licensing to use the book, and the licensing agreement usually states that customers cannot sell or trade the e-book.

Amazon’s licensing agreement states,

Unless specifically indicated otherwise, you may not sell, rent, lease, distribute, broadcast, sublicense, or otherwise assign any rights to the Kindle Content or any portion of it to any third party, and you may not remove or modify any proprietary notices or labels on the Kindle Content. In addition, you may not attempt to bypass, modify, defeat, or otherwise circumvent any digital rights management system or other content protection or features used as part of the Service.

The rules outlined in this agreement might confuse some users or make them feel unsettled about their purchase. However, some changes may arise in the world of e-books, soon. A few years ago, rumors that Amazon and Apple were looking to change their licensing agreements began to circulate. These changes would allow e-book “owners” to resell their used e-books.

While Amazon and Apple have both applied for patents concerning e-book resale, it has been about three years since there have been any advancements surrounding the issue. This time gap could mean that Amazon has completely done away with the idea, or that this new feature could be right around the corner. This article aims to deep dive into what this theoretical change would mean for e-book readers and publishers.

How Would It Work?

What makes reselling traditional print easy is its simple nature. The seller resells the book to a buyer and when the buyer gives the seller money in return for the book, the seller then no longer owns the book. If the resale of e-books becomes possible, the reselling process will be slightly different because buyers do not actually own the e-books.

The resale of e-books would require an e-book owner to sell the license to use the book to another reader. Selling the license to the material means they then give up their rights to use the e-book. This transfer of rights is made possible through digital rights management, or DRM.

In my previous article Is DRM For You?, (Links to an external site.) “Digital rights management controls not only when the customer can use the product, but also how the product is used.” Once the seller resells their e-book, they will no longer be able to view the book because of DRM.

Possible Issues

To put it simply, e-books are essentially one unified code that creates pages readers can view on electronic devices. Since there is not a new code for each copy of a particular book, reselling e-books would mean that there needs to be something that identifies each specific book. For example, every print book has an International Standard Book Number (ISBN). According to the International ISBN Agency, “An ISBN is essentially a product identifier used by publishers, booksellers, libraries, internet retailers and other supply chain participants for ordering, listing, sales records and stock control purposes. The ISBN identifies the registrant as well as the specific title, edition and format.”

If it is made possible for readers to resell their e-books, there must be something created to identify each specific e-book. If this identification doesn’t exist, keeping up with e-book piracy will be a much more difficult, if not impossible, task.

When a reader resells a physical book, there are a few factors that affect the price at which it will be sold. For example, the publishing year of a book and its current condition can determine its value. Since e-books are digital, the condition of the book will never be an issue. David Pogue (Links to an external site.) of The New York Times writes,

Turns out material degradation isn’t just a fond side effect of book resales. It’s essential. It’s what ensures that the resale price matches the diminishing value of the product. If every copy is perfect, the whole thing breaks down. With unlimited e-book sales, every book’s price would eventually drop to a penny.

With the patents proposed by Amazon and Apple, publishers may be able to set a limit to the amount of times one copy of an e-book can be resold in order to help prevent this “one-penny problem (Links to an external site.).” According to Pogue,

Both proposals suggest that publishers could also limit the number of times a digital item can be resold: ‘A threshold may limit how many times a used digital object may be permissibly moved to another personalized data store, how many downloads (if any) may occur before transfer is restricted, etc.,’ says Amazon’s patent. ‘These thresholds help to maintain scarcity of digital objects in the marketplace.’

It is also possible that companies like Amazon and Apple would seek to take a percentage of the money made from the reselling of an e-book, which is similar to how Amazon takes a percentage of a textbook sold on their Amazon Textbook section.

This raises concerns with authors and publishers because they do not make a profit when their physical books are resold, so what then gives these companies the right to make money from digital resales? The control these companies currently have over e-book buyers and the control they could have with a new e-book resale patent could potentially be dangerous for the e-book community.

The idea of reselling digital property is a new frontier and, while rumors of possible e-book resales have died down in recent years, users cannot help but wonder what companies such as Amazon and Apple have in store for the future of buying and selling e-books.

The Rise of #GirlPower

Women all around the world are demanding that their voices be heard and they continue overcoming obstacles and hardships due to their femininity. Digital publishing is opening doors to allow women a platform to express themselves and the issues they face.

Oprah Winfrey tweeted: “We are enough. We matter. We are NOT invisible. Girls around the world are having their say. This is the moment to listen — # GirlDeclaration.”

Feminism, as a movement, is a fight for equal rights. The campaign challenges the traditional assumptions of social roles for men and women. Through feminism, women feel empowered to have their voices be heard. The movement intends to demolish the hierarchy and create equality for everyone.

Today, feminism is a movement that defines, establishes, and desires to achieve the political, economic, personal, and social equality of the sexes.

Feminism has gained an abundance of attention and revenue due to digital publishing. Feminists choose to publish online because it allows them to reach more readers than ever before. Through digital publishing, women can create and control their craft.

The platform allows women to take a stand on issues and topics that often are overlooked or unknown to other individuals. Digital publishing gives feminists a new platform to use their freedom of speech to empower and motivate women all around the world.

At one point in time, feminist bookstores were mainly where female-made publications were obtained. Female writers have always dealt with the issue of being muted, oversimplified or objectified. Today women writers have numerous more opportunities than they have ever had in the past.

According to Simone Wolff:

This Times article about indie authors who started for kindle and now run their own publishing houses — all of which, incidentally, are women — claims that only 30% of readers engage only with print publications. The rise of the eBook and the internet’s facilitation of the woman-centric literary community has even created new forms of book distribution and literary community-building.

E-books and Kobo have become an essential aspect of keeping feminist books relevant and flourishing.

E-books give female writers a more significant opportunity for past, present, and future publishers to project their books. Simone Wolff explains, “Emily Books is perhaps the first of its kind, a chimera-like entity that combines eBook store, book club, subscription, and publishing house, all to a decidedly-feminist end.”

Emily Books explores and praises the famous works of past and present female writers. According to the “How Digital Publishing Has Changed Feminist Writing”:

Emily Books is, essentially, an online feminist bookstore. It even hosts a book club of sorts, in its subscription service, which comes with access to a community forum. But unlike the websites of pre-existing feminist bookstores, which are strictly for commerce and tend to have a GeoCities feel, Emily is an exercise in feminist taste-making.

Emily Books is providing an innovative service necessary for the innovative ideas of the evolving feminist.

Women & Children First partnering with Kobo, a Canadian company that sells e-books and other digital paraphernalia, is the reason the company exists today. Kobo digitally stores many feminist texts; thus, Women & Children First becomes one of the go-to bookstore websites for searches dealing with feminism and queer or gender studies.

Women were once second-class citizens, and the effects of stereotypes and gender roles still exist. Because of the continuing effects, feminist books are more obtainable digitally through e-books, Kobo, and other electronic devices. According to The Rising Feminist Magazines You Need to Start Reading:

We are fortunate to have this category growing on our platform–especially with these incredibly talented women creating content that inspires and brings awareness to important issues like women’s empowerment. It is through that access that we can ensure awareness and manifest change.

Female writers have been able to build powerhouses due to their digital platform. Today, many female powerhouses exist, such as writers like J.K Rowling, Stephanie Meyer, Joyce Carol Oates, and Margaret Atwood. Women all over the world are finding it easier to be heard every day through digital publishing.

Feminist presses allow women to empower themselves, whether they are in the workplace, at home, or in their everyday lives. Their publications provide the ability to connect with their readers on a deeper level. Digital publishing brings together voices that speak on educational, health, and social justice issues for women all around the world.

Digital publishing has been one platform that feminists have been able to adapt to their needs. Today many female powerhouses exist, such as writers like Joyce Carol Oates and Margaret Atwood. Through Digital publishing, feminist books, essays, magazines, and articles are easily obtainable electronically. Feminism has made a profound mark with the help of digital publishing and they are here to stay.