Dustcover: Book Publishing in the 21st Century


J. Neil Schulman's

in the 21st Century

Dust Jacket Edition Info Dedication Contents


Book Publishing in the 21st Century.

Copyright © 1991, 1993, 1996 by J. Neil Schulman. All rights reserved.

"Informational Property: Logorights" was published in The Journal of Social and Biological Structures, JAI Press, 1990.
Copyright © 1983, 1989 by J. Neil Schulman.

Foreword copyright © 1996 by J. Neil Schulman.

All materials created for SoftServ Publishing Services, Inc., copyright © 1996 by J. Neil Schulman.

Volume 2 compilation copyright © 1996 by J. Neil Schulman, and non-exclusive reproduction rights of writings drawn from the SoftServ RoundTable assigned back to their respective authors.

No part of this book may be used or reproduced in any manner except in the case of quotations embodied in critical articles and reviews.

This edition published by Published by Pulpless.Com
150 S. Highway 160, Suite C-8, #234
Pahrump, NV 89048
Voice: (775) 751-0770
Fax: (801) 904-7851
Internet Email:jneil@pulpless.com
World Wide Web Page: http://www.pulpless.com/

Version: Web Browser Release 1.0 Beta 1.0
December 7, 1996

This edition has been previewed using Netscape Navigator® Version 3.0. Optimal results will be achieved using Netscape Navigator® to read this book. Users of Microsoft Windows® Version 3.1 might need to download the file Nullsock.Zip from Pulpless.Comtm to enable offline use of your web browser. Microsoft Windows95® and Apple Macintosh® users will find that their web browser is already functional while offline. Unix users should rename ".htm" file extensions ".html."

The rights to all previously published materials by J. Neil Schulman are owned by the author, and are claimed both under existing copyright laws and natural logorights. The usage rights granted to readers of this paperless booktm are limited by the License Agreement.

Cover design by CaliPer.
Author photograph of J. Neil Schulman by Kevin Merrill.

To Paul Levinson and Tina Vozick

Fellow Cyber-Socratics

(Don't Drink the Cyber-Hemlock!!!!)


Volume One Table of Contents


Introduction to Volume One

Lesson One: First Day in Class

Lesson Two: Class Introductions

Lesson Three: Discussion

Lesson Four: Discussion

Lesson Five: SoftServ Business Plan

Lesson Six: Discussion

Lesson Seven: "Paperless Books"

Lesson Eight: Conclusions

Appendix 1: "Here Come the Paperless Books!"

Appendix 2: "Informational Property: Logorights"

About J. Neil Schulman

Volume Two Table of Contents

Directory of Files in BP21HTM2.ZIP:

HTML and graphics files:

BP21000.HTM            4,338 12-07-96   7:24p
BP21DUST.JPG        16,811 12-07-96   1:55a
FOREWORD.HTM      6,793 12-07-96   7:05p
DUSTJACK.HTM         3,766 12-07-96   7:08p
JNEILPIX.GIF            54,286 10-01-96  12:22p
ABOUTJNS.HTM         8,882 12-05-96  11:57p
LICENSE.HTM            3,729 12-07-96   7:17p

ZIP Archives:

SOFTTOOL.ZIP      274,223 12-07-96   2:00p
SOFTRTC.ZIP          91,905 12-07-96   5:15p
SOFTGENI.ZIP    1,656,684 12-07-96   5:22p

       12 file(s)      2,121,417 bytes

Directory of files in SOFTTOOL.ZIP

The SoftServ Toolkit originated on the SoftServ
RoundTable on GEnie, and was available in the
SoftServ RoundTable file library as a collection
of resources for interested authors, media, and
GEnie clients.

It was periodically augmented and updated.

The toolkit was updated when the SoftServ
RoundTable on GEnie was closed, and the
SoftServ Paperless Bookstore BBS was opened.

This was the SoftServ Toolkit, as it finally
appeared on the SoftServ Paperless Bookstore

ABOUTJNS             4,170 K
About J. Neil Schulman, the founder and President of SoftServ

AUTHOR.TXT        13,380 K
SoftServ Info For Authors and Small Publishers

BANKLAMB.NEW         1,231 K
New on SoftServ from Banks & Lambe, Publishers

BOOKSTOR.VUE        68,121 K
A "walk" through the SoftServ Paperless Bookstore

CADENZA.NEW        10,135 K
New books published on SoftServ by Cadenza Communications, Inc.

CAT4-03.TXT        37,229 K
The SoftServ Catalog, V. 4.03, June 5, 1991

CONNECT.NEW        19,744 K
New books published on SoftServ by Connected Editions

CONTRACT.SFT        34,823 K
The SoftServ Contract

CREDO.SFT         4,312 K
Why Neil Schulman started SoftServ

DISTANT.NEW         4,579 K
New from Distant Eagle Publishing Company

DOWNREAD.TXT         5,970 K
File included in downloaded paperless books.

FILTRANS.INF         6,741 K
Introduction to transferring files by modem

FREEBIES             5,942 K
A browse through the "Freebies" File Area in the SoftServ
Paperless Bookstore.

FREEBOOK.INF         1,376 K
How members of the SoftServ Paperless Book Club can get a free
paperless book from SoftServ for each book review they write
which is published in DisContents, SoftServ's online reader-
review magazine.

HEWW.NEW         4,262 K
New books published on SoftServ by the Harbinger Electronic
Writers Worksop

JOINCLUB.TXT        17,666 K
Information on joining the SoftServ Paperless Book Club

K-CHARGE.TXT         3,808 K
Chart for figuring out download phone charges for paperless

KOPUBCO.NEW         9,530 K
New on SoftServ from KoPubCo Publishing

LICENSE              6,958 K
License granted by SoftServ to paperless book customers

LOGONOTE               993 K
The logoright notice placed in every SoftServ Paperless Book --
including this one!

LOGORITE            82,911 K
"Information Property: Logorights" by J. Neil Schulman, an article
exploring ownership in information.

MENUHELP             5,849 K
Help Menu from Bookstore File Area

NEWSLTR1.TXT         4,976 K
Paperless Bookstore News, Volume 1, No. 1

NEWSLTR2.TXT         9,555 K
Paperless Bookstore News, Volume 2, No. 1

PAPERLES.BKS        42,706 K
"Paperless Books" by J. Neil Schulman, President of SoftServ Publishing.
A general introduction to paperless book publishing.

PROREVUE.INF         1,011 K
Information for professional writers, editors, and periodicals on
obtaining review copies of SoftServ paperless books

RAINBOW.SMP       115,813 K
SoftServ Sampler of The Rainbow Cadenza by J. Neil Schulman,
included as an example of the SoftServ Samplers

README.1ST         9,432 K
Introduction to The SoftServ Toolkit.

REALBOOK             1,442 K
"Is this the Authentic Book?"  Notice found in every SoftServ
paperless book

RSA.DOC         8,406 K
Documentation on SoftServ's "Digital Signatures"

SOFTHOSB.TXT        82,971 K
Archive of pre-SoftServ RoundTable discussion of SoftServ in the
Home Office/Small Business RoundTable on GEnie

SYNAPSE.NEW        17,181 K
New books published on SoftServ from Synapse Books

TEMPLATE.SFT         6,808 K
The template for preparing SoftServ paperless books

UPCOMING.PUB         5,220 K
Upcoming publications

       34 file(s)        658,047 bytes

Directory of files in SOFTRTC.ZIP

Each file contains the transcript of a
Real-Time on-line conference in the
SoftServ RoundTable on GEnie, with the
exception of GENIUS.RTC.

GENIEUS.RTC        39,059 K
Interview with SoftServ RoundTable SysOp
J. Neil Schulman in the GENIEUS RoundTable

AIDSINC.RTC        13,992 K
Interview with AIDS INC author, Jon Rappoport

BOOKCHNG.RTC        36,606 K
Books That Changed Your Life

CYBER.RTC        26,642 K
Forum on cyberspace, moderated by Paul Levinson
and Tina Vozick of Connected Education

DISARM.RTC        29,649 K
A Disarming Evening with L. Neil Smith

ILLUMIN.RTC        44,213 K
An Illuminating Discussion With Robert Anton Wilson

KIRTS.RTC        14,044 K
An Interview with Author Keith Kirts

KOMAN.RTC        16,554 K
An Interview with Author Victor Koman

LITERACY.RTC        18,959 K
Is Literacy Outmoded?

       9 file(s)        239,718 bytes

Directory of files in SOFTGENI.ZIP

The SoftServ RoundTable Bulletin Board on GEnie
was organized by category and topic. Each file
represents a discussion topic in that category.

The *.001 file in each category was the
introduction to the category.

Category 1 -- SoftServ Category:
Announcements, Help Messages 
and Discussions
CAT001.001        24,433 K
CAT001.002        29,427 K
CAT001.003        44,070 K
CAT001.004         9,096 K
CAT001.005        49,383 K
CAT001.006         3,751 K
CAT001.007        13,194 K
CAT001.008        18,855 K
CAT001.009         1,010 K
CAT001.010         5,535 K
CAT001.011         9,307 K
CAT001.012        27,930 K
CAT001.013         2,209 K
CAT001.014         5,265 K
CAT001.015        35,230 K

Category 3 -- Paperless Book Club:
Client Support Topics and
Client Created Topics
CAT003.001           849 K
CAT003.002         3,285 K
CAT003.003         3,648 K
CAT003.004        13,147 K
CAT003.005        10,711 K
CAT003.006         4,177 K
CAT003.007        18,933 K
CAT003.008        39,295 K
CAT003.009        13,459 K
CAT003.010        14,975 K
CAT003.012           479 K

Category 4 -- Literary Discussions:
Both General and Specific Authors
CAT004.001           859 K
CAT004.002        12,276 K
CAT004.003        78,965 K
CAT004.004        21,427 K
CAT004.005        36,703 K
CAT004.006        66,199 K
CAT004.007         5,893 K
CAT004.008        10,777 K
CAT004.009        29,866 K
CAT004.010         5,259 K
CAT004.011         2,369 K
CAT004.012        29,532 K
CAT004.013        11,663 K
CAT004.014        37,347 K
CAT004.015         2,193 K

Category 5 -- SoftServ Author Topics: 
Readers discussions with SoftServ
CAT005.001         1,235 K
CAT005.002        22,503 K
CAT005.003        95,708 K
CAT005.004       436,231 K
CAT005.005       126,301 K
CAT005.006        11,649 K
CAT005.007        16,574 K

Category 6 -- Electronic Publishing:
Discussion topics on electronic
publishing in general
CAT006.001           977 K
CAT006.002        13,881 K
CAT006.003        22,455 K
CAT006.004        16,186 K
CAT006.006         9,267 K
CAT006.007         4,177 K
CAT006.008        13,884 K

Category 7 -- Electronic Publishing:
Technical discussions and problem-
CAT007.001           761 K
CAT007.002        11,384 K
CAT007.003         3,170 K

Category 8 -- Special Needs:
Visual and Reading Impairments
CAT008.001         1,042 K
CAT008.002         8,832 K
CAT008.003        27,293 K
CAT008.004        10,361 K
CAT008.005        18,331 K
CAT008.006        44,803 K
CAT008.007         6,215 K
CAT008.008        18,869 K
CAT008.009        14,164 K
CAT008.010           645 K

Category 9 -- GEnie and SoftServ
RoundTable Problems
and Technical Support
CAT009.001         1,260 K
CAT009.002        12,872 K
CAT009.003         4,512 K
CAT009.004         2,565 K
CAT009.005        22,137 K
CAT009.006        54,056 K
CAT009.007         7,153 K

Category 11 -- TANSTAAFL Cafe
All controversial topics -- politics,
religion, baseball
CAT011.001         1,298 K
CAT011.002        53,603 K
CAT011.003           959 K
CAT011.004        71,983 K
CAT011.005        30,392 K
CAT011.006        49,794 K
CAT011.007       122,828 K
CAT011.008        37,117 K
CAT011.009        67,021 K
CAT011.010       194,619 K
CAT011.011        21,308 K
CAT011.012        31,719 K
CAT011.013        85,996 K
CAT011.014        25,071 K
CAT011.015        30,159 K
CAT011.016        30,323 K
CAT011.017        15,752 K
CAT011.018        19,120 K
CAT011.019        12,000 K
CAT011.020        16,171 K
CAT011.021        64,686 K
CAT011.022        13,915 K
CAT011.023        13,076 K
CAT011.024         9,172 K
CAT011.025        26,348 K
CAT011.026       123,458 K
CAT011.027         8,582 K
CAT011.028         9,243 K
CAT011.029        91,720 K
CAT011.030        44,083 K
CAT011.033        40,170 K
CAT011.034         6,951 K
CAT011.035        21,753 K
CAT011.036        10,709 K
CAT011.037        24,805 K
CAT011.038        18,913 K
CAT011.039        11,582 K
CAT011.040         5,231 K
CAT011.041           703 K

Category 12 -- Science Fiction
& Fantasy
CAT012.001         1,245 K
CAT012.002        15,773 K
CAT012.003        32,106 K
CAT012.004         1,383 K

Category 13 -- SoftServ Writers
Both for print publication and
electronic publication
CAT013.001         1,232 K
CAT013.002         1,690 K
CAT013.003         8,474 K
CAT013.004         2,814 K
CAT013.005         4,482 K
CAT013.006           881 K
CAT013.007        10,716 K
CAT013.008         3,694 K
CAT013.009         7,264 K
CAT013.010         1,379 K
CAT013.011         3,083 K
CAT013.012         2,634 K
CAT013.013         2,700 K
CAT013.014         1,926 K
CAT013.015         2,041 K
CAT013.016         1,036 K
CAT013.017         5,056 K
CAT013.018         3,421 K
CAT013.019         2,679 K
CAT013.020         1,730 K
CAT013.021         4,297 K

Category 14 -- Business of
CAT014.001         1,734 K
CAT014.002         1,710 K
CAT014.003         2,658 K
CAT014.005           600 K
CAT014.006         5,205 K

Category 16 -- SoftServ Publishers:
Topics created by and about SoftServ's
affiliated publishers
CAT016.001         1,296 K
CAT016.002         8,313 K
CAT016.003        19,868 K
CAT016.004        19,800 K
CAT016.005         3,840 K
CAT016.006         7,295 K
CAT016.007        10,377 K
CAT016.008        10,201 K
CAT016.009         4,467 K
CAT016.010         6,476 K
CAT016.011         4,472 K
CAT016.012        13,762 K
CAT016.013        12,628 K
CAT016.014         8,139 K
CAT016.015         1,252 K
CAT016.016         1,526 K

Category 17 -- The Archives
Deleted topics, older announcements,
and older messages moved from topics
in other categories to speed up 
on-line time management.
CAT017.001       160,510 K
CAT017.002        15,197 K
CAT017.003        90,681 K
CAT017.004         5,246 K
CAT017.005         8,275 K
CAT017.006        10,107 K
CAT017.007         2,085 K
CAT017.008        24,226 K
CAT017.009        75,737 K

      169 file(s)      3,938,186 bytes

Begin Reading Foreword.

You are reader number

since March 28, 1998.


Book Publishing in the 21st Century
by J. Neil Schulman


What you are about to read is a set of paradoxes. It is a book which talks about the future but which takes place in the past. So, it will perhaps be of as much interest to those who are interested in the history of "paperless" book publishing as it is to those who are interested in its future.

In my writings, I've been a fairly good prophet on a number of things, but, interestingly, I never managed to predict the two specific forms of electronic book distribution which I have primarly used in my two ventures. In my novel, The Rainbow Cadenza, completed at the end of 1981, I have scenes where my heroine, Joan Darris, reads books on discs using a handheld reader. I show her purchasing one of these discs in a store called "Civilization And Its DisContents"--which I still think is a pretty funny play on the title of Freud's seminal essay.

But it never occurred to me in 1981 that she might bypass retail distribution completely by downloading the book directly onto the reader.

Further, when I was writing the business plan for my first paperless publishing venture, SoftServ Publishing, it never crossed my mind that the Internet would become in only a few short years a network which, by allowing commercial ventures, would drive the existing dial-up computer networks and bulletin-board systems into near extinction--and solve every formatting, software, and distribution problem which was making my first entry into paperless publishing a personal financial disaster.

When I finally closed the "doors" on SoftServ, I knew that all I had to do was wait a few years and the problems I'd been facing would solve themselves. And I did, and they did, and here you are reading this.

In spite of its never breaking even, much less showing a profit, I consider SoftServ Publishing to be a complete success in testing the "paperless book" concept, and proving it viable. In looking back at what we all accomplished, I am all the more impressed. We had a good list of books written by impressive authors such as Harlan Ellison, Robert Silverberg, Robert Anton Wilson--and two authors you'll recognize from their participation in Pulpless.Comtm, Victor Koman and Keith Kirts.

We did a good deal of market research on the problems that need to be solved to make paperless editions attractive to book readers. We discovered a lot about the special needs of the visually impaired.

We had our share of controversies, headaches, and heartaches. But, overall, we had an awful lot of fun.

Book Publishing in the 21st Century appeared once in an earlier electronic edition from SoftServ. That edition used an early hypertext program called DART to read it. DART worked only on MS-DOS systems, had no ability to integrate graphics into text, had no font controls, and was extremely difficult to understand.

Perhaps we on the World Wide Web may still feel like we are in the age of the Model-T sometimes, but at least we have paved roads and vehicles that run more than they break down. In the days of SoftServ, we were driving on potholed, dirt roads, and we had to get out and push every few miles.

This new edition includes not just the original course I taught via computer conferencing for Connected Education/The New School, but I'm also including, in a second volume, some of the vital history of SoftServ.

The first resource in Volume II contains almost a four megabyte plaintext database with all the public discussions of the SoftServ Bulletin Board in the SoftServ RoundTable on GEnie -- the General Electric Network for Information Exchange. GEnie was the most economical computer network for its time--averaging half the costs of its best competitor of the time, CompuServe--and I believe it is the only network that could have made what we did at time as successful as it was. In this collection of computer messages, archived by category and topic, you will find discussions not only directly on subjects relating to SoftServ and electronic publishing, but also to a wide range of topics -- everything from literature to politics to what you should snack on while reading a paperless book. In here you'll find article-length essays by myself, Victor Koman, James Audlin, Paul Levinson, Keith Kirts, and other pioneers of this medium.

The second volume also contains the final version of the SoftServ Toolkit, the set of resource files we distributed to publishers, authors, media, and any customers who were interested in learning more about what we were doing.

Finally, I have selected the best Real-Time Conferences from the weekly conferences we held each week on GEnie--on such topics as literature, the causes of AIDS, cyberspace, literacy, guns, and discordianism, with such authors as Robert Anton Wilson, L. Neil Smith, Victor Koman, and Jon Rappoport.

All these files in Volume II are plaintext. You can read them using your web browser (there's no HTML coding so it will just give you the text as it appears) or load them into any word processor or text editor to read them or print them out -- just like in the old days.

It will become apparent, if you choose to wade through Volume II, how many people spent a good deal of their imagination and lives to make SoftServ an exciting expedition into the future. I certainly wasn't able to thank them by making money for them, so let me now take this opportunity to thank all of our publishers, authors, and supporters, with particular thanks to Victor Koman and Kate O'Neal, who served with me as officers of the corporation and were always there for the dirty work (they're still with us -- Victor's new meganovel Kings of the High Frontiers is one of our biggest sellers and you can hear Kate singing the Pulpless.Comtm radio jingle on our website); Paul Levinson, James Audlin, Keith Kirts, and Nick Dotson--who gave freely of themselves to authors and customers alike ... and to everyone from GEnie who participated in discussions in the SoftServ RoundTable.

We made history, guys ... and here's my chance to begin showing the world just what we accomplished.
J. Neil Schulman,
December 7, 1996

Go to Introduction.

Return to Table of Contents.


Book Publishing in the 21st Century
by J. Neil Schulman

Introduction to Volume One

On April 1, 1991, I began teaching a class for The New School in New York which ended in June, 1991. The title of the class was "Book Publishing in the 21st Century." The class was part of a Master's program in Media Studies, and students ranged from a vice president with the largest book publisher on the east coast, to TV and radio news executives, to a computer company sales executive going for an MBA. All of the students lived in the New York area.

I was living in Hollywood at the time I taught the course, and never left Los Angeles for its duration.

What resolved this seeming paradox is that the class was taught via a computer conferencing program which Connected Education, Inc., of New York City ran under contract to The New School. I sat at my computer and dialed up a computer in New Jersey via modem, and so did the students. The "classroom" was a computer messaging system. I left messages for the students; they left messages for me.

Book Publishing in the 21st Century is the record of my course material--the messages I left for the students. My comments from the class are verbatim. In the following presentation, I have fictionalized names and comments of the students to protect their privacy and comply with Fair Usage provisions of the copyright laws.

In my course material, I tried to ask what the impact of computer communications will be on the print publishing industry. I utilized my experience as founder and president of SoftServ Publishing Services, Inc. (now defunct), which was the first company to offer a line of books by major authors via modem and on computer floppy disk. I included as part of the course my original business plan for SoftServ, and additional articles of mine related to the course topics.

If you want to know whether the book you buy in the twenty- first century will be bound and printed--or as text which you read from a pocket-size electronic screen--this paperless book will clue you in.

J. Neil Schulman,
June 1, 1993

Go to First Lesson.

Return to Table of Contents.


Lesson One: First Day in Class

Connect Ed - New School MA Sprintersession 91 Course with J. Neil Schulman
Private Conference:  BOOK PUBLISHING IN THE 21ST CENTURY (2539)
You are the only member active.
No items have been written.

No items waiting.

No items waiting.

C2539 CC1  J. Neil Schulman (1524)   4/ 1/91   3:51 AM  L:167

     |                                                     |
     |        BOOK PUBLISHING IN THE 21ST CENTURY          |
     |                                                     |
     |                  Your Teacher:                      |
     |                                                     |
     |     Herr Doctor Professor J. Neil Schulman          |
     |                                                     |
     |               Mit Der Dueling Scar                  |
     |                                                     |
     |                                                     |

                                           \              /
                                             \  (^) (^)  /
                                               \  (^)  /
Place apples for the teacher here ---------->    \___/

     Is this the right room?  Room 2539, right?  Yeah, must
be -- that's my handwriting up on the blackboard.  I got here
a little early and decided to pop over to the Cafe for a cup
of java before we started ... then got lost on the way back.

     Okay, first day of class, I want to make one thing
perfectly clear: the air.  No smoking during class.  I have
a sinus condition and this New York air isn't helping to
begin with.

     Also, no eating of anything during class.  Or at least not
anything tempting.  Lettuce.  You can eat all the lettuce you
want.  But leave the brownies back in the cafe where they belong.
I'm supposed to be on a diet.

     Hey, you in the second row -- I hope you have enough gum


     Guess what?  The above was not only fun (for me, anyway),
there was actually a point to it.  It's probably so obvious to
everyone here that you may have missed it.  But we're not in a
real classroom.  I had to work at creating a little atmosphere
to pretend that we are.

     I'm sitting at a computer in Hollywood, California, and when
I finish writing this, I'm going to upload it to a computer in
New Jersey, where it will be read by people I haven't yet met,
whose names I don't yet know, whose accomplishments are still
a mystery to me -- and who are God Knows Where reading this.

     Yet, this is a real class.  (By the way, I'm not really
"Herr Doctor" anything.  That was part of the atmosphere.)  It's
a real class if you ignore the physical fact that we're not all
in the same place at the same time, and that we are using a fairly
new and sophisticated technology to compensate for that separation
in space and time.

     The subject of this class is (as we saw on the imaginary
blackboard) "Book Publishing in the 21st Century."  Let me say
right off that this course title hinges on the same observation
I just made regarding this "classroom."  If a meeting place for
a real class can be off somewhere in Never Never Land, then why
does the "book" referred to in this course title have to be
something physical that you hold in your hands?

     Possibly, to some of you enrolled in this course, I am
belaboring the obvious.  But I would not be at all surprised
if I was not belaboring the obvious to all of you.  (And a
parenthetical comment here: from now on I'll be using backslashes
to indicate italics or underlining.)  I have been talking and
writing about incorporeal books (geistbuchen?) for over four
years now.  I have been selling what I call "paperless books"
 -  text files sent on floppy diskette or transmitted by modem  -
since December, 1989, when the company I founded, SoftServ
Publishing, opened for business on GEnie  -  the General Electric
Network for Information Exchange.

     And much of the arguments I have been hearing about how a
"book" has to be a convenient, physical object printed on paper
 -  often with a nice smell and a pretty cover  -  have been from
people who use computers and modems every day.  People who spend
their lives, on the one hand, staring at VDT's and, on the other
hand, reading books, become downright hostile if you try to tell
them they could have that book they've been wanting up on their

     Many of them do not even become less hostile when you suggest
that if they don't like reading off their moniter they can reformat
the text to their liking and print it out before reading it.

     Very few people, in fact, have demonstrated a willingness to
obtain their books via the computer medium.  Yet, I am going to
be asserting during this course  -  and providing reasoning for  -
the proposition that "paperless books" will be the main avenue
of book publication and distribution during the 21st Century.

     Let me say, at this point, that I am well aware how useful,
attractive, and nice physical books are.  I have been a lifelong
reader of books, and I have been a professional writer for over
two decades.  I have written two novels, each of which has been
published in both hardcover and paperback by major publishers.
I've autographed copies of my books in bookstores, and gotten a
special thrill at seeing my books on the shelves of libraries.
Probably a greater number of the pleasurable minutes of my life
have been spent with a book in my hand than anything else.
(No, I haven't forgotten the other main pleasures in life  -  but
three out of four of them can be done while reading.)

     Yet it is I, an author and bibliophile, rather than some
soulless computocrat, who is promoting the idea that authors and
book lovers would both benefit by extracting the concept of a
"book" from the physical object, and assigning that term to that
incorporeal "thing" which an author writes and a reader reads.

     I did not do this because I am particularly in love with
computers.  I am not.  A real computer lover is a guy who is a
math whiz.  I need to take off my shoes if I want to count above

     To me, a computer is a means rather than an end.  The end,
for me, is taking down the Berlin Wall of "retail marketing"
which makes it uneconomic and difficult for quirky, out-of-
category, new, or square-peg books to find a place in the
marketplace adequate to support the authors who write those sorts
of books.  Let's just say I have a vested interest in the


     To begin with, there are two articles I've written which I'm
assigning as reading for the course.  Both are in the Walter Orr
Roberts Connected Education Library (+LIBRARY).

     The first article is the introduction to the concept of
paperless books which I wrote when I started SoftServ back in
1989.  It's called "Here Come the Paperless Books!" and is in the
Connect Ed library as +nopapro.  

     Keep in mind that I wrote this before I started selling 
paperless books, so I know a lot more about the practicalities 
of the business now than I knew then.  On the other hand, I 
find that I'm still in complete agreement with my first 
analysis of why paperless books will evolve to supplant 
printed books in the marketplace.

     The second article is titled "Informational Property:
Logorights" (+logorig in the library) and provides a theoretical 
base for regarding an incorporeal "information object" as 
an artifact as "real" as a physical bound book.

     I'd like you to read these two articles as quickly as possible,
because these will provide a lot of the basic premises I'll be
assuming for the rest of the course, and will leave us free to get
to a deeper and more practical discussion of the subject.

     Let me also say at this point that I've decided that early on
in this course I'm going to assign the reading of a novel, published
both in hardcover and softcover, and now being sold by my company
in a paperless edition.  I'll be asking for a "book report" that not
only deals with the content of the book, but also treats the esthetics
of reading it either on screen or as computer print-out  -  and how that
experience compares to reading a traditional bound book.

     I think this would be a good place for me to break for
introductions from each of you, and any initial questions you have.

     Do I "see" any "hands"?
C2539 CC1  J. Neil Schulman (1524)   4/ 1/91   3:51 AM  L:167

Go to Lesson Seven: "Paperless Books".

Return to Table of Contents.


Lesson Seven: "Paperless Books"

C2539 CC52  J. Neil Schulman (1524)   4/18/91   3:49 AM  L:9
(ORIG.)                               4/17/91   9:58 PM  L:5

I found myself, today, turning an editing job I needed to do on
my old 1987 article "Here Come the Paperless Books!" into
some considerable updating as well.  So I decided to upload it here.
It turned out to be long enough to require 3 separate +READ comments
 -- so it's divided among Comments 53, 54, and 55.  If you don't
feel like reading through the whole thing, Comment 55 is the one
to read, because that's the message with some new material that I
think will address some of the comments you all have been making.

C2539 CC52  J. Neil Schulman (1524)   4/18/91   3:49 AM  L:9

C2539 CC53  J. Neil Schulman (1524)   4/17/91  11:38 PM  L:400
A: 52

C2539 CC53  J. Neil Schulman (1524)   4/17/91  11:38 PM  L:400

                         PAPERLESS BOOKS

                       by J. Neil Schulman

 Introduction: Publishing -- History versus Ideal

     Publishing exists both as an historical development and as a
theoretical ideal.

     We need not deal here with much of the history: it is too
richly documented elsewhere.  Still, we can note that since it
began in earnest with the invention of movable type by Johann
Gutenberg over five centuries ago, everyone has assumed that
publishing occurs when a typesetter sets a composed Work into
type or onto plates, when a printer uses that type or plate to
imprint ink onto sheets of paper, when a bindery binds those
sheets of paper together into books or periodicals, and when a
publisher markets multiple copies of those imprinted books or
periodicals to stores, which in turn sell them to people
interested in reading that composed Work.

     As a theoretical game, publishing is far simpler: it is any
efficient and desirable medium for a composed Work to be made
available to those wishing access to it.  This implies two
finally-important players: the Author of the composed Work, and
the Reader of it.  All other players are Mediators between Author
and Reader.  Further, Author and Reader each has an idealizable
goal of transmitting the Work from one to the other with as
little mediation between them as possible.

     The Author's Ideal is to create a Work that fulfills both
some internal goal (such as self-expression) and some external
goal (such as proselytizing or making money), to inform all
potential Readers of its information or entertainment value, and
to have it unceasingly available to all Readers who desire it.

     The Reader's Ideal is to have as varied a choice of Works as
possible for information and entertainment, to have elegant tests
to determine which of those Works they desire (and filter out
those which are not), and to have such Works available, as
painlessly as possible, whenever and wherever desired.

     This article will proceed on these assumptions as follows:

     It will analyze the process, then show the failures--and
note success where due--of the current Trade and Mass-Market Book
Publishing Industry in serving these defined ideals of Authors
and Readers.  Then it will analyze and show how the emerging
technological media of Computers and Data Communication can more-
closely approach the ideals of both Authors and Readers.

     Note that the new industry is not necessarily electronic
book publishing.  We are here proposing a new kind of publishing
in which the very concept implied by the word "book" needs to be
redefined, delimited, and sometimes discarded.  One should never
look upon the creation of any new industry as anything less than
mightily formidable.  In discussing publishing that has no final
need for paper, ink, glue, or binding, this task must, at the
start, seem daunting.

     Authors write--publishers publish, critics critique, stores
sell, libraries shelve, and readers read--books.  When one begins
by telling Authors and Readers that what they have been trading
for the last five centuries are not really books but what has
been recorded and transported inside books, then one encounters
the sort of incredulity and stubbornness that manufacturers of
Horseless Carriages received when what had been readily apparent
to any moron for thousands of years was the primary importance
not of the carriage but of the horse.

     In the end, people decided that carriages pulled by
horsepower rather than by horses worked better for getting
around, but that horses would still have an honored place on the
racetrack and at the riding academy.

     So it will be, I expect, with "Paperless Books."

     Bound books will still have their place in the hearts--and
on the shelves--of those who appreciate their history, the beauty
of the crafts used in making them, the almost sensual smells of
paper and ink.  For certain readers, books will remain delightful
to look at, wonderful to hold.  For certain authors, there will
always be something approaching ecstasy in seeing their names on
the title page of a book, their words shining off the semi-
glossed sheets bound within.

     Nevertheless the Paperless Book will come into its own as
surely as did the Horseless Carriage, and for the same reasons.
Automobiles were much better than horses at getting from one
place to another.  Given the commonality, and approaching
universality, of computers and modems, software is simply much
better than bound books at getting Works from Author to Reader.

     Let us say a profound thank you to Herr Gutenberg for giving
us economically practical books.  Let us next give thanks to
Caxton, Cerf, and Ballantine for giving us quality books, for
their times, in the largest quantity and lowest price possible.

     Then let us proceed to doing what Gutenberg, Caxton, Cerf,
and Ballantine were properly doing for their generations: making
the bridle path between Author and Reader as short, smooth, and
straightforward as possible.

 I. Book Publishing Today

     Who has not heard the phrase, "You can't judge a book by its
cover"?  Yet, the obvious truth to anyone who gives even a
cursory glance at the process by which books today are ordered,
distributed, and vended, is that often the only way books are
judged is by their covers.

     What drives the process of publishing books today is not
what readers wish to read or what authors wish to write, or even
what editors wish to buy for publication.

     For trade hardcovers and trade paperbacks, the driving force
is, chiefly, what the large retail bookstore chains--
Waldenbooks, B. Dalton, Barnes & Noble--are willing to order and
display on their shelves.  Almost as important a force is what
chain retailers such as K-Mart and Bradlees are willing to order
and display.  Using the horse-racing analogy, the total orders
from independent bookstores show, but rarely place or win, when
it comes to creating display space for a book.

     For mass-market paperbacks--besides those outlets--the
driving force is what newspaper and magazine distributors are
willing to order, warehouse, and send out with their trucks for
their drivers to stack on wire racks in supermarkets, convenience
stores, and airports.

     The same basic assumption used for selling soft drinks,
soap, and toilet paper drives both trade book and mass-market-
paperback retailing: display space is valuable.  Put a product
up: if it sells fast, reorder; if it doesn't move, pull it off
and ship it back.

     Retailers consider book-purchasing largely an impulse "buy"
based on generic use (the category: Romance, Biography, Science
Fiction, or Self-Help), brand familiarity (the author's name),
packaging (the cover illustration, promo copy, and quotes), and
promotion (advertising and publicity).

     Aside from price, the only difference between trade book and
mass-market paperback publishing is that bookstores ship unsold
trade books back to the publisher's or distributor's warehouse
while unsold mass-market paperbacks--like unsold magazines--have
their covers stripped off and sent back to the publisher for
credit. Minus their covers, unsold mass-market paperback books
are destroyed.

     The necessity of product turnover is such a major element in
book retailing that the shelf-life of 95% of published books
should be measured in the half-lives of highly radioactive

     The shelf-life of a hardcover book averages six months
before a bookstore removes unsold copies from shelves and ships
them back to the warehouse, there to be marked down to or below
unit cost and sent back to bookstores as "remainders."  One year
after publication, a reader will rarely be able to find anything
but bestselling hardcovers in the chain retail outlets other than
as a remainder unprofitable to either publisher or author.

     The shelf-life of a paperback book averages six weeks before
retailers remove unsold copies from racks, strip their covers for
credit, and destroy the books.  Eight months after publication --
for all but bestsellers--a paperback won't be found anywhere but
independent bookstores.  Even a successful paperback isn't immune
to a retail book outlet stripping covers for credit against new
orders even of the same book.  Thus are still-salable books
regularly destroyed by retailers and distributors eager to
improve their cash flow a few percentage points by putting off
payment to publishers for another month.

     The retailing requirements of books today dictate--up stream
from retail outlets to distributors and publishers, from there up
stream to the publishers' sales and marketing staff, up stream
there to editorial staff, and up stream ultimately to authors
wishing to be published--what can and will be written and

     And, overwhelmingly, what severely limits what can and will
be published are several basic rules of mass-marketing:

     1)   A product must be standardized at the lowest common
denominator to sell at mass-market quantities.

     2)   Mass-marketing is selling many units of a few products,
not few units of many products.

     3)   Since start-up costs for a new product are high, costs
must be reduced by limiting advertising and letting the product's
packaging sell it on the shelf.

     4)   Since introducing a new product is risky, risk must be
reduced by making the new product as much as possible like the
products already available, and selling them as "just as good."

     5)   Since moving a brand-name product around the store too
much loses sales, it must be kept on the same shelf so the
customer will know where to find it.

     These basic rules of retailing are filters which determine
what books are publishable today.

     By rule one, a book must fit into a standard category or
appeal to the lowest common denominator: thus the necessity that
a publishable book be either a generic--science fiction, mystery,
or romance--or a surefire runaway bestseller.  This renders an
out-of-category book, other than one capable of significant
publicity based on the author's reputation or connections,
virtually unpublishable.

     By rule two, effort must be spent promoting, advertising,
and selling only the product leaders: the books which a publisher
plans from the outset to be bestsellers.  (Accidental bestsellers
are all but impossible.)  Thus the publishing industry's reliance
on celebrity books, movie and television tie-ins, "formula"
bestsellers, self-help books, cookbooks, cute calendars, and

     By rule three, category books must sell themselves by
generic packaging and, sometimes--such as the general-fiction
category--author's name, alone, minimizing the risk that
customers will perceive each new book as the unique product it
is.  Corollary is that a different book package must be developed
and manufactured for each category into which one would wish to
shelve the same Work.  This is rarely worth the effort and the
risk is almost never taken.

     By rule four, literary invention is an undesirable risk.
This makes it necessary for the "uniqueness" of books to be
eliminated as much as possible, in order to make it possible to
sell them as "just as good" as the last one.  (Sequels are the
book business's equivalent of a detergent manufacturer labeling a
product "new and improved.")

     By rule five, an author with name-recognition value in a
particular category must be shelved in that one category whether
the new Work fits that category or not.  Thus will one find Isaac
Asimov's Guide to Shakespeare shelved in the science- fiction
section of some bookstores.

     These are the market realities that a publisher must deal
with--that place an acquiring editor in blinders and saddle an
author -- before that publisher decides whether a particular Work
has even the slightest chance of overcoming the considerable
costs of acquiring rights, editing, typesetting, packaging,
manufacturing, selling, advertising, publicizing, shipping,
warehousing, and (for paperbacks) destruction.

      All these are endemic limitations on book publication, even
before one gets to the epidemic book-industry difficulties such
as coordinating availability of books with their advertising and
publicity, the mis-forecasting of trends, or the collapse of
marketing commitment for books already acquired--or even in
production--because the acquiring editor has left the company.

 II. How Electronic Availability Changes Publishing Assumptions

     Even before we get to the Author's and Reader's perspective
on publishing, we can show how electronic availability can solve
publishers' problems concerning distribution.

      Retailers can also obtain much of these benefits, since a
percentage of consumers will prefer to do business through
already established retail channels.

     1) We can eliminate the retail assumption of "scarce shelf
space" at the outset: both storage space and display space in
electronic media are, for all practical purposes, unlimited.
"Shelf-life" no longer being scarce, there is no necessity of
"moving" a product or taking it off sale, or requiring that sales
be impulse "buys."

     2) By eliminating start-up costs and therefore start-up
risks caused by the book-manufacturing process, we can bring down
such costs and risks to a level that can only be thought of as
"spectacularly low."

      We can reduce the lengthy years between delivery of a
completed Work to the publisher and earnings of revenue which can
be paid to the Author to several months, obviating the necessity
of large up-front "advances."

      Storage costs approach zero: about $1.00 per Work, period.

      Manufacturing cost before placing a title on sale: $0.00.
(Preparation of the Work is now the author's financial

     A grand total of One Copy needs to be published on disk
before making the first sale: all further copies of most Works
can be placed onto disk in minutes; a copy can be downloaded via
modem in somewhat more minutes--but minutes nonetheless.
Availability to the consumer can better mass-market distribution,
while every order can be filled as if it were a special order.

     3) There need be no out-of-print titles, no remaindered or
destroyed copies.  We can reduce inventory to one copy per title.
Shipping cost per unit on disk approaches that of first-class
letters or--for download via modem--can be costed directly to the

     4) There is no necessity of a time-limit on availability of
a title: costs can be amortized over a much longer time than for
book publishing.

      5) There is no necessity of choosing one particular
category in which to publish a Work: it can be simultaneously
published in all marketable categories: categorization by key-
word can now be inclusive rather than exclusive,
encouraging--rather than discouraging--diversity in the

      6) Works no longer need to be placed onto inappropriate
"shelves" because of the author's name value: cross-referencing
can make it available in all marketable categories.

      7) There is no necessity of relying on surefire
bestsellers: twenty titles selling moderately well can produce
the same profitability as one title selling very well.

     8) Finally, there is no longer any reason to reject any
worthwhile or interesting Work because of the risk: the risk of
publication approaches its being a non-existent market feature.

     Virtually in one-fell-swoop, electronic availability manages
to eliminate almost the entire downside risk of publishing and
distributing Authors' Works.  As a consequence, the cost-per unit
to the consumer can equal and ultimately drop far below mass-
market paperbacks, while the unit profitability to publisher (and
retailer) can approach that of hardcovers.

 III. The Author's Viewpoint

     From the Author's standpoint, the marketing of books is
almost always a nightmare rather than a dream.  An Author's most
brilliant Works are often unpublishable because they are unique,
or new, or cross categories lines, or because they are difficult
to describe in twenty words or less.

      First Works, particularly first novels, are often
unpublishable merely because readers won't know the Author's
name, and therefore the book is unlikely to overcome economy-of-
scale minimum print-runs and produce a profit.  This is
compounded if the first Work is also particularly unusual or
brilliant--which is often the case.

      Certain categories of books--such as fiction anthologies or
short story collections--go in and out of fashion--if one tries
to sell one the wrong year, tough luck.

     The author's share of the proceeds from sales--called
"royalties," under a contract in which the publisher reserves
editorial responsibility -- is small: usually 10% for hardcover
(up to 15% royalty after sales numbers achieved only by a small
percentage of books); between 4% and 10% for paperbacks, with 8%
being the commonly achieved rate given the sales figures of most
paperback books.  For books first published in hardcover, these
paperback royalties must be shared between author and hardcover
publisher, usually fifty-fifty.  Usually only successful authors
are able to negotiate better splits.  This often leaves the share
of paperback proceeds paid to author at 3% to 4%.  Most states
collect more in sales tax on a paperback book than the percentage
received by the author who created it.

     Since it takes a long time to publish a book, book
publishers have the additional start-up cost of paying an author
advances against royalties in order to acquire the right to
publish their books.

      It usually takes a year from delivery of a completed
manuscript to first publication.  There's a year more after that
for an author to see any royalties from the first three months of
sale, and if earned royalties have somehow managed to exceed the
advance against royalties given the author by the publisher, the
publisher will hold back a high percentage -- sometimes as much
as 80% -- against the possibility of bookstores returning copies
to the publisher's warehouse.

      Often these "reserves against returns" prevent authors from
seeing significant royalties for three or more years.  Given such
delays, and the short shelf life of a book, authors regularly
figure that their advance is the only money they'll ever see from
a book sale.

Paper: C2539 CC53 +READ by J. Neil Schulman (1524)  4/17/91 
11:41 PM

C2539 CC54  J. Neil Schulman (1524)   4/18/91  12:09 AM  L:400
A: 53

C2539 CC54  J. Neil Schulman (1524)   4/18/91  12:09 AM  L:400

     Except for bestsellers, advertising ranges from minimal to
zip.  Publicity tours are likewise fantasy for anyone but the big
names.  The average author is lucky to get a two-in-the-morning
radio call-in show.  For that all-important day of glory--the
bookstore autograph signing--the author had better phone friends:
they are likely the only ones who'll show up.

      As for reviews, they are usually sporadic, and sometimes
nonexistent.  A paperback original stands as much chance of a
front-page review in the New York Times Book Review as Jesse
Jackson has being elected . . . Pope.  Even a respectable novel
published hardcover by a major publisher may find itself ignored
by every major newspaper, magazine, and book review in the

    Even success has its downside.  An author who has had any
success at all in one category may find it impossible to sell a
book in another category.  The author can, of course, use a pen
name . . . but then the author loses all the painstakingly
acquired name value and it's as if the author is publishing a
first book.

      This is a serious drawback to such a move.  A beginning
author must often sign a publishing contract on a take-it-or-
leave-it basis, with publishers offering little advance money,
giving no guarantees, assuming the right to edit the author's
Work any way they see fit, and taking high percentages of
subsidiary rights.  It seems to an author like outright thievery
until one realizes that even stacking the cards this way, the
publisher is still more likely than not to lose money on the

     A few authors do manage to run this gauntlet all the way to
the bestseller's list.  Here is comparative paradise: high
advances, good distribution, prime reviews, real advertising,
publicity tours, movie sales.  But for most authors, the
bestseller list is a Shangri-La, never to be found.

      No wonder statistics show that there are only four hundred
or so authors in this country of a quarter billion who are able
to make a full-time living out of writing.

 IV. The Electronic Alternative

          Here are just a few of the ways electronic availability
will be better able to serve Authors than the current book
publishing industry:

     Author's Problem 1: The Work is unpublishable because it is
too inventive, or doesn't fit a publishing category, or the
public doesn't know the author's name, or the publisher doesn't
know an easy way to describe the book, or that sort of book is
out of fashion.

     The cost of storage and distribution of a Work
electronically is low enough that there is virtually no quality
Work on which an electronic bookseller can't take a chance.
Additionally, an impressive enough number of copies may sell that
traditional publishing may take notice and publish the Work in
book form.

     Author's Problem 2: Retailers, distributors, and the
publisher eat up the lion's share of revenue produced from sale
of a Work, leaving only crumbs for the Author.

      When the Author places the Work onto disk, this is First
Publication, making the Author the Work's Publisher.  The
Author/Publisher may then place the Work on consignment with a
distributor and contract with the distributor to provide
marketing and electronic dissemination services.

      Pre-publication functions usually assumed in the publishing
contract to be the province of the Publisher will therefore
remain with the Author: editing, proofing, copyright, placing the
Work in a format suitable for publication--here, putting it into
a machine-readable form.  The Author/Publisher may choose to
contract with the distributor to provide these pre-publication
services, but this is a separable function; the Author/Publisher
will be free to contract elsewhere for these services.

     Agents may well decide to become "Packagers," preparing
their client's Works for electronic publication.

      Book publishers contracting with an electronic distributor
for Works they control will find the process identical to a
standard subsidiary rights arrangement.

     Because of the low cost of electronic storage and
dissemination, a much-higher percentage of sale proceeds will be
paid to Proprietors than offered by standard book-publishing
contracts.  (For example, the current writer's company, SoftServ
Publishing, pays between one-third to one-half of the proceeds to
their Proprietors [Author/Publisher], depending on how the work
is sold.)

      Author's Problem 3: It takes a year or more before a
completed Work is published, and a year or more before royalties
are finally received.  Significant portions of revenue due
authors are held back as "reserve against returns."

      An electronic distributor should usually be able to take a
completed Work in machine-readable form and have it on sale
within thirty days.  Statements of account and payments of share-
of-proceeds for copies sold the previous month should follow
every thirty days thereafter.  There will be no "reserve against
returns" because there will be no returns.

     Author's Problem 4: Loss of control over the editing,
packaging, and promotion of the Work.

     All these are the domain of the Publisher.  However, at
Author/Publisher's discretion, all these can be contracted to be
handled by the distributor, either at cash cost charged against
the Author/Publisher's share of the proceeds, or with percentages
of proceeds against sales dedicated to these purposes open to

      Author's Problem 5: Little or no advertising for the Work.

      Advertising can be handled either by the Author/Publisher,
or by the distributor, and a percentage of sales set aside for
that purpose.

      Author's Problem 6: Few reviews of a Work.

      While how long it will take for newspapers and magazines to
begin reviewing Works available only electronically is a matter
of speculation, it can be assumed that the stodgy book-review
media will take as long to review Works available only
electronically as they have to review mass-market paperbacks: no
time soon.  (Still, Analog Magazine does now have a column
reviewing electronically-published books.)

      Nonetheless, additional review media already exist and can
be created for electronic Works.  Reviews can be garnered from
computer bulletin boards, from fanzines, from computer users
groups, and those reviews placed on computer consumer networks
such as GEnie and Compuserve.

 V. The Reader's Viewpoint

     From the Reader's end, book-problems are more likely to be
annoyances rather than life catastrophes.  Readers take many of
these itches so much for granted that scratching them is like
providing word processors to people who've used nothing but
typewriters: apprehension at first, soon followed by the
question, "How did I ever put up with it?"

      Here are an even dozen common problems that electronic
distribution will eliminate for readers:

      Reader's Problem 1: Unavailability.  Variations of: "Yeah,
I know you just saw the author on TV, but--"

     "We don't have it in yet."

     "We sold out."

     "The library only has one copy, and it's out."

     "We just sent all our copies back to the warehouse."

     "It's out of stock at the distributor."

     "We only have volumes two and three of the trilogy."

     More serious unavailabilities:

     "Never heard of it."

     (Or the reader has never heard of it!)

     "It's out of print from the publisher."

     "I haven't seen a copy of that for years."

     "This library doesn't have the budget to order that many
titles since Proposition 13."

     Most serious unavailabilities:

     "The town council has passed a resolution forbidding this
library to carry that book."

     "The Campus Bookstore may not carry any book deemed by the
Student Council to be racist or sexist."

     "We burn books like that!"

     Solution: Works distributed electronically can remain in on-
line storage permanently, available on a moment's notice by
modem, twenty-four hours a day.  They can be delivered directly
into the home, out of reach of all censorship short of cutting
off all telephone service or banning computers and modems.
Indexing of titles and cross-referencing with reviews stored on
line can make information about the Works also instantly

      Reader's Problem 2: High price: "I'll have to wait until it
comes out in paperback."  This leads to an additional
unavailability: many hardcover books never sell to paperback.

      Solution: An electronic distributor should be able to sell
all but the lengthiest Works at paperback prices, but offer
revenues to Authors equivalent to hardcover sales.  Moreover,
even when scheduled for book publication, Authors can make their
Works available electronically a year before the first printing.

      Reader's Problem 3: Misleading packaging due to category
requirements: "This novel is titled The Tomb but there's no tomb
in it anywhere!"  Or, "There's a spaceship, a Bug-Eyed Monster,
and a Beautiful Babe on the cover--how come they're not in the

     Solution: There's no necessity to limit works sold
electronically to one particular category.  In fact, the more
categories a book can be indexed to, the better. Current book
publishing is category-exclusive.  Electronic Publishing can be

      Reader's Problem 4: Lack of variety: "After a while, these
sorts of books all run together.  Doesn't anybody write anything
original anymore?"

      Solution: Works sold through electronic media need have
none of the retail market limitations on content, originality,
inventiveness, breaking category, or necessity of mass sales to
the "lowest common denominator."  The elimination of most start-
up costs and market risks makes even a first novel by a complete
unknown a potential money-maker.  Because of this, electronic
publishing is beginning to produce a veritable renaissance in
literature by eliminating all retail-created limitations on

     Reader's Problem 5: Storage space.  Schulman's First Law:
Books will exceed bookshelves.

     Solution: Given the storage capacities of current diskettes,
most people could keep their entire library in a shoebox.  When
CD-Rom becomes industry standard, entire libraries will be
storable on one compact disk.

     Reader's Problem 6: Shipping weight of books when moving.
"Leave them behind?  It took me ten years to build this

     Solution: Take the shoebox (or CD) with you when you move.

     Reader's Problem 7: Small type.

     Solution: Set your screen fonts or computer printer to print
large type.

     Reader's Problem 8: Difficulty of replacing worn-out copies.

     Solution: Electronic copies are digital.  Placing a copy
onto a permanent medium such as CD-ROM will store it permanently.
Short of that, "backing up" file copies onto disk or tapes keep
it ready for the creation of a new printed copy at will.

     Reader's Problem 9: Difficulty locating a particular quote
in a book, or a particular scene, or a character.

     Solution: Global "string" searches could locate all
instances of a name or key word--a useful capability for both the
student and the professional.

     Reader's Problem 10: Illiteracy, Blindness, Poor Eyesight,
Reading Dysfunctions, or English-language difficulties.

     Solution: Illiterates or those with other reading problems
can simultaneously display available works on screen as text and
have a voice synthesizer read them aloud.   Or just the latter.
For the blind reader, electronic works can be immediately
available to Braille printers, refreshable Braille pads, dot-
matrix printers using software designed to print Braille, voice
synthesis modules, or any other equipment capable of accepting

     Reader's Problem 12: Difficulties in judging a book by its
content, rather than by its cover, particularly: a) Obtaining a
wide variety of reviews of a Work--a comparison of opinions--
before purchase; and b) Difficulty of reading a significant
portion of a book--enough to decide on purchase--while standing
in a bookstore.

     Solution: Through on-line reviews -- all indexed both toTitle and Author--the Reader will have access to a powerful tool
in determining which Works are worth purchase.

     Besides all these solutions to already-existing problems,
there will be one primary reason Readers will come to electronic
media to find the Authors they wish to read: That's where the
Authors will be.

     Given the overwhelming problems electronic publication is
able to solve for most Authors, and the much-higher-share of
proceeds-per-sale that will be available to Authors as compared
to traditional book publishing, the market will surely gravitate
toward even bestselling Authors placing their Works in electronic
media then selling them to book publishers.

     Finally, since many Works--even by name Authors--will remain
unpublishable as books given the high costs, high risks, and
limitations of book publishing, electronic "bookstores" will
often remain the one place where Readers will always be able to
find a book.

 VI. Why Hasn't It Happened Yet?

     Right now, electronic distribution requires more technical
skill and effort than is worth it for most readers, given (a) the
limited number of titles available electronically; (b) the
inferior convenience of having to read on a VDT or spend time and
effort printing a work out; and (c) the lack of a graphics
standard that can universally integrate text and graphics.

     In other words, at the current level of market development,
for most people horses still make more economic sense than

     The time when the advantages of electronic distribution will
outweigh its disadvantages are, however, visible on the horizon.

     1) Sony has introduced its Data Discman in Japan, a handheld
reader whose CD-rom drive can store 100,000 pages of text.  Sony
has sold over 70,000 of them in Japan since they introduced
the Data Discman in July, 1990 -- and they've also sold over
200,000 disks from a selection of under 25 titles.  The consumer
electronics industry expect Sony to introduce the Data Discman in
America and Europe by the end of 1991.

     2) The U.S. book publishing industry now takes the idea of
electronic publishing seriously.  Many publishers are now
demanding "display rights," in the expectation that this will be
a significant source of revenue.  Writers organizations such as
the Science Fiction Writers of America are recommending to their
members that authors maintain these rights unless publishers are
prepared to pay for their use.

     3) New text-formatting and graphic standards are beginning
to be offered in the electronic marketplace.  It will take only a
perceived market demand for a text-and-graphics "reader" software
package to be engineered and marketed.

     4) SoftServ Publishing, this writer's company, began the
acquisition of electronic rights to works by major authors in
1987, and began selling electronic editions of these works in
December, 1989.  Since that time, SoftServ has shown the
economical feasibility (though not the profit feasibility) of
distributing electronic editions of books via computer networks
and bulletin-board systems, both nationally and internationally.

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 VII. A Developed Market

     What would a developed "paperless book" marketplace look

     Imagine yourself at an airport, in April, 2001.  You have a
half hour until your flight, and want something more interesting
to read on the plane than the in-flight magazine.

     You head over to the Bookware electronic kiosk next to
the ATM's -- it looks and operates about the same as an ATM,
except that it has a 101 key keyboard and a trackball -- stick in
a credit or debit card, punch in your PIN number, and select
"search parameters" by Title, Author, Subject, Category, New
Releases --and/or any "key words" you desire.  You use the
trackball to move the cursor and pull down menus, choosing
"Science Fiction" and "Released After March, 2001" as your
parameters, and the Bookware system searches over 500,000 titles
in its database.

     In a few seconds, the Display tells you "175 titles
selected" and asks you if you want to limit the search further
with a key word.  You select "alien" from a list of key words
displayed and a list of 24 titles appears on the display.  You
highlight one of them --Street People From Titan-- and a full-color
"cover" illustration appears on one side of the screen, with
"dust jacket copy" on the other.  A price of $2.95 appears in the
upper-right corner.  You read the jacket copy, get interested
enough to select "Browse" -- and the first page of the book
appears on the screen, along with a little "clock" in the upper-
left corner showing that you have ten minutes of free browse time
 -- enough time to read the first chapter, or the first few
paragraphs in several chapters, or time enough to see how the
book ends, if you want to.  The top of the screen gives you
several pull-down menus, including "SEARCH/MOVE TO?/READ REVIEWS/

     You choose "READ REVIEWS" and after seeing that Locus Magazine
is calling the author "the next Kurt Vonnegut," you decide to buy
the book.  The screen asks you: "DOWNLOAD OR DISK?"  You select
"DOWNLOAD," and the screen tells you "READY TO SEND."

     You take your Atari ReadLite out of your jacket pocket -- an
electronic reader weighing 9 ounces, with a high-rez, page-white
screen -- and plug it into the Bookware terminal.  In 12 seconds,
the screen tells you "Download Complete -- Select Another?"  But
you just heard first boarding call for your flight, so you decide
not to.

     The screen tells you that your checking account has been
debited $2.95, and reminds you that you have earned 500 bonus
points with this purchase, which brings you up to 5000 points and
Level 2 in the Bookware gift program.  You tell the machine that
you want to apply your points to frequent-flyer miles.

   The screen reminds you to take your debit card, receipt, and
ReadLite -- and you take all three, stick the Readlite back into
your pocket, and head for your plane.

     On the way to your gate, you pass the newsstand and decide to
buy a pack of chewing gum.  It costs you another $2.95.

     A heck of a lot better selection than the 30 bestsellers
you'd have to choose from at the airport newsstand today, no?

 VIII. The Bottom Line

     Judging by how well it can serve the needs of Authors and
Readers as compared to the problems of book publishing today,
there seems little doubt that the "paperless book" is an idea
whose time has come.

[This article is updated from "Here Come the Paperless Books,"
Copyright (c) 1987, 1991 by J. Neil Schulman.  All rights

Paper: c2539 cc55 +READ by J. Neil Schulman (1524)  4/18/91   3:53 AM

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