1. Sara Gold, WiLS
Robert Haddock, Random House
Marla Levine, OverDrive
Brian Risse, Gale Cengage Learning

4. 1.5
million

5. 88%

7. Asking Questions

10. “If this were an easy
job, more people
would be doing it
well …”
~Sara

12.  The book in all formats has sold over 70
million copies worldwide.
 Last year Fifty Shades sold more copies than
The Bible.
 At the height of it’s popularity last year, one
book was sold every 4 seconds worldwide.
 If you were to stack all of the copies end to
end it would stretch around the world 20
times.

14.  World’s largest trade publisher with an
estimated US market share of 10.9%
 Founded in 1927, Random House now has
over 5,700 employees.
 Headquartered in New York, New
York, Random House has branches in
Canada, Australia, New
Zealand, India, Central and South America

15. North Atlantic Books
& Frog, Ltd.
North Atlantic Books
& Frog, Ltd.

18.  Author writes a formal manuscript complete with proposal letter and
submits to their agent.
 Agent sends manuscript to one or more editors at various houses.
 Once approved, editor will give agent an offer.
 Offer usually includes advance, royalties, and other terms. Offer can
be for one book, or sometimes more than one book.
 If more than one editor is interested there may be an auction to
determine best offer.
 When deal points have been determined, publisher will send a
contract which agent can negotiate.
 Once contract is signed, editor will usually send a editorial letter
suggesting content changes. Changes can be negotiated.
 When changes have been made and manuscript is deemed editorially
acceptable it moves to copy editing where typos and errors are
corrected.

19.  Publisher then works on design of book, including cover art, paper
type, etc…
 Editor coordinates with their marketing and sales teams to write
copy for publisher’s seasonal catalog.
 Sales team coordinates with bookstore buyers to place their orders
which determines how many copies of the book the publisher prints.
 Publication proceeds from finished manuscript to a book store book.
Book sells millions of copies and everyone is happy. 
 Complete publication process usually takes a year or more.

20.  Q: Are rights to digital works versus print done at the same
time or negotiated separately?
 A: It depends. Some publishers negotiate for all rights. Others
will just acquire print, or just digital depending on their
feelings of how well the book will sell in the retail market.
Authors can also have a say. For example Stephen King’s new
book Joyland is only available in print.
 Q: Who sets the price of books…authors, agent, or publisher?
 A: The publisher actually sets the price for the marketplace.
But the size of the book, the terms the author negotiates, and
the market itself determines the final price of the book.

21.  Q: Why aren’t all the books in a series available through one
publisher?
 A: Most books are acquired two to three at a time, some just
once. Once the deal is finished, authors are free to re-
negotiate and sell their series to another publisher.
 Q: Are we moving towards a market where print books will no
longer be available?
 A: Obviously, no one can predict the future. But as of right
now physical editions of books and audiobooks outsell the
digital editions two to one. Random House is firmly
committed to the print editions of our books and will
continue to do so for the foreseeable future.

22.  Continue to sell e-books to libraries.
 Make titles available day and date.
 Circulation model of one book, one user.
 Library maintains ownership of all titles in
their collection.

23.  Random House believes that libraries are here
to stay.
 Libraries are a brick and mortar space that
help build communities of readers, which are
very important to us.
 We continue to reach out via library
representatives and marketing support to do
whatever we can to help and support libraries
and get as many people to come to the
library as we possibly can.

24.  Thank You for all that you do to help build a
community of readers. If you have any others
questions or comments please feel free to
contact me:
 Robert Haddock
 Random House/Books on Tape
 (940) 594-2329
 rhaddock@randomhouse.com

25.  Contact us for more information
◦ Web: www.overdrive.com
◦ Email: sales@overdrive.com
◦ Phone: 216-573-6886 x4
◦ Connect with us!
◦ Here at PLA: Get a personal
demo and attend more
sessions!
it's time to
pick the
winner!
http://overdriveblogs.com/library
Library eBooks
Digital Content Roundtable
May 2013
Wisconsin Library Association

26. • 1986: Steve Potash’s technology company, Turbo Law, releases Practice Master
Software
• 1988: The company forms a licensing deal with West Publishing, the company’s
first publishing partner, and 300 books are put onto floppy disks.
• 1995: OverDrive’s first established eBook platform, BookWorks, which
distributes digital reading content over the Internet, is launched.
• 1999: OverDrive is a founding member of Open eBook Forum (now the
International Digital Publishing Forum-IDPF).
• 2000: OverDrive launches Content Reserve, a digital warehouse that contains
109 publishers and 1151 titles, to serve retail partners.
• 2003: OverDrive launches its first digital eBook service for libraries—Cleveland
Public Library in Ohio. The ‘Virtual Branch’ website opens with 636 titles from
HarperCollins, McGrawHill, Zondervan, and John Wiley and Sons.

27. • 1998: The first portable eReaders were introduced and included The Rocketbook
from NuvoMedia that sold for $500!
• Downfalls of Early eReaders
• Would only read certain file formats
• Short battery life
• Many people read eBooks on their computer or PDA
• Henk Slettenhaar, a professor in communication technologies
at Webster University in Geneva, Switzerland. He wrote in
August 2000:
"I have a hard time believing people would
want to read from a screen. I much prefer
myself to read and touch a real book."

28. EPUB- The New Standard
• 2007: EPUB (electronic publication) became the industry standard for eBooks.
• Developed by the International Digital Publishing Forum (IDPF).
• Features:
• Reflowable text (word-wrap)
• Resizable text
• Embedded metadata
• Embedded file support (e.g. flash videos, URLs)
• DRM Support
• eReader support
• Mobile app support

29. We are a trusted partner for big a little
publishers.
We offer them:
• DRM protect
• Fair business terms (non exclusives)
• Largest library and school distribution
channel
• High level analytical reportsProvide retail eBook
distribution services for:
• Waterstones (UK)
• Books-a-million (US)
• Easons (IE) We work to created good business
models for both publishers and libraries

30. • Engage in initial conversations with new prospects
• Similar to as we connect with our library partners we seek out new publisher
partners (tradeshows, webinars, cold calls)
• Book Expo America
• London Book Fair
• Frankfurt Book Fair
• Beijing Book Fair
• Publisher delivers content to OverDrive
• Content undergoes quality testing and then is made live to libraries

31. Self published authors
OverDrive works with eBook aggregators to provide self-published
titles to libraries
• Smashwords
• AuthorSolutions
• ePub Direct
• Perseus Book Group
We work with self-published authors that have at least 10 titles
• Barbara Freethy
• Joe Konrath
• Sylvia Day

33. • The library should be the first stop on
a readers journey to discover new
content.
• eBooks everywhere (refrigerator, Wii
U, cars, living rooms, etc.)
• Streaming video
• eMagazines
• eBooks in schools

34. Collection Size: #13
Checkouts: #2 (2012-present) 3,105,479 total checkouts (as of 5/2)
Holds: #1

35. Contact me for more information
• Web: www.overdrive.com
• Email:
mlevine@overdrive.com
• Phone: 216-573-6886 x253
• Connect with us!
http://overdriveblogs.com/library

36. Brian Risse – VP Sales, Public Libraries

37. Market
K-12
Public
Academic
Trade
International
Medium
Print
Reference
eBooks
Database
Archive
Mobile
Channel
Library
Higher Ed
Wholesaler
Discipline
History
English/Lit
Health
Business
Careers
Delivery
eBooks
Databases
Print
Digital
Archives
Film.
Yes, film.

38.  We seek a balance between creating the most valuable reference
content across the disciplines, and bringing high-value,
recognized brands to library patrons each and every day.

39.  What we can do with our content depends largely
on who owns it
 Gale editorially-created content
◦ Depends on contracts with providers/authors – online
rights didn’t emerge as a necessity until the mid-90’s.
◦ If full rights are acquired, the content can stand alone or be
integrated into any number of print or online resources
 Partner/licensed content
◦ The same issues face our partners: who owns the rights?
◦ As with Gale content, we work with our partners to ensure
copyright is honored

40.  Pricing is not dramatically affected depending on who
owns it
 Pricing models differ if the content is from Gale vs. a partner
provider.
◦ Gale owns its proprietary content and prices reflect our
ownership of it.
◦ Partner publishers will earn revenue on the sale of their
content through our platforms and services.
 Pricing models are based on basic rubrics like:
◦ What is the cost to create the content?
◦ What is the cost to license content?
◦ Can the profit margin sustain further publishing efforts?

42.  The process for digitizing print materials is well known to Gale
 Gale heavily invests in digitization programs around the
world, and has a reputation for excellence.
 New partners seek Gale out in an effort to extend the life and
value of their deep collections or even their modern day
magazine runs
 Our own publishing programs include a digital equivalent to
print volumes or a database version of the same
 Gale offices in Meriden, CT manage digitization efforts with
facilities around the world or on site at places like the Library of
Congress, Oxford University, and more.
 Our own publishing processes create e-book content from the
typeset image files used to create the very print they are derived
from.

43.  How much do author rights play into the price of a digital
resource?
 At any given time, there are 4,000 - 5,000
authors, editors, contributors, scholars, etc. creating content
or metadata for use in Gale products
 In most cases, contributing authors to Gale reference titles
are actively writing FOR Gale; the rights to this content are
Gale’s as the content is commissioned and created for Gale.
 Periodical content is licensed from the publisher, for a fee.
 Critical essays in a product like Literature Criticism Online are
reprinted with permission from the author or publisher, again
for a fee.

44.  Gale has met the digital revolution head on. In fact, many of our
publications acted like databases before we had databases!
 Gale has actively published since 1954, but some of our imprints
are over 100 years old!
 In the mid-90’s, Gale developed industry-leading databases that
combined digitized print reference, periodical, and primary
source materials: the Resource Center was born
 In the late 90’s – early 2000’s, Gale’s Virtual Reference Library
began driving the vast majority of our publishing program, and
our customers desire to serve a broadening range of access
needs.
 Our decades-old directory and author biography/criticism series
have easily morphed in to database models due to Gale’s
continuous attention to deep metadata and indexing properties.

45.  …but Gale’s digital branches grow even larger!
 A deeper focus on digitizing and evolving our large serials
collections is gaining steam. Decades of content enhanced
by decades of technology!
 We are in the middle of creating the world’s largest
Humanities Gateway that will combine award-winning Gale
and partner reference content along with our deep primary
source and historical collections.
 Our eBook partner program continues to grow, bringing the
best of reference from publishers around the world.
 Value-added services like Demographics Now, Career
Transitions, Ed2Go and Gateways continue to serve patrons
through a combination of content and features that focus on
OUTCOMES vs. simple access.

46.  We continue to support the library market through a
number of well-known initiatives, including:
◦ Library Journal/Gale
Library of the Year Award
◦ TEAMS Awards (K-12)
◦ Provides bus service to ALA meeting for over 25 years
◦ Supporting state and local library associations through
sponsorships

47.  So what’s coming down the pike from Gale?
 Gale is growing its publishing program to include new
frontlist titles each year across a range of subjects, reading
levels, and areas of use.
 Our partner publisher program is growing, too, including new
products from The Smithsonian in 2014.
 Our Literature Program is getting a complete
overhaul, including cross searching LCO and LRC, as well as
completely new search experiences for your favorite
databases!
 Mobile optimization for several of our user
interfaces, broadening to other platforms in 2015.

48.  Change, change, ambiguity, and more change.
 For the library markets, we expect to see a continued move to
servicing patrons more completely, and not just delivering
content to them.
 Libraries are beginning to show a deeper level of interest in
primary source documents, and in an ownership model for the
content they provide
 As content owners become more savvy about their
content, they will begin to explore options for broader access
through their own models or through partners
 Open Access is not going away. Publishers’ need to run a
business vs. providing base value to all patrons – paying or not
– is not going away either.

49.  Our new product development and
continued digitization of long standing
print serials is driven primarily by feedback
from customer and student/patron users.
 What can we build for you?